{"title":"Transatlantic Visions and Revisions of Race: Hawthorne, Joseph Jenkins Roberts, and the Editing of Journal of an African Cruiser","authors":"L. Reynolds","doi":"10.5325/nathhawtrevi.42.2.0001","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.2.0001","url":null,"abstract":"A strong argument can be made that the Journal of an African Cruiser, by an Officer of the U.S. Navy (1845) should be included in The Centenary Edition of the Works of Nathaniel Hawthorne, for evidence indicates that his \"editing\" of the manuscript of his friend Horatio Bridge was a major creative effort. When Hawthorne submitted the edited text to Evert Duyckinck, who published the book as the first volume of Wiley and Putnam's \"Library of America Books,\" he admitted, \"My own share of it is so amalgamated with the substance of the work, that I cannot very well define what it is.\" (1) In one of the few substantial studies of the project, Patrick Brancaccio observes that Hawthorne \"served more as a ghostwriter than editor,\" and points out that \"the thematic organization and ironic and morally ambiguous point of view clearly betray Hawthorne's hand\" (Brancaccio 33). A comparison of a portion of Bridge's 1843-44 manuscript journal (in the Berg Collection at the New York Public Library) with the published book has revealed that Hawthorne ameliorated Bridge's racism, softened his callousness, and made him a more introspective and peace-loving author, much like Hawthorne himself. (2) Hawthorne, however, I have found, was not the only editor of Journal of an African Cruiser. Joseph Jenkins Roberts, the black Governor of Liberia, edited the book as well, at the request of Bridge, who took the published book with him to Africa in 1846, on his third cruise to the region, and asked his friend Roberts to offer corrections and revisions for a second edition, which Roberts did. The bound 1845 book contains Roberts' marginalia in ink on the pages and his commentary in Bridge's hand on pieces of paper of various sizes, tipped onto the printed pages, with quotation marks and Roberts' initials. The expanded and revised second edition of Journal of an African Cruiser was never published (a reprint of the first edition appeared in 1853, with Bridge's name on the title page for the first time); however, the materials Bridge collected exist in Bridge's personal copy of the book and in the 1846 manuscript journal Bridge kept on his voyage (both preserved in the Bowdoin College Library Special Collections). In the front and the back of the 1846 journal, Bridge wrote the following note: \"In case of my death I wish this journal and my copy of the 'Journal of an African Cruiser' in which I have made notes, given to my friend Nath. Hawthorne Esq of Salem Mass. For his own use & benefit.\" (3) Bridge obviously hoped that someday he or Hawthorne could prepare the new volume for publication. Some of the topics Bridge elaborated upon in his new material were the price of slaves, forms of government of the native tribes, native religion, the trial of witchcraft, the racial mixing of Britains and natives on the Gold Coast, the vices of civilization acquired by natives, and the nature of the fever and sickness visited upon outsiders to the region. For the most part, Governor Robert","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128901111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In Memoriam: Joan Hawthorne Deming Howe Ensor and Rosamond Hawthorne Mikkelsen","authors":"Megan Marshall","doi":"10.5325/nathhawtrevi.42.2.0063","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.2.0063","url":null,"abstract":"[ILLUSTRATION OMITTED] The Hawthornes may or may not have been a \"remarkably 'hardheaded' race,\" as Julian Hawthorne wrote in his biography of his parents, but the Hawthornes born in the twentieth century can certainly be said to have been long-lived. Two great-granddaughters of Sophia and Nathaniel, Rosamond Hawthorne Mikkelsen and Joan Hawthorne Deming Howe Ensor, cousins and lifelong residents of Redding, Connecticut, died this year, six months apart, on January 4 and June 9, 2016, at ages 104 and 103. The two were the last surviving members of their generation in their branch of the Hawthorne family. I first met Joan Ensor in the mid-1980s when she responded to a notice I'd placed in the New York Times Book Review asking for research leads as I began work on my biography of the Peabody sisters. Joan invited me to her house in Redding to show me Sophia's two oil paintings of Lake Como, done for Nathaniel as engagement presents. These hung in Joan's living room by the fireplace, though they are now, thanks to her generous gift, on permanent display at the Peabody Essex Museum in Salem. Like her Peabody great-grandmother and aunts, Joan was a small woman, blue-eyed, warm-hearted (I was just one of many researchers welcomed into her home for a viewing of the Comos), and very smart. We spoke easily and began a friendship that spanned nearly three decades, conducted mostly through the mail. First Joan and her older daughter, Imogen Howe, sent further research leads. Would I be