tag:blogger.com,1999:blog-8019237040978329862024-03-13T06:19:46.977-07:00Early American BestsellersThe Mormon Monkhttp://www.blogger.com/profile/00973424196784188481noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-801923704097832986.post-72810395342642106662011-04-12T21:44:00.001-07:002011-09-17T17:16:51.723-07:00What's in a name? From Ragged Dick to Richard Hunter<div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"> <link href="file://localhost/Users/Becca/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml" rel="File-List"></link> <style>
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</style> </div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;">At the beginning of the novel, Dick, posing in a gentleman’s clothes, has the following interchange with Frank Whitney:<o:p></o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;"> <br />
</span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;"><o:p> </o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;">"Who'd take Ragged Dick?"<o:p></o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;">"But you aint ragged now, Dick."<o:p></o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;">"No," said Dick; "I look a little better than I did in my Washington coat and Louis Napoleon pants. But if I got in a office, they wouldn't give me more'n three dollars a week, and I couldn't live 'spectable on that."<o:p></o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"><o:p> </o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"> <br />
</span></div><div class="MsoNormal"><span style="color: black; font-family: Times;">Despite his appearance as a gentleman, he still identifies himself as Ragged Dick in this passage, but at the end of the novel, while posing as Ragged Dick to retrieve his mail, he refuses to identify himself by that name:<o:p></o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"> <br />
</span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"><o:p> </o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times;">"Are you Ragged Dick?"</span><span style="font-family: Times;"><o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times;">"If you don't believe me, look at my clo'es," said Dick.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times;">"That's pretty good proof, certainly," said the clerk, laughing. "If that isn't your name, it deserves to be."<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times;">"I believe in dressin' up to your name," said Dick.<o:p></o:p></span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: Times;"> <br />
</span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;"><o:p> </o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;">This final line strikes the reader as ironic because Dick Hunter is posing as his old self, Ragged Dick. There is no question that Ragged Dick is completely transformed into a gentleman when he becomes Richard Hunter, Esq., but the question remains: How is he transformed? Is it through his honesty, generosity, and charming good looks that he makes a good name for himself? Or is it solely through trading favors for fine clothes that he raises himself from rags to riches, from a flawed boy to moral one? What is the cause of his turn of good fortune, his morality or the effects of his reward—the clothing?<o:p></o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;"> <br />
</span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;"><o:p> </o:p></span></div><div style="margin-bottom: .1pt; margin-left: 0in; margin-right: 0in; margin-top: .1pt;"><span style="color: black; font-size: 12pt;">Each time Dick does a good deed, he becomes better fitted to be a gentleman, whether in appearance or manner. When he offers to show Frank the town, he gets Frank’s suit and extra “gift[s] of a shirt, stockings, and an old pair of shoes” and discovers that he actually likes the “sensation of cleanliness.” The day after his receipt of Frank’s second-hand finery, Dick feels “ashamed” of his old attire. Only in his new clothes does he decide that he “must try to earn a little more.” From this point on his jokes about his tattered coat that was once George Washington’s vilify his old attire, his old self, contradicting his earlier assertion that the coat made him a “smart young feller.” When Dick gives Fosdick the majority of his savings to buy a suit to improve his appearance, Dick handles the money in “the off-hand manner” of a gentleman and is treated as such. When he saves Mr. Rockwell’s boy, he receives the “best suit he had ever worn.” He finally grew into the gentleman’s role because the gentleman’s clothes “fit . . . him as well as if it had been made expressly for him.” Having metamorphosed into a gentleman with a job and wardrobe, he finds his Washington coat and Napoleon pants have been stolen. Essentially, all parties assume that increasingly wealthy clothing means a new station in life as a gentleman, as Richard Hunter, Esq.<o:p></o:p></span></div><div class="MsoNormal"><o:p> </o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">At the very beginning, when Dick asserts that nothing, particularly his ability to live a “‘spectable” lifestyle, has changed because of his clothes, Frank follows with these lines, which are very telling if compared to Dick’s suits of clothing:</div><div class="MsoNormal"><span style="color: black; font-family: Times;"><o:p> </o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"> <br />
</span></div><div class="MsoNormal"><span style="color: black; font-family: Times;">“That reminds me," [Frank] said, "of the story of an Irishman, who, out of economy, thought he would teach his horse to feed on shavings. So he provided the horse with a pair of green spectacles, which made the shavings look eatable. But unfortunately, just as the horse got learned, he up and died."</span><span style="font-family: Times;"><o:p></o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;">"The hoss must have been a fine specimen of architectur' by the time he got through," remarked Dick.”<o:p></o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"><o:p> </o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"> <br />
</span></div><div class="MsoNormal"><span style="color: black; font-family: Times;">Dick’s suits function as the green spectacles, making frugality and self-control “look eatable,” while all the while he, like the little boy who read Alger’s tales of rags-to-riches, is being sculpted into a gentleman, until he essentially loses his old self.<o:p></o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"><o:p> </o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Times;"><img src="http://www.google.com/url?source=imgres&ct=img&q=http://www.gutenberg.org/files/21632/21632-h/images/il044.jpg&sa=X&ei=gsilTdXFG5CgsQOg7tn5DA&ved=0CAQQ8wc4GA&usg=AFQjCNHCFz6vXCq0ul7u52Zml3sPtOGMcg" /></span></div><div class="MsoNormal"><span style="color: black; font-family: Times;"> <br />
</span></div><div class="MsoNormal"><span class="Apple-style-span">Word Count: 685</span></div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com1tag:blogger.com,1999:blog-801923704097832986.post-45407272236148965162011-04-08T00:51:00.000-07:002011-09-17T17:30:58.471-07:00Hunting for Pickled Limes<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge_scfDk5snSZw_eoYt7mNezdN3ediGzh-1dTFN_mFnx_wsPnUPrkCwo084FfRJOpD9QXwg8TEcW36RfwpoB0byVo9k4DUrz0Gn_BBNQrDqUJN6mUzTiyjePT4mBHSqRMOi16cl96zfATN/s1600/221421270_cb6ce97f7d.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5593117696657665090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge_scfDk5snSZw_eoYt7mNezdN3ediGzh-1dTFN_mFnx_wsPnUPrkCwo084FfRJOpD9QXwg8TEcW36RfwpoB0byVo9k4DUrz0Gn_BBNQrDqUJN6mUzTiyjePT4mBHSqRMOi16cl96zfATN/s400/221421270_cb6ce97f7d.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 300px;" /></a><br />
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: 'Times New Roman';">In the novel Little Women, Louis May Alcott explains that Amy March's popularity depends on her ability to acquire, consume, and distribute pickled limes, a delicacy that was a very fashionable treat of the times. While thoughts of pickled limes no longer cause salivary distress in America's schools, they remain popular with many food bloggers, including <a href="http://www.foodinjars.com/2009/05/pondering-pickled-limes/">one whose experimentation with pickled limes was inspired by <i>Little Women</i></a>. In her book, <i>The Joy of Pickling</i>, Linda Ziedrich gives an overview of pickled limes and their place in nineteenth-century New England. Ziedrich writes that i</span><span style="font-family: 'Times New Roman';">n the West Indies, during the nineteenth and early twentieth centuries, ripe limes were packed whole in sea water or fresh-made brine and shipped to northeastern U.S. ports in barrels. In 1838, according to the Royal Horticultural Society of Great Britain, there was "a fair demand in the New York market for pickled limes," but by the late nineteenth century pickled limes were also available in Boston. Ziedrich explains that </span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: 'Times New Roman';"><br />
</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: 'Times New Roman';">"they were sold from glass jars on top of candy-store counters, and some families even bought them by the barrel. Because the import tariff for pickled limes was quite low - importers fought to keep them classed as neither fresh fruit nor pickle - children could buy them cheaply, often for a penny apiece. Young men and women chewed, sucked, and traded pickled limes at school for decades, making the limes the perennial bane of New England schoolteachers. Doctors tended to disapprove of the limes, too; in 1869 a Boston physician wrote that pickled limes were among the 'unnatural and abominable' substances consumed by children with nutritional deficiencies. Parents, however, seemed generally content for children to indulge themselves in the pickled-lime habit”</span><span style="font-family: 'Times New Roman';"> (p.77) </span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: 'Times New Roman';"><br />
</span></div><div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span style="font-family: 'Times New Roman';">Amy's conspicuous consumption of limes connects Alcott's schoolgirls to Caribbean economies and the slave labor that her father was busy fighting. While he fought to free African Americans from slavery in the Southern states, his daughters were busy eating the fruits of oppression!</span></div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com7tag:blogger.com,1999:blog-801923704097832986.post-2679807133032678252011-04-06T22:14:00.000-07:002011-09-17T17:34:45.400-07:00What Makes a Woman Strong?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aFkh8yISqznI1EJ9xSESHeKuDiccOb-sPBP3YvxJKSyqFTprAOr6WDW4H11jFd1zziqMBqQ6PPli4PKlcib0-4XZ8G-jzih2FddcyMPwQ7xVrnRKgxHrHhxjsu5WYiHY7QeqyE2400XA/s1600/Marmee1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5592706814181045906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aFkh8yISqznI1EJ9xSESHeKuDiccOb-sPBP3YvxJKSyqFTprAOr6WDW4H11jFd1zziqMBqQ6PPli4PKlcib0-4XZ8G-jzih2FddcyMPwQ7xVrnRKgxHrHhxjsu5WYiHY7QeqyE2400XA/s400/Marmee1.jpg" style="cursor: hand; cursor: pointer; display: block; height: 400px; margin: 0px auto 10px; text-align: center; width: 278px;" /></a><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></span> <br />
