{"title":"Along the Wayside, Spring 2022","authors":"","doi":"10.5325/nathhawtrevi.48.1.0120","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.48.1.0120","url":null,"abstract":"","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124741593","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":"Christian Moralism in The House of the Seven Gables","authors":"J. Cook","doi":"10.5325/nathhawtrevi.48.1.0001","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.48.1.0001","url":null,"abstract":"\u0000 This essay analyzes the pervasive presence of Christian motifs in The House of the Seven Gables, arguing that the most useful term to describe the author’s religious agenda in the novel is Christian moralism. While previous critics have noticed some of the religious and allegorical features of the narrative, none have provided an overarching explanation for their overall significance. A series of overt and covert biblical allusions thus provides a basis for key scenes and characterizations in the narrative, as the Pyncheon patriarchs, Colonel and Judge, are symbolically damned for their murderous hubris, while the inhabitants of the Pyncheon family mansion are eventually rewarded for their moral virtues of submission (Hepzibah, Clifford), love and charity (Phoebe), and forgiveness of injuries (Holgrave). Tracing the evidence of Christian moralism in The House of the Seven Gables enhances the reader’s appreciation of Hawthorne’s artistry in incorporating religious themes and motifs into his fiction without giving them overtly tendentious purposes.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"15 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132468608","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":"“A kind of privilege to haunt”: Settler Structures, Land-Based Knowledge, and the Agency of the (Super)Natural in The House of the Seven Gables","authors":"CJ Scruton","doi":"10.5325/nathhawtrevi.48.1.0028","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.48.1.0028","url":null,"abstract":"\u0000 The House of the Seven Gables constantly seems, on the surface, to separate settler civilization from North American Nature, from the obsession with cultivating garden space to the fear of moral decay within white American homes and lineages. However, a closer look at the actions and presence of Nature in the novel reveals a complex network of agential beings that are not so controllable or conquerable. I argue that the novel’s spectral conflict is a material conflict between Nature and settler institutions, a conflict that ultimately undermines this binary opposition and reveals the presence and agency of nonhuman Nature in settlers’ lives. Anxieties over the (super)natural presence of ghosts and witchcraft in the novel reflect the reality that beings in the natural environment have massive, invisible influence on settler society despite attempts to erase both Natural spaces and Native presence and relationships to the land.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123962727","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":"“Nathaniel Hawthorne’s Reframing of That ‘which Milton tells about’: Literary Influence and Blithedale’s Queer Masque”","authors":"Matthew Joseph Helm","doi":"10.5325/nathhawtrevi.47.2.0250","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.47.2.0250","url":null,"abstract":"\u0000 This article situates Nathaniel Hawthorne’s The Blithedale Romance (1852) within the debates around Fourierism, marriage, and Hawthorne’s literary legacy that took place in contemporary US magazines and periodicals in the mid-nineteenth century. In doing so, I rely on two notions of influence. First, while many periodicals regarded Hawthorne as a potential representative of a new national literature, they remained wary of the influence his unorthodox portrayals of marriage might have on readers and on the status of the nuclear family as the foundation of a sound society. Publications like The Southern Quarterly and The Church Review, and Ecclesiastical Register featured articles wishing that Hawthorne would fall in line with the British tradition of the neat marriage-plot, thus upholding the sanctity of marriage and securing his place within a burgeoning American literary canon. Second, I reframe Hawthorne’s relationship to his received literary patrimony, arguing that The Blithedale Romance queers the influence of the Miltonic masque tradition. In contrast to previous scholarship, which often seeks one-to-one allegories between the intertexts, I argue that The Blithedale Romance continually reappropriates situations and recasts characters from Milton’s Comus to expose contradictions and inconsistencies within hetero-patriarchal lineage and literary inheritance.