Though Satanstoe has been too much neglected by readers of Cooper's time and ours, it is one of his most interesting books, combining nostalgic autobiographical recollections, pictures of manners, action and adventure, and social philosophy in one of the author's happiest experiments in fiction. Ostensibly, it gives a comprehensive view of colonial life and society in New York State in the middle of the eighteenth century, blending all these elements with the narrative skill for which the author has always been famous.
Written in 1821-22 at a crucial point in Cooper's life and based on some of his most cherished youthful memories, The Pioneers today evokes the American pioneering experience with astonishing vibrance of authentic detail and a largeness of philosophic grasp seldom if ever equaled in our fiction.The circumstances behind the composition and publication of the book are here explained for the first time; and the text, originally set without competent supervision in the midst of the yellow fever epidemic in New York in 1822, is presented with the cumulative improvements of Cooper's "strenuous pen" in five subsequent revisions, without the customary accumulation of compositorial errors.Quite possibly America's first bestseller (3,500 copies were sold within hours of publication), The Pioneers became the first of the world-famous Leatherstocking Tales. Its verbal pictures "excited a sensation among the artists, altogether unprecedented in the history of our domestic literature" and helped establish the style of the Hudson River School, our first group of landscape painters. Translated early into all the major languages of Europe, The Pioneers was one of the first American novels to carry distinctive, authoritative American experience to the world.
Describing Italy as "the only region of the earth that I truly love," James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire "to enjoy the passing moment."In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.
In the spring of 1826, soon after the publication of The Last of the Mohicans, James Fenimore Cooper immersed himself in The Prairie. In taking Natty Bumppo from his beloved forests of New York state to the Great American Plains, Cooper was in part fulfilling his own prophecy at the end of The Pioneers. Though he was certainly recalling the periodic westward removals of Daniel Boone, one of the prototypes of Natty Bumppo, he was also responding to the ever-increasing public interest in Jefferson's Louisiana Purchase.No characterization more clearly exhibits the firmness of Cooper's vision than that of Natty Bumppo. As his colossal entrance implies, Cooper has reconceived him, and through him, the world in which he moves. Though descended from the garrulous hunter of The Pioneers and reduced to the lowly occupation of a trapper, his moral stature has undergone an apotheosis. Though he is again in The Prairie the loyal guide he was in The Last of the Mohicans, his words here take on even more striking moral force. He is both the spokesman for and the representation of, the most basic rhythm of existence, the natural cycle of life which must end in death.The metaphor of the prairie as the sea, shaped by Cooper's meditation on the relationships between Nature, God, and Man, seems to have had a fertile hold on his imagination. The sea is, as he knew by personal experience, a place of isolation and emptiness on whose surface man lives a precarious life. Imagistically Cooper's plot sets his little bands-the groups of outcasts led by Natty, Ishmael's family, the Sioux, and the Pawnees-to converge and tack away from each other. There is also much in the bursts of action-escapes, captures, shifting alliances, steering by moonlight-that evokes sea life. This same metaphor also points us to a central theme of The Prairie. Beyond the fast-paced action, the novel becomes a meditation on the ways of establishing justice between men.
The five novels in The Leatherstocking Tales (collected in two Library of America volumes), Cooper's great saga of the American wilderness, form a pageant of the American frontier. Cooper's hero, Natty Bumppo, is forced ever farther into the heart of the continent by the advance of civilization that he inadvertently serves as advance scout, missionary, and critic. Leatherstocking first appears in The Pioneers (1823), as an aged hunter living on the fringe of settlement near Templeton (Cooperstown), New York, at the end of the eighteenth century. There he becomes caught in the struggles of party, family, and class to control the changing American land and to determine what sort of civilization will replace the rapidly vanishing wilderness. When Natty Bumppo started an American tradition by setting off into the sunset at the novel's close, one early reader said, "I longed to go with him."The Last of the Mohicans (1826) is a pure unabashed narrative of adventure. It looks back to the earlier time of the French and Indian Wars, when Natty and his two companions, Chingachgook and Uncas, survivors of a once-proud Indian nation, attempt a daring rescue and seek to forestall the plan of the French to unleash their Mingo allies on a wave of terror through the English settlements.The Prairie (1827) takes up Natty in his eighties, driven by the continuous march of civilization to his last refuge on the Great Plains across the Mississippi. On this vast and barren stage, the Sioux and Pawnee, the outlaw clan of Ishmael Bush, and members of the Lewis and Clark expedition enact a romantic drama of intrigue, pursuit, and biblical justice that reflects Cooper's historical dialectic of culture and nature, of the American nation and the American continent.LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. He is particularly remembered as a novelist, who wrote numerous sea-stories as well as the historical romances known as the Leatherstocking Tales, featuring frontiersman Natty Bumppo. Among his most famous works is the Romantic novel The Last of the Mohicans, which many people consider his masterpiece. Other works include Precaution (1820), The Spy (1821), The Pioneers (1823), The Red Rover (1828), The Wept of Wish-ton-Wish (1829), The Notions of a Traveling Bachelor (1828), The Waterwitch (1830), The Bravo (1831), The Monikins (1835), The American Democrat (1835) and Homeward Bound (1839).