<div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">“I can’t get over my disappointment in not being a boy.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">And it’s worse than ever now, for I’m dying to go and fight with Papa” (Alcott 11).</span></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Jo thinks she has to be like a boy to be strong.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She deliberately chooses a boyish nickname and calls herself the “man of the family” (12).</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She plays mostly male parts in the March girls’ amateur plays.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">It is easy to see why she rebels against the Victorian feminine stereotype when she wants to be an active, intelligent girl.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">At the other extreme, Meg is essentially passive and seems determined to fit into that “proper” stereotype.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She is constantly reminding Jo to “remember that you are a young lady” (11), by which she means, 'act primly and take care not to muss your dress.'</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Neither sister has yet realized that they have an example right in front of them that proves women do not have to choose between strength and femininity. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Marmee has both qualities in abundance. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She is the rock of the family and of the whole neighborhood.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Her wisdom is sought by all.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She exercises medical knowledge, philanthropy, and economic management.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She promotes the secular and moral education of her daughters. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">As one critic says, “in Little Women’s Marmee, Alcott creates a fictional portrait of her own mother as an artful teacher worthy of Jo’s imaginative emulation—not as a housebound mother but as a teacher who cares about girls’ learning” (Laird 285).</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Moreover, Marmee accomplishes much of this on her own, at least while her husband is at war. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She knows that a woman does not need to be a soldier to be “in the action.”</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She sees that “action” is everywhere, and that every act of service, great and small, makes a difference in the world.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">She understands that teaching her children good values is just as valuable as picking up a musket to protect those same values.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Marmee’s quiet influence spreads out in ripples, first affecting her girls, then the Laurences, the Hummels, etc., and will continue to spread out as her daughters begin to spread their influence. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Marmee exudes generosity with a “pay it forward” attitude, which all four of her daughters begin to emulate.</span></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">A strong woman chooses her own future. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Critic </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Ann Douglas claims that “choice governs its (Little Women’s) creation and theme” (55).</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">The choices the four sisters make reflect their values and personalities.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">The same applies to young women nowadays.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Her</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> life choices might include a writing career like Jo’s, or a domestic life like Meg’s. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">It might include both, or anything else she sets her sights on.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">A strong woman evaluates herself and the world and creates the place she wants in it.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Marmee tells her girls she wants them to “lead useful, pleasant lives” (98), but she also wants them to be happy. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">It’s not necessarily important what a woman does, but who she is, and whether or not she is true to herself.</span></span></div><div class="MsoNormal" style="text-indent: .5in;"><span class="Apple-style-span" style="font-family: 'times new roman';"><br />
</span></div><div class="MsoNormal" style="text-align: center; text-indent: 0.5in;"><span class="Apple-style-span" style="font-family: 'times new roman';">Works Cited</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'times new roman';">Alcott, Louisa May. <i style="mso-bidi-font-style: normal;">Little Women</i>. Ann Arbor, Michigan: Ann Arbor Media Group, 2009.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: 'times new roman';">Douglas, Ann. “Introduction to <i style="mso-bidi-font-style: normal;">Little Women</i>.” <i style="mso-bidi-font-style: normal;">Little Women And The </i><i style="mso-bidi-font-style: normal;">Feminist Imagination: <span class="Apple-tab-span" style="white-space: pre;"> </span>Criticism, Controversy, Personal Essays</i>. New York: Garland, 1999. p. 43</span></div><div class="MsoNormal" style="line-height: 15.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;"><span class="Apple-style-span" style="font-family: 'times new roman';">Laird, Susan. “Learning from Marmee’s Teaching: Alcott’s Response to Girls’ Miseducation.” <span class="Apple-tab-span" style="white-space: pre;"> </span><i style="mso-bidi-font-style: normal;">Little Women And The Feminist Imagination: Criticism, </i><i style="mso-bidi-font-style: normal;">Controversy, Personal Essays</i>. New <span class="Apple-tab-span" style="white-space: pre;"> </span>York: Garland, 1999. p. 285.</span></div><span class="Apple-style-span" style="font-family: 'times new roman';"> </span>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com3tag:blogger.com,1999:blog-801923704097832986.post-8311657969555956102011-04-01T08:11:00.000-07:002011-09-17T17:37:04.034-07:00Motherhood as Unifier: “It Don’t Matter If You’re Black or White”<a href="http://www.ushistory.org/us/images/00000265.jpg"><img alt="" border="0" src="http://www.ushistory.org/us/images/00000265.jpg" style="cursor: hand; cursor: pointer; display: block; height: 264px; margin: 0px auto 10px; text-align: center; width: 196px;" /></a><br />
Throughout <em>Uncle Tom’s Cabin</em>, Harriet Beecher Stowe depicts slave women who face the terrible fear of being separated from their children. In describing these instances, she gives varying perspectives on these separations, from the white slave-owners who attempt to take children away from their mothers to the slave mothers who suffer the loss of one of their greatest loves. The fact that Stowe continually addresses slave mothers and their children suggests that there is something important Stowe wants readers to consider about what it means to be a mother. Stowe seems to use the idea of slave mothers being separated from their children as a way to demonstrate that black women are just as human as white women by how they feel about their children, (which is a good excuse to reminisce about the Michael Jackson song, <a href="http://www.youtube.com/watch?v=F2AitTPI5U0">“It Don’t Matter If You’re Black or White.”</a>) Stowe uses relationships between mothers and children throughout the novel, particularly for slaves, to demonstrate the great love that women, regardless of race, have for their children. These instances in the text as well as Stowe’s own views toward being a mother suggest that motherhood is a unifying force that allows women to recognize their similarities, particularly their great love for their children, rather than their differences, such as their race.<br />
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We are introduced to the dilemma of separating slave mothers from their children in the first chapter of the novel when Mr. Haley tries to convince Mr. Shelby to sell young Harry to him (9). Mr. Shelby seems to believe that there is something human in a slave having a child, even though slaves were sometimes regarded as “things” in that time period (18). He says, “I would rather not sell him…the fact is, sir, I’m a humane man, and I hate to take the boy from his mother, sir” (9). Knowing Mr. Shelby to be a kind man and master to his slaves, we might assume that in claiming to be “humane” in this instance, he did not want to take Harry away from Eliza because he knew how much she, as a mother, cared for her son.<br />
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On the other hand, Mr. Haley seems to see the situation in a different light. He says, “It is mighty onpleasant getting on with women, sometimes. I al’ays hates these yer screechin’ screemin’ times” (9). Haley then suggests that Mr. Shelby send Eliza away while the transaction for her son takes place, so that the separation will not be as upsetting for her. Haley’s idea of “the humane thing” refers to the way in which these matters are handled (10). He seems to believe that slave women who are deprived of their children overcome the grief at the initial separation if the matter is handled correctly and even claims, “These critters an’t like white folks, you know; they gets over things, only manage right” (Stowe 10). Here, Haley implies that if white women were put in the same situation, they would never be able to overcome their devastation, but he seems to feel black women do not have lasting feelings about their young. By referring to black women as “critters,” Haley implies that they are animalistic and inhuman and would easily forget their young, unlike real human beings (aka “white folks”).<br />
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Stowe seems to demonstrate her own opinion on the matter when she interjects the narrative following Mr. Shelby’s laughter at Haley’s talk with this statement: “Perhaps you laugh too, dear reader; but you know humanity comes out in a variety of strange forms nowadays, and there is no end to the odd things that humane people will say and do” (11). Through referring to Haley’s statements as “odd,” Stowe suggests that Haley’s viewpoints are abnormal and strange. Also, by having Mr. Shelby, and possibly the reader, laugh at Haley, Stowe suggests that this particular viewpoint toward black women, particularly black mothers, cannot be taken seriously. Stowe seems to believe that black mothers would feel just as deeply for their children as any white mother.<br />
