Chronological Bibliography of the Works of

2002

This two-part bibliography has been built by consulting the Bibliography of American Literature (BAL) and the bibliographies compiled by Sister Mary Michael \V'elsh ("Cathai'ine Maria Sedgwick: Her POsition in the Literature and Thought of Her Time up to

Nathaniel Hawthorne Review, 2015

Despite Catharine Maria Sedgwick's many personal and professional links to Nathaniel Hawthorne and her international renown as an author in the nineteenth century, few Hawthorne or Sedgwick biographers or literary scholars have considered her possible influence on Hawthorne. Fifteen years Hawthorne's senior, Sedgwick was well established in her career by the time he began publishing in 1830; for the next twenty years the two authors' short works were often published in the same journals and gift-book annuals-including The Token, The U.S. Magazine and Democratic Review, Godey's Lady's Book, and Graham's Magazineeven appearing side by side. 1 By the time Hawthorne's first stories appeared anonymously in The Token and The Salem Gazette, Sedgwick had published five books and eighteen short stories and sketches. Because, like Hawthorne, Sedgwick initially published anonymously, in her case with a "by the author of " byline, readers might mistakenly assume that Hawthorne was unaware of whose work he was reading. But from the outset Sedgwick's authorship was no secret, particularly in Boston and New York City circles, as several sources attest, including the private correspondence of Elizabeth and Mary Peabody in the 1820s. 2 Not only did Hawthorne undoubtedly read Sedgwick, but evidence suggests that his career was, in some part, influenced by hers. Nevertheless, in my incomplete survey of a dozen Hawthorne biographies, from Newton Arvin's of 1929 to Robert Milder's of 2013, only half contain Sedgwick's name, two literally just her name. Of the four others, Robert Cantwell (in 1971) gets Sedgwick's age wrong-by a decade-in his two sentences about her presence in Lenox (433), and Arlin Turner (in 1980) mentions only a tea party (211). James Mellow (in 1980) is the only one to acknowledge Sedgwick's "international reputation"; his four sentences include Hawthorne's "rather feeble" reference to the "most truthful" Sedgwick in A Wonder Book for Girls and Boys (323). Most recently, Brenda Wineapple's three brief mentions (in 2004)

1990

v. 1. The colonial period to 1700, the colonial period, 1700-1800, early nineteenth century, 1800-1865

Cambridge University Press

Coolabah, 2009

Catharine Maria Sedgwick’s texts and achievement have been long overshadowed by the undisputed recognition of some of her male contemporaries. James Fenimore Cooper, Washington Irving or William Cullen Bryant have received all the credit for having shaped -and for many, created- U.S. literature. However, Sedgwick’s contribution to the development of a specific native tradition in American letters is undeniable. Long before Ralph Waldo Emerson’s call for a specifically national subject-matter, Sedgwick was consciously giving her texts an American perspective by combining the techniques used in sentimental fiction with the historical romance. Set in colonial times, Hope Leslie or Early Times in the Massachusetts (1827) constitutes one of Sedgwick’s poignant explorations of the Puritan past of the country and its interrelation with issues of gender and race. By fusing Puritan historical accounts with fiction, Sedgwick’s technique succeeds in foregrounding the partiality of historical a...

Atlantis Journal of the Spanish Association For Anglo American Studies, 2013

Unless you are a hobo and hop a freight train to wherever it takes you, a 'journey' means an itinerary, which means a series of choices of destinations and an organization of possibilities: how long to linger, what to report, what photos to keep and to share with your friends, what souvenirs to buy. Inevitably your choices would not necessarily be mine, but nor do personal preferences (and a somewhat idiosyncratic selection) mean that the journey is less interesting. Kevin J. Hayes' decision to organize his journey through American Literature not by the traditional chronology or diff erent movements but by genre and by theme is full of pitfalls, yet even these challenges give us a new way to approach and a diff erent sense of understanding of the 'journey'. In a more straightforward chronology one can examine the specifi c socio-historical moment within which to explore each literary text as a response to that era, as a cultural production of its time. Choosing a 'thematic' approach is tenuous: what themes are consistent? How do diff erent authors develop them? What happens if themes are mixed within one text? Even considering all these possible limitations, Hayes' personal Journey is oft en interesting and a lot of fun. In spite of, or perhaps even because of, the problematics of his selection, there is a wealth of information here, particularly for an instructor of American Literature who wants to teach a course on, say, 'travel literature' , or for the graduate student reading widely in order to decide on focus and familiarize him/herself with the multitude of possibilities. For the less well-versed, however, the selections and focus are not always useful as an overview. Sometimes trying to make a general statement about a variety of very diff erent works leads the author into diffi culties. Each of the eight diff erent chapters are subdivided into various sections and, although what is included in each section is sometimes arbitrary, a fairly inclusive index makes it somewhat easier to read for content and specifi c writers or their works. Chapter 1, 'Beginnings' , piques the reader's interest by citing the 'Opening Lines' of many of our major writers. And we may confi dently agree with the author when he asserts that "American literature is about identity. .. [and] there may be no general theme more prevalent in it or more pertinent to it" (3). Yet Hayes is on more slippery ground when he asserts on page six that "[i]n the United States, the expression of individuality is