interested in Sophia's inscription to Nathaniel on the flyleaf of their book of Wordsworth's poetry (Sophia's first engagement gift to Nathaniel)? Indeed. Ebe Hawthorne's Spanish dictionary? Certainly! (The volume can be viewed now at the Concord Free Public Library, William Munroe Special Collections, along with the Hawthornes' 1837 Complete Poetical Works of William Wordsworth, Henry Reed, ed., both cleaned and handsomely restored.) But Joan's greatest gift to me was understanding. She knew my infrequent visits had to be coordinated with my own older daughter's traveling soccer team's tournament schedule, which occasionally brought us to Farmington or Avon, near enough to reach Redding for a morning or afternoon. Joan always asked about my daughter in letters, and sympathized with the difficulties of being a writing soccer-mom. She was in her seventies at our first meeting, and as my work on the book stretched into a second decade, I began to worry that, healthy as she always appeared to be, Joan might not live to see the result of the labors she had encouraged for so long. I took a chance and sent her a draft of a chapter I'd written on Sophia Peabody's girlhood. Joan's astute and reassuring letter in response boosted my confidence at a time when my publisher seemed to have lost interest, and after that she was my first reader on every chapter. It would not be wrong to say that I wrote, or finished, The Peabody Sisters for Joan Ensor. [ILLUSTRATION OMITTED] I knew Joan's c","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114995716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Melville in Love: The Secret Life of Herman Melville and the Muse of Moby-Dick and The Divine Magnet: Herman Melville's Letters to Nathaniel Hawthorne","authors":"E. Hage","doi":"10.5325/nathhawtrevi.42.2.0079","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.2.0079","url":null,"abstract":"Melville in Love: The Secret Life of Herman Melville and the Muse of Moby-Dick. By Michael Shelden. New York, New York: Ecco/HarperCollins, 2016. 288 pp. $25.99 cloth; The Divine Magnet: Herman Melville's Letters to Nathaniel Hawthorne. Edited by Mark Niemeyer. Asheville, NC: Orison Books, 2016. 105 pp. $18.00. Herman Melville's life has continually allured researchers because it necessarily retains a bit of mystery, but that mystery sometimes becomes a blank space onto which biographers and scholars project their own interests and desires. Combine that with what we do know of the author's captivating life--working on whaling ships, deserting in the Marquesas, writing a novel of hardly fathomable scope and ambition, living out his later years as a forgotten author--and you have plenty of inspiration for conjecture and inference. Conjecture can be part of the natural course of things: the biographer, at times, draws as close as possible to a revelation through primary source material, and then makes that final leap through hypothesis. But this is momentary conjecture, built on substantial evidence and framed as just that. However, Michael Shelden's Melville in Love is a whole book based on conjecture, built upon circumstantial evidence that is rolled out as revelation. The work claims to uncover an illicit romance between Melville and his neighbor, Sarah Morewood, the young wife of a prosperous merchant and trader who lives in a large home on the adjoining property in Pittsfield, Massachusetts, in the Berkshires. (The house, \"Broadhall,\" had been formerly owned by Melville's uncle.) Shelden's clues primarily emerge from Melville's playful, effusive, and affectionate letters to her and from clues in the plot and characters of Pierre; or, The Ambiguities (1852), the much-maligned follow-up to the already critically maligned Moby-Dick--and the book that hastened Melville's downward spiral as a commercially viable author. Morewood, the author claims, not only drove Melville's decision to move to Pittsfield but inspired him to greater depths with the whale book. Shelden's sweeping revelation is that understanding \"the great drama of this relationship is necessary to answer the most puzzling questions of the author's career. How did this young man known primarily for writing light books of adventure suddenly experience one of the most remarkable bursts of creative inspiration in literary history?\" (p. 10). (Melville, in fact, had a long love affair with the Berkshires and Pittsfield, going back to working his uncle's farm as a teenager.) The letters are not the smoking gun that Shelden heralds, and Melville researchers will not find anything startling in the effusive and affectionate writings to Morewood, even in his calling her \"Mrs. Morewood the goddess\" and himself \"Your Ladyship's Knight of the Hill,\" as Shelden notes (p. 9). His letters to Nathaniel Hawthorne are just as provocative, warm, and playful--and even friend and Literary World editor Ever","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116339678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Early Hawthorne Forgotten","authors":"F. Newberry","doi":"10.5325/nathhawtrevi.42.2.0054","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.2.0054","url":null,"abstract":"We think we know him. As Hyatt Waggoner memorably put it, he's \"our Hawthorne.