James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. He is particularly remembered as a novelist, who wrote numerous sea-stories as well as the historical romances known as the Leatherstocking Tales, featuring frontiersman Natty Bumppo. Among his most famous works is the Romantic novel The Last of the Mohicans, which many people consider his masterpiece. Other works include Precaution (1820), The Spy (1821), The Pioneers (1823), The Red Rover (1828), The Wept of Wish-ton-Wish (1829), The Notions of a Traveling Bachelor (1828), The Waterwitch (1830), The Bravo (1831), The Monikins (1835), The American Democrat (1835) and Homeward Bound (1839).
James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. He is particularly remembered as a novelist, who wrote numerous sea-stories as well as the historical romances known as the Leatherstocking Tales, featuring frontiersman Natty Bumppo. Among his most famous works is the Romantic novel The Last of the Mohicans, which many people consider his masterpiece. Other works include Precaution (1820), The Spy (1821), The Pioneers (1823), The Red Rover (1828), The Wept of Wish-ton-Wish (1829), The Notions of a Traveling Bachelor (1828), The Waterwitch (1830), The Bravo (1831), The Monikins (1835), The American Democrat (1835) and Homeward Bound (1839).
James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. He is particularly remembered as a novelist, who wrote numerous sea-stories as well as the historical romances known as the Leatherstocking Tales, featuring frontiersman Natty Bumppo. Among his most famous works is the Romantic novel The Last of the Mohicans, which many people consider his masterpiece. Other works include Precaution (1820), The Spy (1821), The Pioneers (1823), The Red Rover (1828), The Wept of Wish-ton-Wish (1829), The Notions of a Traveling Bachelor (1828), The Waterwitch (1830), The Bravo (1831), The Monikins (1835), The American Democrat (1835) and Homeward Bound (1839).
James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. He is particularly remembered as a novelist, who wrote numerous sea-stories as well as the historical romances known as the Leatherstocking Tales, featuring frontiersman Natty Bumppo. Among his most famous works is the Romantic novel The Last of the Mohicans, which many people consider his masterpiece. Other works include Precaution (1820), The Spy (1821), The Pioneers (1823), The Red Rover (1828), The Wept of Wish-ton-Wish (1829), The Notions of a Traveling Bachelor (1828), The Waterwitch (1830), The Bravo (1831), The Monikins (1835), The American Democrat (1835) and Homeward Bound (1839).
James Fenimore Cooper (1789-1851) was a prolific and popular American writer of the early 19th century. He is particularly remembered as a novelist, who wrote numerous sea-stories as well as the historical romances known as the Leatherstocking Tales, featuring frontiersman Natty Bumppo. Among his most famous works is the Romantic novel The Last of the Mohicans, which many people consider his masterpiece. Other works include Precaution (1820), The Spy (1821), The Pioneers (1823), The Red Rover (1828), The Wept of Wish-ton-Wish (1829), The Notions of a Traveling Bachelor (1828), The Waterwitch (1830), The Bravo (1831), The Monikins (1835), The American Democrat (1835) and Homeward Bound (1839).
"A rousing frontier saga."-The Washington Post"(Cooper's) sympathy is large, and his humor is as genuine--and as perfectly unaffected--as his art."-Joseph Conrad
The book, The Deerslayer , has been considered important throughout the human history, and so that this work is never forgotten we have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.
The book, Notions Of The Americans (Volume Ii) , has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
Lives Of Distinguished American Naval Officers (Volume Ii) has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
History Of The Navy Of The United States Of America : Continued To 1853 ; From The Author'S Manuscripts, And Other Authentic Sources has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.