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A look into Stowe’s life demonstrates her great love for her children and how her own role as a mother helped her to feel compassion toward other mothers who may have lost or been separated from their children. In a <a href="http://xroads.virginia.edu/~MA97/riedy/hbs.html">letter</a> to Eliza Cabot Follen, Stowe writes, “I HAVE BEEN the mother of seven children, the most beautiful and most loved of whom lies buried near my Cincinnati residence. It was at his dying bed and at his grave that I learned what a poor slave mother may feel when her child is torn away from her.” Here, Stowe explicitly relates her own loss as a mother to the loss that slave mothers experience when their children are taken from them, and she explicitly recognizes that slave mothers not only have feelings, but also that their feelings may be similar to the feelings she experienced when her child was taken away. Stowe also explains the result this experience had on her: “I allude to this here because I have often felt that much that is in that book had its root in the awful scenes and bitter sorrow of that summer. It has left now, I trust, no trace on my mind except a deep compassion for the sorrowful, especially for mothers who are separated from their children” (<a href="http://xroads.virginia.edu/~MA97/riedy/hbs.html">letter</a>). Stowe suggests through this statement that her own experience with the loss of a child led to her writing of <em>Uncle Tom’s Cabin</em>. For Stowe, there seems to have been some powerful feelings associated with being a mother that gave her common ground to equally relate with slaves who had lost their children. It seems Stowe's own experience helped her to recognize the inhumanity of taking any mother away from her child and united her with slave women everywhere in trying to prevent these inhumane acts from continuing.<br />
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For more information about mothers in <em>Uncle Tom’s Cabin</em>, click <a href="http://xroads.virginia.edu/~MA97/riedy/tpage.html">here</a>.<br />
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For additional resources and information about <em>Uncle Tom's Cabin</em> and its effects on society, click <a href="http://utc.iath.virginia.edu/sitemap.html">here</a>.Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com3tag:blogger.com,1999:blog-801923704097832986.post-23243030013714053702011-03-30T15:06:00.000-07:002011-09-17T17:40:25.730-07:00"It's a free country, sir; the man's mine!"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQPJIYRVIZ4cmgC1BuZSjRWhySTajpTu2HsT2Tpp4IxyyMXS077Duanxa4e3TuyDNCccHEvRzNDiEgwjblvFkFh-wo_ia3KHJuYSrsxvP4HoifwVuBzuW5Sxkq_2zfIjeOsLaFQcehSNO/s1600/24680914.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5590016361339251682" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQPJIYRVIZ4cmgC1BuZSjRWhySTajpTu2HsT2Tpp4IxyyMXS077Duanxa4e3TuyDNCccHEvRzNDiEgwjblvFkFh-wo_ia3KHJuYSrsxvP4HoifwVuBzuW5Sxkq_2zfIjeOsLaFQcehSNO/s320/24680914.jpg" style="cursor: pointer; float: right; height: 320px; margin: 0pt 0pt 10px 10px; width: 231px;" /></a>Towards the beginning of<span style="font-style: italic;"><span style="font-weight: bold;"> </span><span style="font-style: italic;">Uncle Tom's Cabin</span></span>,<span style="font-style: italic;"> </span>George Harris is introduced as a slave whose "adroitness and ingenuity" leads to his invention of "a machine for the cleaning of hemp" (11). The machine and its inventor receive high praise from everyone working at the factory, whites and blacks alike. In fact, Stowe makes it a point to put George's machine on the same level of "mechanical genius as Whitney's cotton-gin" (11). Such productivity and success would surely please George's owner Mr. Harris, right? Wrong. Mr. Harris is bluntly described by Stowe as "a vulgar, narrow-minded, tyrannical master" whose only concern is money (12). Once word of George's invention reaches Mr. Harris he decides to take "a ride over to the factory, to see what this intelligent chattel had been about" (12). To Mr. Harris' disgust, he finds George speaking and acting with more confidence than any slave was expected to have. This type of behavior quickly causes Mr. Harris to remove George from the factory and never allow him to return. George's boss makes a few attempts to reason with his owner, but Mr. Harris' final answer is<span style="font-weight: bold;"> "it's a free country, sir; the man's mine, and I do what I please with him,--that's it!" (13) </span>For Mr. Harris, of course, it is a free country. He can own whatever or whoever he wants. However, for George and the other slaves Mr Harris' cry for freedom is nothing but a sorry excuse for cruelty which seems to torment George throughout the novel. Such a blatant and shocking cry for one man's freedom to be granted while another man's freedom is diminished causes me to ask two questions:<br />
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<span style="color: red;">1. What, if anything, was Stowe trying to accomplish by having Mr. Harris play the "it's a free country card"? </span><br />
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<span style="color: red;">2. How do the slaves, particularly George Harris, respond to the slave owners' contradictory definition of freedom? </span><br />
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To start, I have to point out how conscious I think Stowe was of including Mr. Harris' famous, but contradictory line. She had to have known that this would catch the attention of those readers who used that same type of flawed reasoning in order to justify the practice of slavery. I think Stowe included Mr. Harris' "it's a free country" bit in order to show how ridiculous that sounds when those freedoms are not available to all.<br />
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After having sold over 300,000 copies the first year it was published, it's safe to say that people who supported slavery read <span style="font-style: italic;">Uncle Tom's Cabin</span>. Stowe was surely aware that this would be the case even before completing the book. I sound so confident in this claim because the book is full of shots at the pro-slavery population. One of the first shots is Mr. Harris' remark on freedom. Although subtle, Stowe uses the "it's a free country" line in order to show how contradictory and unreasonable the slave laws really were. This lack of reason in both slave owners and legislators is furthered by Stowe's description of Senator Bird. Although readers sympathize with Bird because he helps out Eliza and her son, Stowe also depicts him as a coward. Senator Bird has a good heart, but his reasoning gets in the way of his kindness. The saddest part about this is that this probably really happened. I don't know if there was a Senator Bird who supported the <a href="http://en.wikipedia.org/wiki/Fugitive_Slave_Act_of_1850">Fugitive Slave Act</a>, but there were likely legislators who supported the law even though they knew they wouldn't be able to live up to it themselves. This is another critique of those who used law to support their own freedoms, yet trampled the freedoms of others.<br />
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Although George is a slave, his idea of what freedom is and how it should be extended is more enlightened than any other character in the novel. He knows that he's been wronged throughout his life, but that doesn't stop him from hoping for better days. It seems that Stowe uses George as an example of someone who understands the concept of a free country and uses him to propagate her own beliefs on freedom and laws. The problem that George has with slave owners has to do with their reliance on freedom to protect their rights even though they diminish the rights of others. This contradiction of what freedom is is summarized above in the words of Mr. Harris. In the chapter titled "The Freeman's Defense," George reminds his pursuers of his and the other slaves' stance on laws, "we don't own your laws; we don't own your country; we stand here as free, under God's sky, as you are" (168). This attitude towards the white man's laws is dangerous, but also inspiring. George sees freedom as something that can't be limited by laws or decrees. He sees freedom as an "inalienable right."<br />
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Readers of <span style="font-style: italic;">Uncle Tom's Cabin </span>both today and when it was first published learn about what it means to be free, but perhaps more importantly, what it means to support freedom. For the majority of the slave owners freedom was a word they used in order to support slavery. However, for George freedom was something that was cherished even though he didn't have it. To play the "it's a free country" card without really knowing what that means is an error that Stowe recognized and sought to correct in her novel. Sometimes it takes learning about people like George before freedom can be truly understood and appreciated. And now, we can say with pride "it's a free country!"Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com4tag:blogger.com,1999:blog-801923704097832986.post-72040418909962746592011-03-29T21:09:00.001-07:002011-09-17T17:49:31.640-07:00Children (and Prison Guards) in PowerMost people only view slavery in terms of the Africans who were forced to be slaves; what this narrow minded viewpoint does not show is how slavery affected everyone who was at all involved. The Caucasian children in Uncle Tom’s Cabin seem to have different reactions to slavery and also seem to treat the slaves in very different ways. The ones who became cruel and grew to be adults that most people now days would view as evil and sadistic perhaps should not be as hated as they are because that is what they were taught and pushed towards these attitudes since they were born. We should also respect the children in the novel who were able to recognize the evils of slavery despite their young age and all the influences from family, society, and psychology even more. What these few special children were able to overcome in their perception of slavery is truly remarkable. <br />