\" But do we really know him? Or his work? I think our presumed familiarity outstrips our knowledge. Perhaps we cling to an image of the Hawthorne that needs occasional revision. For several decades and increasingly in the 1990s, he was a favorite whipping boy of Americanist criticism. Biographical exposes, only faintly disguised through the legerdermain of psychoanalysis, feminist studies, and racial politics, interpreted a repeated number of Hawthorne's works not so much to illuminate the writings but the man who composed them. And so we have Hawthorne the man who lacks confidence in himself as a writer; Hawthorne who doubts his manhood; Hawthorne who harbors unacknowledged homoerotic desires; Hawthorne who reveals a lifelong attraction to and repulsion from homosexual experience initiated by a Manning uncle; Hawthorne who has an erotic fascination for Herman Melville or Maragret Fuller; and Hawthorne who, in addition to feeling dubious about the efficacy of civic reform movements generally, was a racist. Whether or not we affirm any of these views, the only \"our Hawthorne\" that we might agree upon is that he was a fairly dark, brooding sort of fellow, that he was rather shy or private, not given to conviviality, that he was obsessed with matters of guilt and quite severe in his moral judgments, that he inherited his gloom and solitariness and severity from the Puritan tradition of New England, and that, partly owing to all of these traits and influences, he really didn't have much regard for what he frequently termed his \"idle\" stories. Some evidence supports this composite image, particularly if we restrict the focus to the fiction upon which commentators have largely devoted their attention. For the most part, unrelieved darkness and pessimism seem to dominate virtually all of the seventeenth- and eighteenth-century historical tales, as well as The Scarlet Letter and The Marble Faun, and considerably The House of the Seven Gables and The Blithedale Romance. Shy, hesitant, or self-doubting male characters appear often enough as in Tobias Pearson in \"The Gentle Boy\" and the title character in \"Young Goodman Brown,\" or, more famously, in Dimmesdale in The Scarlet Letter. Isolation or estrangement takes center stage in \"The Man of Adamant,\" \"Wakefield,\" \"Ethan Brand,\" and The Blithedale Romance. Guilt predominates in \"Roger Malvin's Burial,\" The Scarlet Letter, Seven Gables, and The Marble Faun. Seemingly weak artist figures or nervous male characters acquire prominence in \"The Artist of the Beautiful,\" The Scarlet Letter, and The Blithedale Romance. Accordingly, Hawthorne would not appear to have been a very happy guy. Yet we tend to forget, even those of us who read him whole, that Hawthorne wrote a lot of tales and sketches, by my count just over one hundred. Of these, only 18 can be considered more or less historical. Of the remaining 80 or so, only a few have norma","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116836568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Politics and Skepticism in Antebellum American Literature","authors":"Micha Martin","doi":"10.5325/nathhawtrevi.42.2.0077","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.2.0077","url":null,"abstract":"","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123356809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hawthorne's Graveyard Humor: “Chippings with a Chisel”","authors":"J. Cook","doi":"10.5325/nathhawtrevi.42.2.0036","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.2.0036","url":null,"abstract":"As both literary critics and social historians have recognized, nineteenth-century American culture was noteworthy for the prominent place of death and bereavement within its prevailing ideologies of sentimentality and domesticity. Manifestations of sentimentality thus appeared in the abundant literature of mourning, including poetry, sermons, essays, manuals, and anthologies; in the prescribed exhibition of sympathy-inducing mourning garments, which a woman wore as formal attire and a man as a crape band for hat or arm; and in the production of a plethora of memorial portraits, photographs, albums, embroidery, quilts, hair weavings, brooches, lockets, rings, gloves, spoons, and other \"tokens\" and \"keepsakes\" that commemorated the deceased. So, too, the pervasive domestication of death can be found in such developments as the rural, or garden, cemetery movement that began in the early 1830s and created a picturesque pastoral retreat for communing with the dead; in the rise of the Spiritualist movement in the late 1840s providing consolatory communication with the deceased; and in the common literary and cultural representation of heaven as a place for family reunions in a glorified celestial parlor. Integrally related to all these trends was the emphasis on maintaining a close affective attachment to the deceased and the preservation of meaningful emotional contact through memorial items and a