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115785180","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":"A Somewhat Wilder Grace: Hawthorne, Humboldt, and Withstanding the Collapse of Nature into Symbol in The House of the Seven Gables","authors":"Evan Manzanetti","doi":"10.5325/nathhawtrevi.47.2.0210","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.47.2.0210","url":null,"abstract":"\u0000 The first members of the Pyncheon family Nathaniel Hawthorne names in The House of the Seven Gables include no humans, but “the old Pyncheon-house” and “the Pyncheon-elm” (5). I argue that Hawthorne’s representation of nature produces a cultural–natural place-sense in which environment acts both as cultural symbol and endemic nature separate from human conceptions. By reading Hawthorne via Lawrence Buell’s “place-sense,” I argue for doubled existences of Hawthorne’s environment and position Hawthorne in dialogue with Alexander von Humboldt. Hawthorne’s depiction of nature that displays the “external world and our ideas and feelings melt[ing] into each other” both demonstrates a Humboldtian response to a common division between pre reason and experience in natural philosophy up through the nineteenth-century and also resonates with Donna Haraway’s call for “ongoing multispecies stories and practices of becoming-with” that defy preexisting anthropocentric models (Humboldt 1:64; Trouble 55). This consideration of Hawthorne alongside Humboldt invites interplay between nineteenth-century American literature and nascent nineteenth-century ecological philosophies, reading both in a cultural–natural framework engaging across multiple disciplines and foregrounds the opportunities to reexamine representations of nature in American literature considering nature’s difference from and dependence upon cultural conceptions.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128503842","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":"“A Deeper and More Conscious Silence”: Aurality in Thoreau and Hawthorne’s Journals and Later Works","authors":"Michael S. Martin","doi":"10.5325/nathhawtrevi.47.2.0267","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.47.2.0267","url":null,"abstract":"\u0000 Both Hawthorne and Thoreau were observing silence, then creating literary works with fully-developed ideas on silence, at the same time and the same place. Both writers explored issues of silence as correlated to public spectacle, intimacy, inanimate objects, and the natural world. Twenty-first-century readers must reorient themselves to nineteenth-century notions of silence in studying their body of work. This essay attempts to synthesize their ideas together, starting with their early journals from the 1830s.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132699948","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":"“No Such Faery Land, So Like the Real World”: Miles Coverdale’s Performance of the Utopian Spectacle","authors":"Ashley Rattner","doi":"10.5325/nathhawtrevi.47.2.0231","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.47.2.0231","url":null,"abstract":"\u0000 Ticknor and Fields advertised The Blithedale Romance as a glimpse into Hawthorne’s six-month participation in George Ripley’s Brook Farm experiment. While Brook Farm had been largely forgotten by 1852, the novel’s appeal lay in its connection to its author, a sudden celebrity in the wake of The Scarlet Letter’s commercial success in 1850. As his novels attracted a growing fanbase, readers sought out Blithedale for the purpose of learning about Hawthorne’s past. Ticknor and Fields’s marketing efforts had expanded their print sphere beyond the immediate locality to address a national audience, thrusting fame and recognition on authors to a degree that could not have been previously imagined. Vexed that American readers had not critically examined the ramifications of this expanding print sphere, Hawthorne composes Blithedale to correct the equation of a fictional narrator with a novel’s author, a product of the evolving culture of literary celebrity. Insisting his text be classified as a romance, Hawthorne subverts any recognizable feature of the genre to elicit feelings of disorientation, frustration, and disappointment in readers expecting to access the author’s biographical feelings and impressions of the defunct transcendentalist commune. By situating his romance within a chapter from his own life and then failing to provide any insight as to his biographical experience, Hawthorne invites the reader to consider the changing dynamics of the relationship between author and audience.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123836583","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":"Reading Originally: The Story Teller, “Mr. Higginbotham's Catastrophe,” and “Passages from a Relinquished Work”","authors":"Leland S. Person","doi":"10.5325/nathhawtrevi.46.2.213","DOIUrl":"https://doi.org/10.5325/nathhawtrevi.46.2.213","url":null,"abstract":"\u0000 This essay makes the case for publishing “Mr. Higginbotham's Catastrophe” as it originally appeared, framed by the first and only two extant narratives from The Story Teller, Hawthorne's third unsuccessful collection of stories and sketches. “The Story Teller, No. I” and “The Story Teller, No. II” appeared in the November and December issues of the New-England Magazine, as the first installments in the magazine's agreement to publish the entire collection serially. That agreement was then abrogated, and no more narratives appeared within the frames that Hawthorne apparently intended. This introduction is followed by transcriptions of the two “Story Teller” publications.","PeriodicalId":261601,"journal":{"name":"Nathaniel Hawthorne Review","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130849235","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}