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<div class="MsoNormal">Young master Tom, the son of George’s master, is one of the unfortunate cruel children who gave into the stigmas of society. He treats slaves as less than human even though he is just a child. He lies and says that George is fighting with him in the beginning when George asks that he not scare the horse and is able to manipulate his father into whipping and eventually letting him whip George. He acts in a way society has taught him to. He has been put in a position of power over other people and that has affected the way that he thinks of and in turn treats slaves. This way of thinking is similar to what happened in <a href="http://www.youtube.com/watch?v=rmwSC5fS40w">Zimbardo’s experiment at Stanford with prisoners and guards</a>. The people who were placed in positions of power as guards became cruel and sadistic. According to the experiment close to one third developed these extreme tendencies. Similarly Tom was placed in a position of power over the slaves. Growing up in such a position he was cruel to those who he viewed as inferior which obviously included slaves. He also learned from his parents when growing up as he watched them treat the family slaves poorly. His behavior is probably learned from a combination of family, society and psychology; it should not be excused as it is by far the cruelest of all the Caucasian children in the novel who also grew up in similar positions, but perhaps there is more to the story to consider than his simply being an evil little child. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Now compare Tom to George, the son of the Shelby’s. He is very kind and loves spending time with the family slaves. He is fond of Uncle Tom and Aunt Chloe. He finds joy in trying to help Tom learn to write and would rather spend time in Uncle Tom’s cabin than at the main house. Overall he is a sweet and kind boy who is not turned cruel by slavery. In fact as he grows older his compassion for slaves continues to increase. Towards the end of the novel he even travels to where Tom is and tries to buy his freedom. Unfortunately, he arrives too late to save Tom as Tom dies from a cruel beating, but he is inspired to free the rest of his families slaves in Tom’s memory. George is different from Tom as he did not grow up seeing his parent horribly mistreating slaves, however he still could have been influenced by similar social pressures and psychological influences. Despite these other influences he was able to remain an overall good and moral character that fought against slavery because he was able to see how it was wrong.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRAW6uO4vgN2uelxbaB22okOuaN9g6YuZVSiTYRJ_CiTaS8iHXpEKSE1D68fm74Paj6CfI0j0HfP-CsvDedZzpLY1wdALBH6sRwnpD4XqosxEQGdLtpDsBbTkhIqrDOeZNq0n51cndz44-/s1600/uncle+tom%2527s.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5589720488752115138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRAW6uO4vgN2uelxbaB22okOuaN9g6YuZVSiTYRJ_CiTaS8iHXpEKSE1D68fm74Paj6CfI0j0HfP-CsvDedZzpLY1wdALBH6sRwnpD4XqosxEQGdLtpDsBbTkhIqrDOeZNq0n51cndz44-/s200/uncle+tom%2527s.jpg" style="cursor: pointer; float: left; height: 155px; margin: 0pt 10px 10px 0pt; width: 200px;" /></a><br />
<div class="MsoNormal">Eva St Clare is the other child that is mentioned in the novel. She is clearly a Christ like figure in the novel. She seems blind to race and accepts everyone. She is especially kind to Tom and her family purchases Tom at her request. She is an ideal figure in the novel and acts as an example of a child who is not negatively impacted by slavery. She is similar to George as she did not see her parents abuse the house hold slaves but she still would have encountered the societal pressures and psychological influences. Personally I don’t think that she fully escaped these influences as even though she clearly loves the slaves and seems to have a special connection with Tom I wonder if she truly views the slaves as human beings. The way that she interacts with them suggests that she almost views them as pets that she can love and dote on and can love her in return but they are still not equals to her. This sort of perception of slaves is much better than reacting cruelly but it is still not ideal. It would be interesting to see what might have happened to her perceptions if she had lived longer and actually grown up, but unfortunately this didn’t happen.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I’m not justifying Caucasian people mistreating others in any way, but it is important to recognize how slavery affected Caucasian children who grew up in this sort of environment and how they were influenced by the actions of their family and society. Despite these terrible influences some children in this novel at least were able to make their own moral choices and see how horrible slavery truly is. </div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com2tag:blogger.com,1999:blog-801923704097832986.post-43540369388879036492011-03-17T20:37:00.001-07:002011-10-19T08:56:12.893-07:00Earth's Holocaust: Hearts aren't Black and White<span style="font-style: italic;">Imagine there's no countries<br />
It isn't hard to do<br />
Nothing to kill or die for<br />
And no religion too<br />
Imagine all the people<br />
Living life in peace</span><br />
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One hundred years before John Lennon’s anthem, Nathaniel Hawthorne imagined such a world in his short story, “Earth’s Holocaust,” and it was a<i> downer</i>. The short story appears to illustrate that the intention to eradicate all debauchery from society not only fosters unemployment and unhappiness, but is ultimately pointless since there can be no removal of the human heart. Although Hawthorn’s conclusion might be seen as a dismal view of human nature, a closer reading of the story indicates that an equal supply of goodness, as well as depravity, is found within mankind.<br />
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“Earth’s Holocaust” then becomes not just one story in a collection of <i>Mosses</i>, but is part of the long debate over man’s inherent virtue that continues <a href="http://www.youtube.com/watch?v=Gj-J_NKiqlY">today.</a></div><div><br />
In an article called “Hawthorne and Reform,” literary critic Arlin Turner argues that, “what passes as progress achieved through human efforts is sheer delusion—the evil resulting from any reform accomplished balances the good, and mankind is no better off, however sincere and diligent the efforts” (705). Turner apparently agrees with Hawthorn’s most visible thesis: that any reformation cannot last since people are wretched. I doubt, though, that Hawthorne was 100% convinced of his description that the heart is a “foul cavern, [where] from it will reissue all the shapes of wrong and misery."</div><div><img alt="" border="0" id="BLOGGER_PHOTO_ID_5585261293520952850" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg90gx9LnQ4fXZijGwMuHXtAWilK0CehZS5z_41RDc65UR0BGCFghcasb0cBAoiKZ_bEZwKrYTJm374gVT2AjNG-l-XuwEOd61pQRA4mb8YYYX-y3-8fTINlM72tFFueoteqroiYp7tFyDs/s200/images.jpg" style="cursor: hand; cursor: pointer; height: 124px; width: 200px;" /><br />
<br />
</div><div>First, the narrator is one who journeys to the bonfire hoping to find “some profundity of moral truth.” He <i>wants</i> to learn something that can help him become a better person. As the evening progresses, he makes no judgment on the proceedings, though his companion seems to have a grasp on the true futility of the bonfire. “What have you done?” he cries. “This fire is consuming all that marked your advance from barbarism.” The very first person the narrator speaks to is different from the general crowd. Although this alternative voice is quickly silenced, Hawthorne wants the reader to understand that this social movement is by no means a unanimous event.</div><div><br />
Second, Hawthorne spends several pages describing the hypocrisy, pride, and wantonness of the individuals at the fire. But why? Why would Hawthorne spend so much time outlining how wretched these people are? Because he <i>knows </i>the reader will feel sick about it. Hawthorne in particular outlines the burning of literature—describing in detail what kind of books and poems were burned and how precisely they decayed. He does this so that his readers will feel intense disgust for this society. Critic Richard Harter Fogle said in his article “Hawthorne and the English Romantic Poets” that, “the whole human past is destroyed . . . for naught [since] all books, of course, go into the fire” (224). According to Fogle, a world without literature is worth nothing, no matter what other kind of progress there may be. Hawthorne is counting on the book-loving hearts of his audience to sympathize with the pages that are in the fire. He is using the goodness of our hearts to make this story poignant.</div><div><img alt="" border="0" id="BLOGGER_PHOTO_ID_5585262167761083026" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8KYbXEkT1cbv0DPrAqwb2ZLQOPXto-uxDlp-DDAz6YtZt_huDG2nKJrjGZ-qYWUrSU4ptlFHSRsrAEGaFO4PgyrbOWhKWa-FljODas0DhD87qyZQ-5uZMHHt93VrroY0TIWWJF4Zul7w1/s200/CaringHeartLogo.jpg" style="cursor: hand; cursor: pointer; height: 174px; width: 200px;" /><br />
The story climaxes when the Bible itself is cast into the flame. And it’s pretty shocking. Yet while the narrator is crestfallen, his companion reminds him that, “come tomorrow morning, or whenever the combustible portion of the pile shall be quite burned out, you will find among the ashes everything really valuable that you have seen cast into the flames.” Moments later, the narrator in fact sees “a copy of the holy scriptures, the pages of which, instead of being blackened into tinder, only assumed a more dazzling whiteness as the finger marks of human imperfection were purified away.” Hawthorne’s sharpest criticism of man doesn’t last an entire paragraph before a resolution! Because people see faith as something with great value, no matter what revolutionist philosophies are in vogue, spiritual guidance will endure.</div><div><br />
Literary critic Nina Baym sums up the conclusion of “Earth’s Holocaust” by saying, “the origin of all sin [lies] in the heart . . . where evil remains because the human heart remains” (34). This theme is definitely relayed, but how? Not by the narrator, his companion, or anyone the reader knows. The bearer of this grim message is “a dark-visaged stranger, with a portentous grin.” He has red eyes like a devil and comes out of nowhere to share this idea. Is he a trustworthy source? It’d be like setting up Maleficent of <i>Sleeping Beauty</i> as the movie's primary source of truth. Hawthorne carefully chose the bearer of this message as someone whose authority is questionable. Even as he’s driving home the conclusion to the story, he wants there to be some doubt.</div><div><br />
So while evil may reside in the human heart, plenty of good also lies there. This story includes the inspiration that, “not a truth is destroyed nor buried so deep among the ashes but it will be raked up at last.” No matter what happens, man is so connected to goodness that truth can never really be lost. War, famine, injustice, abuse—yes all of that exists, but so does the desire to be better, find beauty, have compassion, and protest when the reality of an ideal proves harmful. We spend this story watching the narrator come to terms with the duality of the human heart. And while we can’t join Lennon yet to “live as one,” there’s plenty to live for in this world.<br />
<img alt="" border="0" id="BLOGGER_PHOTO_ID_5585260802301010338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDoAtQdlfM1SLII2-QuH_w3Xo46pcRbqHwfER8In8H-q8tRC4Rw7PU29Cpz6N2yuOyX5JxfqkB7DHn5Z9yfIID92BjNRJxnPhCvB6Ios_FbHdkHu6Nfl2k5FCaHPNTGjCxfMeFaBSVGldr/s200/Lennon--Imagine--john-lennon-108618_1024_768.gif" style="cursor: hand; cursor: pointer; height: 150px; width: 200px;" /></div><div>Word Count: 930</div><div><br />