suitably inscribed gravestone, all creating what might be called a \"cult of memory\" for the dead. (1) In keeping with these widespread cultural trends, a significant portion of Hawthorne's fiction performs a somber negotiation with the varied psychological, religious, and philosophical implications of human mortality. Yet in his early sketch \"Chippings with a Chisel,\" Hawthorne presents a refreshingly humorous treatment of antebellum Americas sentimental preoccupation with death. Previous commentators on Hawthorne's distinctive variety of ironic comedy in his shorter works of fiction and non-fiction have variously characterized it with such terms as \"dismal-merrymaking\" (Janssen) or Calvinist humor (Dunne); but in the case of \"Chippings with a Chisel,\" the concept of \"graveyard humor\"--or dark comedy framed within the existential limits of human mortality--would literally seem most appropriate. As such, the sketch merits a careful examination for its distinctive comic and satirical devices, literary allusions and associations, and cultural and biographical resonances. \"Chippings with a Chisel\" consists of both entertaining character delineation and a comic exercise in the moral picturesque using the versatile and popular medium of the literary sketch pioneered by Washington Irving (Hamilton). Hawthorne's sketch consists of a series of vignettes of the unnamed narrator's multiple visits, over a few weeks of the summer, to the workshop of an itinerant New England stone carver working in Edgartown on the island of Martha's Vineyard. Considering the elderly car","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124801376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“I feel a giddy sickness of strange awe”: Chillingworth, Cenci, and the Silent Pleasure of Pain","authors":"Geoff Bender","doi":"10.5325/nathhawtrevi.42.1.0056","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.42.1.0056","url":null,"abstract":"Echoing There is good evidence to suggest that Nathaniel Hawthorne deeply admired the work of Percy Bysshe Shelley. Early in his career, he clearly studied Shelley's writing closely, checking out a volume of his works from the Salem Athenaeum on two separate occasions: first on July 22, 1833, then on June 23, 1835 (Kesselring 47). Later, Hawthorne bestowed high praise on Shelley in his own fiction. In his 1844 tale, \"Earth's Holocaust,\" for example, he writes: \"[M]ethought Shelley's poetry emitted a purer light than almost any other productions of his day\" (10:397). And in \"P.'s Correspondence\" (1845) Hawthorne articulates the consequence of such \"light\": an oeuvre whose best work \"rest[s] upon the threshold of the heavens\" (10:372). Given Hawthorne's high esteem for the British Romantic poet, it is little wonder that he would pay particularly close attention to what Shelleyans have often considered \"the most significant serious play of its century written in English\" (Curran 33): Shelley's Cenci (1819). Highly controversial in its time, The Cenci stages the crucial events preceding Beatrice Cenci's legendary sixteenth-century death: rape by her father, Francesco; his murder at her instigation; and her subsequent death sentence by a Papal court. In his preface to the work, Shelley dwelled with special emphasis on a portrait he encountered at the Palazzo Colonna in 1818. It portrays a young woman from the waist up, wrapped in turban and white, flowing drapery and bearing an expression that, Shelley said, emanated a blend of \"exquisite loveliness and deep sorrow\" to produce a countenance \"inexpressibly pathetic\" (144). Though of uncertain origin and attribution, this portrait was thought, when it attained a nineteenth-century cult status, to be of Beatrice Cenci, painted by the celebrated Guido Reni just prior to Beatrice's execution. Hawthorne, while residing in Rome, was similarly mesmerized. After viewing the painting for himself, he replicated Shelley's praise, calling the portrait \"the very saddest picture that was ever painted\" (14:92). The portrait's presence in The Marble Faun (1860) is, consequently, keenly felt. For this reason, perhaps, scholars who have analyzed Hawthorne's textual engagement with Shelley have frequently centered their inquiries almost exclusively on how The Cenci resonates through The Marble Faun. Such analysis has often entailed a tracing of explicit textual links, so that features of The Marble Faun become a kind of roman a clef for the Cenci story. Thus, for example, Frederick Crews sees Miriam as a sort of stand-in for Beatrice Cenci, whose history unlocks the closed door of Miriam's unspeakable past (227-28). More recently, critics like Charles Watts have been attentive to the peculiarly refracting quality that Shelley's version of Beatrice Cenci had on both Miriam's and Hilda's interrelated portrayals. Watts suggests a triangulation of Beatrice, Miriam, and Hilda so that both Miriam and Hilda perform versions of ","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130418579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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