À bord et à terre / Fenimore CooperDate de l'édition originale: 1899Collection: Collection A.-L. Guyot; 227-228Le présent ouvrage s'inscrit dans une politique de conservation patrimoniale des ouvrages de la littérature Française mise en place avec la BNF.HACHETTE LIVRE et la BNF proposent ainsi un catalogue de titres indisponibles, la BNF ayant numérisé ces oeuvres et HACHETTE LIVRE les imprimant à la demande.Certains de ces ouvrages reflètent des courants de pensée caractéristiques de leur époque, mais qui seraient aujourd'hui jugés condamnables.Ils n'en appartiennent pas moins à l'histoire des idées en France et sont susceptibles de présenter un intérêt scientifique ou historique.Le sens de notre démarche éditoriale consiste ainsi à permettre l'accès à ces oeuvres sans pour autant que nous en cautionnions en aucune façon le contenu.Pour plus d'informations, rendez-vous sur www.hachettebnf.fr
À bord et à terre / Fenimore CooperDate de l'édition originale: 1899Collection: Collection A.-L. Guyot; 227-228Le présent ouvrage s'inscrit dans une politique de conservation patrimoniale des ouvrages de la littérature Française mise en place avec la BNF.HACHETTE LIVRE et la BNF proposent ainsi un catalogue de titres indisponibles, la BNF ayant numérisé ces oeuvres et HACHETTE LIVRE les imprimant à la demande.Certains de ces ouvrages reflètent des courants de pensée caractéristiques de leur époque, mais qui seraient aujourd'hui jugés condamnables.Ils n'en appartiennent pas moins à l'histoire des idées en France et sont susceptibles de présenter un intérêt scientifique ou historique.Le sens de notre démarche éditoriale consiste ainsi à permettre l'accès à ces oeuvres sans pour autant que nous en cautionnions en aucune façon le contenu.Pour plus d'informations, rendez-vous sur www.hachettebnf.fr
The deadly crack of a long rifle and the piercing cries of Indians on the warpath shatter the serenity of beautiful Lake Glimmerglass. Danger has invaded the vast forests of upper New York State as Deerslayer and his loyal Mohican friend Chingachgook attempt the daring rescue of an Indian maiden imprisoned in a Huron camp. Soon they are caught in the cross fire between a cunning enemy and two white bounty hunters who mercilessly kill for profit.The last of the Leatherstocking Tales to be written, though first in the chronology of the hero's life, The Deerslayer is James Fenimore Cooper's masterpiece. A fine combination of romance, adventure, and morality, this classic novel of the frontier is an eloquent beginning for Cooper's great wildernes saga—and an unforgettable introduction to the famous character who has been said to embody the conscience of America: the noble woodsman Deerslayer.
« Le soleil avait disparu derrière les sommets des Alpes tyroliennes, et la lune était déjà levée au-dessus de la barrière du Lido ; les piétons sortaient par centaines des rues étroites de Venise, et se dirigeaient vers la place Saint-Marc, comme l’eau s’élance à travers un aqueduc étroit dans un bassin large et bouillonnant ; de galants cavaliers, de braves citadins, des soldats dalmates et les matelots des galères, des dames de la ville et des femmes de mœurs légères, des joailliers du Rialto et des marchands du Levant ; juifs, Turcs et chrétiens, voyageurs, aventuriers, podestats, valets, avocats et gondoliers, se rendaient tous au centre commun du plaisir...»
« IL me serait aussi difficile de décrire minutieusement ce qui se passa lorsque le canot rejoignit le Wallingford que de dépeindre tous les incidents terribles de la lutte entre Drewett et moi au fond de l’eau. Tout ce que je pus voir, pendant que M. Hardinge et Neb m’aidaient à monter à bord, c’est que Lucie n’était pas sur le pont. Elle était allée sans doute auprès de Grace, pour se trouver là quand elle recevrait la fatale nouvelle qu’on attendait. J’appris ensuite qu’elle était restée longtemps à genoux dans la chambre de l’arrière, absorbée dans cette prière intense et convulsive par laquelle les malheureux en appellent à Dieu dans l’excès de leur désespoir...»
« JE suis né dans une vallée assez voisine de la mer. Mon père avait été marin dans sa jeunesse, et mes souvenirs les plus anciens se rattachent à l’histoire de ses aventures et à l’intérêt qu’elles m’inspiraient. Il avait servi dans la guerre de la révolution. Entre autres scènes auxquelles il assista, il était à bord du Trumbull, lors du combat qu’il soutint contre le Watt, la plus belle action navale de cette guerre ; et il avait un grand plaisir à en raconter les incidents. Blessé dans la bataille, il en portait encore les traces dans une balafre qui défigurait légèrement un visage qui, sans cette apostrophe, aurait été remarquablement beau. Ma mère, après la mort de mon pauvre père, parlait toujours de cette balafre comme d’une tache de beauté. Si mes souvenirs ne me trompent pas, c’était lui faire beaucoup d’honneur ; car elle faisait grimacer la figure d’une manière qui n’était rien moins qu’agréable, surtout lorsque celui à qui elle appartenait était de mauvaise humeur...»
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