Baym, Nina. “The Head, the Heart, and the Unpardonable Sin.” The New England Quarterly 40.1 (1967): 31-47.</div><div><br />
Fogle, Richard Harter. “Nathaniel Hawthorne and the Great English Romantic Poets.” Keats-Shelley Journal 21.22 (1973): 219-235.</div><div><br />
Hawthorne, Nathaniel. “Earth’s Holocaust.” Eng 360: Early American Bestsellers. Provo, UT: Zachary Hutchins, 2011.<br />
<br />
</div><div>Turner, Arlin. “Hawthorne and Reform.” The New England Quarterly 15.4 (1942): 700-714.</div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com1tag:blogger.com,1999:blog-801923704097832986.post-90992069160864486162011-03-14T08:20:00.000-07:002011-10-19T09:00:32.453-07:00What makes Susanna Rowson's "Charlotte Temple" Sexy<link href="file://localhost/Users/Becca/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml" rel="File-List"></link> <link href="file://localhost/Users/Becca/Library/Caches/TemporaryItems/msoclip/0/clip_editdata.mso" rel="Edit-Time-Data"></link> <style>
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<div class="MsoNormal" style="text-align: center;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Verdana, Arial, Helvetica, sans-serif;"><img alt="“Protect her,—and bless your dying—” Tableau illustration of the dying Charlotte passing the infant Lucy to her father. (London: H. Fisher, Son, & P. Jackson, 1831). Courtesy of Fales Library & Special Collections, New York University." height="750" src="http://muse.jhu.edu/journals/book_history/v013/full/13.keralis_fig04f.jpg" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px;" width="430" /></span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman';"><o:p> </o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman';"></span></div><blockquote>“<span style="color: black; font-family: 'Times New Roman';">It [<i style="mso-bidi-font-style: normal;">Charlotte Temple</i>] has stolen its way alike . . . into the parlor of the accomplished lady and into the bed-chamber of her waiting maid . . . It has been read . . . by the school girl stealthfully in her seat at school. It has beguiled the woodman in his hut at night in the deep solitudes of the silent forest; it has cheated the farmer's son of many an hour while poring over its fascinating pages . . . it has unlocked the secret sympathies of the veteran soldier in his tent before the day of battle.”<a href="http://people.virginia.edu/~sfr/enam854/ctemple.html">~ Elias Nason in Memoir of Mrs. Susanna Rowson, 1870</a>.</span></blockquote><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;"><o:p> </o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;"><o:p> <br />
</o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;">Critics question what it is about Rowson's "<a href="http://people.virginia.edu/~sfr/enam854/ctemple.html">sentimentalism, [p]athos, easy tears, high-flying language, melodrama, [and] moralizings without stint or number</a>" that universally draws in and even seduces readers. The novel itself is not particularly sexy, though it was written after the style of Richardson's<span class="apple-converted-space"> </span><i style="mso-bidi-font-style: normal;">Pamela</i><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><i style="mso-bidi-font-style: normal;">Clarrissa</i>. Pressing a lover's hand, fainting into his arms, and lying by his side are the raciest images with which Rowson tempts her readers.<span class="apple-converted-space"> T</span>he narrative of the novel primarily focuses on women's thoughts about their roles in society<span class="apple-converted-space"> </span>rather than seduction itself even though Montraville's seduction of Charlotte initiates her downfall and Belcour's ensuing attempt to seduce her secures her demise. The question arises: why, then, when seduction serves only to initiate the novel's action and the rest of the novel is spent perusing the thoughts of Mrs. Beauchamp, La Rue, Charlotte, and especially Rowson herself with all of her didactic asides is<span class="apple-converted-space"> </span><i style="mso-bidi-font-style: normal;">Charlotte Temple<span class="apple-converted-space"> </span></i>described by Nason and others as "seducing," "unlocking," and "beguiling" to readers. </span><span style="color: black; font-family: 'Times New Roman'; font-size: 13.5pt;">Rowson's novel seduces by treating the roles of the sexes and how<span class="apple-converted-space"> </span></span><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;">men and particularly women's choices bring them to or remove them from control of their own bodies and circumstances. <i style="mso-bidi-font-style: normal;">Charlotte Temple</i> is sexy because of rather than in spite of Rowson’s didacticism to "'sober matrons,' men 'of philosophic temperament,' frowning 'madams,' any 'Sir' who 'cavils' at the accuracy of her account, even her dear 'young, volatile readers'" (Douglas XXVI). Essentially, Rowson’s novel excites because it presents new perceptions of gender roles, while setting up to present ideal womanhood in the character of Lucy Temple, redemption from the naïve, fallen woman through a new generation, the educated, compassionate, even independent Lucy who like all women is <a href="http://www.encyclopedia.com/topic/Susanna_Haswell_Rowson.aspx">“born for universal sway”</a>.</span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;"><br />
</span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;">The dawn of the Revolution necessitated a reexamination of traditional gender roles and challenged the idea that women are “errata” (Rust 53). Rowson refuted Benjamin Franklin’s statement that “Women are Books, and Men the Readers be, / Who sometimes in those books Erratas see” and its equivalent that “Women are books in which we often spy / Some blot[t]ed lines and sometimes lines awry / And tho perhaps some strait ones intervene / In all of them errata may be seen” (Rust 53). Up until the conclusion of Rowson’s novel, women were not extended the privilege of writing out their errata like men, but with the protection of the compassionate Mrs. Beauchamp, Rowson’s Charlotte writes to her father and redeems herself from a death without forgiveness and her daughter Lucy from a life without recompense. Charlotte’s legacy, Lucy, as well as the characters of Mrs. Beauchamp and Julia Franklin demonstrate the appeal of Rowson’s novel: The liberation of women through a moral education is what makes <i style="mso-bidi-font-style: normal;">Charlotte Temple</i>, the novel, and women in general so sexy. </span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: 17px;"><br />
</span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;">This need for redemption through moral education can be seen in successive novels like Hannah Foster’s <i style="mso-bidi-font-style: normal;">The Coquette</i>. The following clip of Les Miserables' Fantine’s death and bequeathing of her child is reminiscent of Charlotte’s death and the sad fate of many naive, seduced women at her time.<o:p></o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;"><o:p> </o:p></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: 17px;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: 17px;">Works Cited:</span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;"><o:p> </o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;"><o:p> <br />
</o:p></span></div><div class="MsoNormal"><span style="color: black; font-family: 'Times New Roman'; font-size: 13pt;">Rust, Marion. <i style="mso-bidi-font-style: normal;">Prodigal Daughters: Susanna Rowson’s Early American Women</i>. The University of North Carolina Press (2008): 53. Print. <o:p></o:p></span></div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-43129079636143666132011-02-25T00:27:00.000-08:002011-02-25T01:53:42.536-08:00Benjamin Franklin, Our National Treasure: Feminist or Womanizer?<a href="http://www.sas.upenn.edu/~engelis/franklin_belles.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 354px; height: 429px;" src="http://www.sas.upenn.edu/~engelis/franklin_belles.jpeg" border="0" alt="" /></a><br />When Benjamin Franklin is mentioned, I cannot help but think of the movie <em>National Treasure</em>, which portrays Franklin playing a vital role in creating a map to a historic treasure of gold and jewels. While viewing Franklin as a masterful creator of treasure maps is entertaining, Franklin’s legacy and perspectives should be regarded as our national treasure. Franklin has had a profound effect on so many aspects of American life. He helped America become what it is today through his writings, his influence in colonial society, and his ingenious inventions (Click <a href="http://www.pbs.org/benfranklin/explore.html">here </a>to see some of Franklin's contributions). While his <a href="http://www.fi.edu/franklin/">widespread influence </a>permeates American society and culture, some might ask why Franklin should be placed on a pedestal in light of his many supposed intimate relationships with the opposite sex. Franklin even writes a <a href="http://www.swarthmore.edu/SocSci/bdorsey1/41docs/51-fra.html">letter </a>to a “friend” providing reasons why an older woman is “preferred” as a mistress, which raises the question of whether Franklin took his own advice in his affairs. Was Franklin really a womanizer, or is there more to the story than meets the eye?<br /><br />In spite of his many questionable relationships with women, Benjamin Franklin thought very highly of women and could even be considered somewhat of a feminist. J.A. Leo Lemay and P.M. Zall lend support to Franklin as an advocate for women by stating that “[Benjamin Franklin] argued for the natural equality of women throughout his life” (11 n.4). Franklin describes one such instance in his autobiography when he writes of a debate he had with John Collins over the “Propriety of educating the Female Sex in Learning, and their Abilities for Study” (11). Franklin describes the debate in the following manner: “[Collins] was of Opinion that it was improper; and that they were naturally unequal to it. I took the contrary Side, perhaps a little for Dispute sake” (11). Here, Franklin provides evidence that he did indeed argue for the rights of women in obtaining an education. By stating that he “took the contrary Side” to women being “unequal to [education],” Franklin suggests that he regarded women as capable of intellectual endeavors. While he claims he took this position “perhaps a little for Dispute sake,” which introduces doubt to whether he really felt highly about women, a deeper look into his life and autobiography suggests that Franklin may very well have been a practicing feminist.