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Richard Chase, The American Novel and Its Tradition (Doubleday, 1957), p. 12. Nathaniel Hawthorne, Preface, The House of the Seven Gables (1851), p. 351. Note also Leonard Tennenhouse, “Writing English in America,” in The Importance of Feeling English: American Literature and the British Diaspora, 1750–1850 (Princeton University Press, 2007). Henry James, The Art of Fiction (1884), p. 12. Catharine Sedgwick, Hope Leslie (1827), p. 32. Cf. Perry Miller, Errand into the Wilderness (Harvard University Press, 1956) and R.

Can scarce believe it–” (Nov. 3, 1863; FI 4016). Again, even as she assaults the loyalty of the publishing firm of Ticknor and Fields, Stowe saves her wrath for Hawthorne’s prefatory dedication to Our Old Home, his forlorn attachment to English landscapes. ” As he wards off writing about the war whose effects reach Concord, Massachusetts, as well as other parts of the country, Hawthorne protests that his ability to write fiction has disappeared. By this account, “The Present, the Immediate, the Actual, has proved too potent for me.

There were writers who put literary energy into politics on both sides of the conflict. Lydia Maria Child, Harriet Beecher Stowe, and Maria Amparo Ruiz de Burton threw their writing energies into the fire of patriotism. John William De Forest and Thomas Wentworth Higginson were on the front lines for the Union, later writing about it in Miss Ravenel’s Conversion from Secession to Loyalty and Army Life in a Black Regiment. Louisa May Alcott and Walt Whitman served in military hospitals in Washington, DC, and found literary inspiration as well as physical exhaustion there, writing 36 Historical Codes in Literary Analysis “The Brothers” and Drum Taps.

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