<br /><br />While Franklin’s motives in arguing for women are called into question in the statement above, his praise of Elizabeth Timothée in his autobiography lends further support to Franklin being a proponent for the rights of women. Franklin originally had a business partnership with Elizabeth’s husband but started working with her after her husband died (Franklin 81). In relating this experience, Franklin sets up a comparison between the capabilities of the husband and wife. In discussing his business with Elizabeth’s husband, Franklin states: “He was a Man of Learning and honest, but ignorant in Matters of Account; and tho’ he sometimes made me Remittances, I could get no Account from him, nor any satisfactory State of our Partnership while he lived” (81). In this statement, Franklin sets up Elizabeth’s husband as inept in his work. On the other hand, Franklin argues for Elizabeth’s capacity for high achievement in taking over the job: “[Elizabeth] not only sent me as clear a State as she could find of the Transactions past, but continu’d to account with the greatest Regularity and Exactitude every Quarter afterwards” (81). Franklin continues to praise the skill and aptitude of this particular woman by saying that Elizabeth “manag’d the Business with such Success that she not only brought up reputably a Family of Children, but at the Expiration of the Term was able to purchase of me the Printing-House and establish her Son in it” (81). By demonstrating the success of the wife in comparison to the failure of the husband, Franklin suggests that he finds Elizabeth highly competent. Franklin seems to extend this comparison to men and women in general. He explains his purpose in relating this story by saying, “I mention this Affair chiefly for the Sake of recommending that Branch of Education for our young Females” (81). In other words, Franklin believes that other women would thrive in accounting, just as Elizabeth did.<br /><br />While Franklin advocates for women and their potential for learning, he also imposes limitations on that potential. Franklin continually implies that women have the ability to take part in intellectual spheres, but he also maintains the view that women’s rightful place is in the home. Jill K. Conway states: “Franklin was willing to abandon the Christian view of the female—as a lesser creation marked by greater impulsiveness and less able to use reason in control of the emotions than men—and to put in its place a view of the female as a rational being engaged in the pursuit of happiness” (2). Here, Conway supports the idea that Franklin views women as intelligent and proficient. However, she later suggests that Franklin falls short in his praise of women. She explains: "A women’s education, [Franklin] thought, should develop in her those qualities which would ensure her happiness in marriage since marriage and reproduction were her natural destiny. It was axiomatic for him that women’s happiness was to be found in marriage and reason therefore decreed that women should be educated to use their rational powers in the role of wife and mother" (Conway 2-3). Franklin’s argument that women’s education should improve their role in the home is demonstrated in his explanation for sharing the experience with Elizabeth Timothée. He expounds on his “recommendation” to “young Females” by saying that an education in accounting is “likely to be more Use to them and their Children in Case of Widowhood than either Music or Dancing” (81). Franklin’s clarification suggests the view that while women are able to learn in various fields and be successful, they should only do so in order to have a safety net in the event that their husbands can no longer provide for them. Even though Franklin confines women’s role to the home, we see through his writings and accounts of others that Franklin believed women could be just as intellectually accomplished as men and that in doing so, women would benefit those around them, particularly their families. Womanizer or not, Franklin’s life experiences, detailed in his autobiography, demonstrate his great respect and admiration for women.<br /><br />Check out this interesting article: <a href="http://www.time.com/time/2003/franklin/bfwomen.html">“Why He Was a Babe Magnet”</a> to find out more about Benjamin Franklin’s relationships with women.<br /><br />Conway, Jill K. “Perspectives on the History of Women’s Education in the United States.” <em>History of Education Quarterly </em>14.1 (1974): 1-12. Web. 24 Feb. 2011. (Access through JSTOR: <a href="http://www.jstor.org/stable/367602">http://www.jstor.org/stable/367602</a>).<br /><br />Franklin, Benjamin. <em>Benjamin Franklin’s Autobiography</em>. New York: W. W. Norton & Company, 1986. 11 & 81. Print.<br /><br />Lemay, J.A. Leo & P.M. Zall, eds. <em>Benjamin Franklin’s Autobiography</em>. By Benjamin Franklin. New York: W. W. Norton & Company, 1986. 11. Print.<br /><br />Photo obtained through Google images.<br /><br />Word Count: 1,093Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com5tag:blogger.com,1999:blog-801923704097832986.post-34047935668685504452011-02-17T13:21:00.000-08:002011-10-19T09:09:35.141-07:00The Genius You Didn't Know About<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0QxaoUWV2BVdhHLZscYPqfmS8nzfnmWQDB70dOC2lO-GNXGvngpnnOqaUKlRcqbkrRyPe16YhjfHe0PITZoAiA9laD1xJuYaX2Q-IEkFraPBp1tCxxZHVy5rShDUHJI1NCuQLuzfkomby/s1600/Revolutionary-War.jpeg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5574777519935771858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0QxaoUWV2BVdhHLZscYPqfmS8nzfnmWQDB70dOC2lO-GNXGvngpnnOqaUKlRcqbkrRyPe16YhjfHe0PITZoAiA9laD1xJuYaX2Q-IEkFraPBp1tCxxZHVy5rShDUHJI1NCuQLuzfkomby/s320/Revolutionary-War.jpeg" style="cursor: hand; cursor: pointer; float: left; height: 209px; margin: 0 10px 10px 0; width: 320px;" /></a> </span><br />
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<div class="p1"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"><span class="Apple-tab-span" style="white-space: pre;"> </span>Many assertions have been made about the persuasive power of Thomas Paine’s <i>Common Sense. </i>His ethos is inarguably commanding; he was able to convince many loyalists and perhaps even some cowards to support the Revolution. What many don’t know, however, is that there is more to persuasive writing than compelling speeches. There is an art form, a science tha</span>t makes a genuinely persuasive piece.</span></div><div class="p1"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
</span></div><div class="p1"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1">From a modern day perspective, a <i>persuasive writing</i> perspective, perhaps his work might not measure up. Paine’s obvious she</span>er talent for writing could get him so far, and then the science to actual rhetorical writing comes in. According to the requirements of persuasive writing, was Paine successful? Or was he only a flash in the pan with excellent word choice and spot-on timing? Successful persuasive writing generally follows a pattern that makes it effective. From an analytical point, let’s see if, according to the laws of persuasive writing, <i>Common Sense </i> was as persuasive as it could be.</span></div><div class="p2"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Modern day rhetoricians must first deal with readers' rights, and reader expectations. Readers expect a cohesive, developed, well-formed and coherent work. A cohesive piece presents us with the <i>old information</i>; a developed piece tells us <i>enough information about the old information;</i> a well-formed piece <i>sets and meets expectations</i>; and a coherent piece gives us <i>enough new information. </i>So first things first: does Thomas Paine meet reader expectations in this work?</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Cohesion: The old information he presents readers with would be things the readers already know and understand. The King and Parliament calling America “theirs” would be old information (Paine 92). He also says that society and government have different causes, and origins which again can be considered old information. </span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Development: He expands on the differences between society and government by offering the audience more information. He says “society is produced by our wants, and government by our wickedness; the former promotes our happiness POSITIVELY . . . the latter NEGATIVELY by restraining our vices” ( Paine 92). At this point, none of this is new information to the colonists; England had been oppressing them and abusing them for many years. Their goods were not their own, their crops were not their own and their country was not their own. The wickedness of government was old information to the colonists. </span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Well-formed: In the introduction, Paine sets a very clear expectation for the work. He wrote: “In the following sheets, the author hath studiously avoided everything which is personal among ourselves. Compliments as well as censure to individuals make no part thereof. The wise, and the worthy, need not the triumph of a pamphlet” (Paine 92). The expectation is that these ideas do not stem from one person; it is not the propagandist work of a single party. It is simply the ideas of a “society.” It is the natural rights of man being exercised and demanded for. And these demands are not specific to this time, or this place or these people: “the cause of America is in a great measure the cause of all mankind” (Paine 92).</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Coherence: “The laying a country desolate with Fire and Sword, declaring War against the natural rights of all Mankind, and extirpating the defenders thereof from the Face of the Earth , is the Concern of every Man to whom Nature hath given the Power of feeling. . .” (92). It cannot be believed that that was common opinion among the colonies, and thus, it is considered new information. </span></div><div class="p2"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></div><div class="p1"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1">A persuasive piece also has an “issue question.” An issue question has multiple perspectives, it arises from a specific context, it is urgent, and it is an issue to which the audience is very attached. </span>A consequential issue question is an issue question that, obviously, has consequences. The formula for said question is :</span></div><div class="p2"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b>A TERM verb1 B TERM</b></span></div><div class="p2" style="text-align: center;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></b></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b>Because</b></span></div><div class="p2" style="text-align: center;"><b><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></b></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b>A TERM verb2 C Term</b></span></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b><br />
</b></span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">The A TERM is usually a policy idea, like “fighting for American independence.” The B TERM is what affects the audience, like “would increase freedom for Americans and legitimize the demand for equality and allow America to institute a government by the poeple.” And the C TERM is simply another concept, like “would decrease the control the English crown has on American affairs." All of this forms the crux of the rhetorical argument, or the enthymeme. Essentially, Paine’s enthymeme is:</span></div><div class="p2"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b>Fighting for American independence would increase freedom for Americans and legitimize the demand for equality and allow America to institute a government by the people</b></span></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b>BECAUSE</b></span></div><div class="p1" style="text-align: center;"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><b>fighting for American independence would decrease the control the English crown has on American affairs</b>.</span></div><div class="p2"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">The issue question has the multiple perspectives of the colonists, the loyalists, the English crown and the revolutionists. It’s context is centered around the injustice and abuse of the American colonies. It is very time sensitive, since the injustices are quickly climaxing and the “TIME HATH FOUND US” as Paine says (Paine 106). Lastly, the audience is obviously very attached to it, for the situation as Paine also points out is “truly alarming to every man who is capable of reflection” (Paine 112).</span></div><div class="p2"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1"></span> <br />
</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">From a rhetorical standpoint, this is a very strong enthymeme. A solid enthymeme cannot stand alone however. It is dependent on good evidence. Good evidence is defined by the “STAR criteria.” STAR stands for sufficient, typical, accurate and relevant. The true test of Paine’s argument would be to see if he met all these criteria. </span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><br />
</span></div><div class="p1"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="s1">Paine draws from the Bible examples of “monarcy and hereditary succession” which are typical and accurate and relevant, since the audience is familiar with the stories and trusts the source. </span><span class="s1">He draws on the history of England about the success of civil war against a king, which like the Bible is typical, accurate and relevant. </span>He offers factual evidence about the “estimation of the navy” and how much money the British have had to spend on a fleet, that America could create thanks to “her natural produce” (Paine 107). With a third form of legitimate evidence, Paine has reached a sufficient amount, and thus satisfies the STAR criteria.</span></div><div class="p1"><span class="s1"><span class="Apple-tab-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small; white-space: pre;"><br />
</span></span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Having analytically dissected the argument and work itself, it is sufficient to say that Thomas Paine was a master persuasive writer. Emotionally, passionately and rhetorically, he was able to artfully persuade some inconsequential settlers to change the world. His words are still so powerful that they are essentially timeless, and have influenced people across the globe. For a master rhetorician, that is the most sought after result.</span></div><div class="p1"><span class="s1" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;"> <br />
</span></div><div class="p1"><span class="s1"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small; letter-spacing: 2px;">Works consulted:</span></span></span></div><div class="p1"><span class="s1"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small; letter-spacing: 2px;"><br />
</span></span></span></div><div class="p1"><span class="s1"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Georgia, 'Times New Roman', serif; font-size: small;"><span class="Apple-style-span" style="letter-spacing: 2px;">Boswell, Grant. <i>Making Rhetorical Arguments</i>. Provo: BYU AP, 2010. Print.</span></span></span></div><div class="p1"><br />
</div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com4tag:blogger.com,1999:blog-801923704097832986.post-74575158672313506682011-02-02T23:18:00.000-08:002011-10-31T08:22:31.119-07:00The Robinsonade<div style="text-align: center;"><div style="text-align: left;">Don't worry--you're not the only one to have wondered how you would survive on a desert island; Dwight's given it some thought too: </div></div><div><div><span class="Apple-style-span"><iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/GRCq41S0i3M?fs=1" width="425"></iframe></span><br />
<div><div><span class="Apple-style-span"><br />
</span><br />
<div class="MsoNormal"><span class="Apple-style-span">People are fascinated with this idea of being stranded on an island ever since (and probably before) Daniel Defoe wrote his bestselling <i>Robinson Crusoe</i>. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Defoe’s tale of a young man becoming stranded and isolated on an island, learning to live off the land and surviving against all odds, not only was a best seller of its time, but has been a popular for many years because his story has lived on in many different forms: books, movies, plays, and, now, The Office.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In the middle of the nineteenth century a term was coined for these testaments to Crusoe's popularity: <b><span class="blsp-spelling-error" id="SPELLING_ERROR_1">The Robinsonade</span></b>.</div><div class="MsoNormal"><span class="Apple-style-span"><span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; line-height: 115%;"><br />
</span></span></span></div><div class="MsoNormal"><span class="Apple-style-span" style="background-color: white; line-height: 18px;">Defoe’s story was widely popular when he wrote it in 1719 and only became more popular as time went on. Children and adults alike were familiar with the adventures and survival story of Robinson Crusoe. By the nineteenth century it became so popular, and so many spin offs were written that a genre was created to identify anything written about this theme of island survival. </span>The official <a href="http://www.britannica.com/EBchecked/topic/505802/robinsonade">Encyclopedia Britannica</a> definition of "<span class="blsp-spelling-error" id="SPELLING_ERROR_3">Robinsonade"</span> is <span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; line-height: 115%;">“<span class="apple-style-span">any novel written in imitation of Daniel Defoe's <i>Robinson Crusoe</i></span><span class="apple-converted-space"> </span><span class="apple-style-span">(1719–22) that</span><span class="apple-converted-space"> <span id="IL_AD3" style="background-attachment: scroll; background-clip: initial !important; background-origin: initial !important; background-position: 0% 50%; background-repeat: repeat repeat !important; cursor: pointer !important; float: none; outline-color: initial; outline-style: none; outline-width: initial;"></span><span class="ilad">deals</span></span><span class="apple-converted-space"> </span><span class="apple-style-span">with the problem of the castaway’s survival on a desert island</span>.” Today, though, the proliferation of Crusoe adaptations and tributes has made this old definition obsolete; Robinsonades can today be found in any number of genres and medias.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="line-height: 18px;"><br />
</span></div><div class="MsoNormal"><span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; line-height: 115%;">In order to be classified as <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Robinsonade</span> Proper, meaning a story that is close to the original, it has to contain the following elements:</span></span></div><div class="MsoNormal"></div><ul><li><span class="Apple-style-span" style="background-color: white; line-height: 18px;">Progress through technology;</span></li>
<li><span class="Apple-style-span" style="background-color: white; line-height: 18px;">Triumph and the rebuilding of civilization;</span></li>
<li><span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; line-height: 115%;">Economic </span></span><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;">achievement; and</span></span></li>
<li><span class="Apple-style-span" style="background-color: white; line-height: 18px;">Solitary survival in a hostile environment.</span></li>
</ul><br />
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt;"><span style="color: black;">Here are just a few modern cultural artifacts inspired by <i>Robinson Crusoe</i>: </span></div><div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt;"><span style="color: black;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5569363005657545810" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD5H2xn0dxuXk9HrzUdyEknqXjU-6hbAjbT4EQ-sN2ofcIUPDtR5f3mQeNNt0MwFfF80dkgRzzp1cg6gQHGwee8ToYXV6wloJGFZg2GxmeZw222TvXTbEtXDjctZydWCn0nALZAovAhVQD/s320/Marooned-Gilligans-Island.jpg" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; cursor: pointer; display: block; height: 320px; line-height: normal; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 224px;" /></span></div><div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt;"><span style="color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; line-height: normal;"><br />
</span></span></div><div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt;"><span style="color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; line-height: normal;"><span class="Apple-style-span" style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhikJR5cbnrUE5xdreTnoTXx9gZc5SAoLaVc055H9TY9k_jJ4KVtuYanEcVLgcYldNAUE_AOQt6STYYCltEXkY-vDGTQ0GDRNAv_eKl5Pw75ZndsfypkMdY2xmUom2QfKe_z_te2X8h5xTm/s1600/castaway533.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5569362430034203890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhikJR5cbnrUE5xdreTnoTXx9gZc5SAoLaVc055H9TY9k_jJ4KVtuYanEcVLgcYldNAUE_AOQt6STYYCltEXkY-vDGTQ0GDRNAv_eKl5Pw75ZndsfypkMdY2xmUom2QfKe_z_te2X8h5xTm/s320/castaway533.jpg" style="cursor: pointer; display: block; height: 215px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 320px;" /></a><br />
</span><img alt="" border="0" id="BLOGGER_PHOTO_ID_5569362435529500242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6t395sNXbbsujor793y-1cxyzoaY_8VMzAwQy3gWntflcb6mXbd2bG0jwWh4KurIzyUEmL66QnhzlLShtplZqiMOWIt31YkkKL3n07eII8miAkssZzdr8TfGGXk_tE06wJqBtyU-oMgZk/s320/DisneySwissFamilyRobinson12InchLPFront1.jpg" style="cursor: pointer; display: block; height: 320px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 320px;" /></span></span></div><div><span style="color: black;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; line-height: normal;"><br />
</span></span></div><div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt;"><span style="color: black;"><o:p> </o:p></span></div><div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: 6.0pt; margin-left: 0in; margin-right: 0in; margin-top: 4.8pt;"><span style="color: black;">The <span class="blsp-spelling-error" id="SPELLING_ERROR_12">Robinsonade</span> also goes beyond the obvious isolated island stories, and also carries over to stories that deal with a different kind of isolation. One example is Carlos <span class="blsp-spelling-error" id="SPELLING_ERROR_13">Bulosan</span>’s <i><a href="http://www.amazon.com/America-Heart-Personal-Washington-Paperbacks/dp/029595289X">America is in the Heart</a>,</i> the semi-autobiographical story of a boy from the Philippines, and his journey to America, and the isolation and hardships he faces as an immigrant. <span class="blsp-spelling-error" id="SPELLING_ERROR_14">Bulosan</span> mentions Crusoe and his novel. The young boy reads the book with his brother he was “fascinated by the bearded man, and a strong desire grew in me to see his island” (32). Although <span class="blsp-spelling-error" id="SPELLING_ERROR_15">Bulosan</span>’s character is never stranded on an island he does go through many trials, many of them on his own, He also struggles to fit into a society that <span class="blsp-spelling-error" id="SPELLING_ERROR_16">doesn</span>’t want him, leaving him feeling isolated. <span class="blsp-spelling-error" id="SPELLING_ERROR_17">Bulosan</span> takes to the story of Robinson Crusoe and because he feels a connection to it, can relate it to his life. </span>It is because modern readers, like Bulosan, relate to the story of <i>Robinson Crusoe</i> and its emphasis on human isolation, that the novel has lived on for so long and in so many different forms.</div></div></div></div></div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com4tag:blogger.com,1999:blog-801923704097832986.post-30079949668475617402011-01-31T13:50:00.000-08:002011-10-31T08:30:06.774-07:00Apolitical Robinson CrusoeMuch like Shakespeare's <em>King Lear</em>, which uses the absence of Christian religion in order to demonstrate its importance in English society, <em>Robinson Crusoe</em> uses the absence of explicit political commentary to make political commentary.<br />
<br />
The events of Crusoe's life correspond with certain political events occurring in England during this period of time. Crusoe is born in 1632, close to when religious disagreements prompted political problems between King Charles I and Parliament began. Charles I set much of the backdrop for the coming revolution as his government struggled with financial problems and the depletion of the treasury through incompetence. In perhaps a reference to the problems of such monarchs, Crusoe's father warns him of the misery the excesses of Kings can cause. The first stage of Crusoe's life, or the adventurous stage, lasts 27 years (1632-1659) and very nearly matches the dates of the adventurous political atmosphere in England. Unrest between Parliament and the crown that began in the 1630s came to a head around 1649 with the imprisonment and beheading of King Charles I. For the first time in its history, England experiemented with new government, establishing a republican commonwealth under a Lord Protector.<br />
<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/IPmSR--BktE?fs=1" width="425"></iframe><br />
Corresponding with the end of Crusoe's adventure period, England's politically adventurous republic came to an end in 1660 with the invited return of Charles II. At this time in the novel, after suffering shipwreck, Crusoe is stranded on an island and begins the isolation period of his life, which also lasts 27 years (1659-1686). Robinson's seclusion period corresponds with a period when Protestantism was absent from the English monarchy, ending around the time of the expulsion of James II (1688), the Catholic monarch who succeeded Charles II. Unhappy with the Catholic influence of its king and wary of the loss of supremacy of the Church of England, Parliament deposed James II and invited the Protestant William and Mary to rule. This began the Glorious Revolution, or the Jacobite Rebellions, which sought to restore the House of Stuart to the English throne. Crusoe's two shipwrecks (1651, 1659) match closely with the death of Charles I and the return of Charles II, and this parallel between Crusoe's history and England suggest that Defoe's novel is not as apolitical as it might seem.Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com2tag:blogger.com,1999:blog-801923704097832986.post-73447440735578930622011-01-27T21:27:00.000-08:002011-10-31T08:37:31.046-07:00The Pilgrim Keeps Progressing<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">My favorite musical as a little girl? </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">"Oliver!"</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">It's got the most beautiful score I've ever heard. Check it out - </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.youtube.com/watch?v=WjJDekSculo">http://www.youtube.com/watch?v=WjJDekSculo</a></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Beautiful, right?</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Now, growing up, I was fully aware that this musical was based on Charles Dickens's popular novel <i>Oliver Twist. </i>However, I had no idea that the novel had a subtitle: "The Parish Boy's Progress."</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><i>Oliver Twist</i> is all about a poor boy's journey to find happiness and love in an unkind world. A journey to salvation, if you will. Coincidence? I think not. </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">For those of us more familiar with modern film, how about "Vanity Fair?" Reese Witherspoon gives an excellent performance in this heart wrenching film, the title of which comes straight out the <i>The Pilgrim's Progress</i>.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">These are two of the most popular examples of Bunyan's lasting influence in western culture, but they are many more. Mark Twain mentions it briefly in <i>Huck Finn, </i>Nathaniel Hawthorne recreates the story in his own period with <i>The Celestial Railroad,</i> and C.S. Lewis wrote a book titles <i>The Pilgrim's Regress, </i>a story that mirrors his won religious journey. (For a more complete list of works influenced by Bunyan, check out <a href="http://en.wikipedia.org/wiki/Pilgrim%27s_Progress#Cultural_Influence">this Wiki article</a> under the subheadings "Cultural Influence" and "References in Literature"). </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Now, these references are all fascinating - they either mention the book directly, or allude to it through titles and plot design. This certainly speaks to the popularity of the book, and sets it apart as a fantastic best seller. Crazy as it may seem, it's actually been translated into over 200 languages: that's more than triple the number of languages <i>Harry Potter</i> has been translated into. But what is truly remarkable is the more subtle effect this single novel has had on our culture. It is quoted in video games, been adapted into films, musicals, and operas, all multiple times, and even in recent decades.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">The big question that now comes to mind is, did Bunyan want this? Did he have any idea, any hope that his novel would reach such acclaim over the course of centuries? A great deal of his moral points in the novel are in direct conflict with the Catholic church, and yet all of Christendom, including Catholics, claim this novel as applicable to their own beliefs. Would Bunyan have stood for that? Bunyan's giant Pope is a condemnation of the Catholic faith, but modern Catholics have embraced the allegory; o</span>ne Catholic media blog gave <a href="http://catholicmediareview.blogspot.com/2009/12/pilgrims-progress-as-youve-never.html">a highly favorable review</a> of a new adaptation incorporating elves and magic and highly recommended it for Catholic children and families. </div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span><br />
</div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">The strange fact of the matter is, regardless of sect, this book has become an ecumenical cultural phenomenon in the Christian world. As recently as 1990, artists have adapted this book into movies and modern books, starting the tradition all over again for the coming generations. While Bunyan undoubtedly would have welcomed the attention his little book has drawn from the masses, it seems somewhat ironic that his most favorable readers are the very individuals his allegory condemns. </span></div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com3tag:blogger.com,1999:blog-801923704097832986.post-81344125476769399692011-01-27T10:42:00.000-08:002011-10-31T08:42:21.211-07:00Since When Did John Bunyan Become Paul Bunyan?<div class="MsoNormal">Almost every child grows up trying to impersonate and emulate their childhood hero in some way. For some it is their mom or dad, others have sports heroes, and still others choose comic book heroes (mine was Spiderman). Despite these childhood fantasies that each of us are probably guilty of having, most of us hopefully grow out of these desires and realize that a more applicable desire may be to become a doctor, lawyer, teacher, or some other contributor to society; John Bunyan, author of <i>The Pilgrim’s Progress, </i>apparently had a very different set of heroes and people he wanted to become. Bunyan feared “from his earliest childhood” that he would “offend the Lord” and carried such fear with him as he penned the pages of this best seller (pg x). Maybe it is the religionist in me or maybe even the critic, but I couldn’t help but think that Bunyan was trying to be like Paul of the New Testament, that perhaps he was trying to become an individual we might think of as "Paul" Bunyan.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"> I could not help but draw similarities between Bunyan and many of the biblical writers, especially Paul, as I read this book. Many similarities exist in Bunyan’s work and even in his personal situation while writing it that would draw this parallel. Bunyan, like Paul, <a href="http://www.johnbunyan.org/">was imprisoned</a> when he wrote <i style="mso-bidi-font-style: normal;">The Pilgrim’s Progress</i><i style="mso-bidi-font-style: normal;">. </i>Paul wrote the Books of Collosians, Philimon, Epheisians, and Phillippians while he was <a href="http://www.christianinconnect.com/bkgdpriepi.htm">imprisoned</a> in Rome; Bunyan wrote <i style="mso-bidi-font-style: normal;">The Pilgrim’s Progress </i>while imprisoned in Bedford jail. With both of these authors writing from prison, it would give the readers, as they suffered through the prison of sin and of this life, something to relate to as they read about their own sinfulness and helplessness.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The preface of the book also states that John Bunyan “was of modest origins… [had] little formal education,” and in his own words he “was the very ring-leader of all the Youth that kept me company, into all manner of vice and ungodliness” (Preface ix). Many of Christ’s disciples were uneducated, including Simon, Andrew, John, and James, who were simple <a href="http://lds.org/scriptures/nt/mark/1?lang=eng">fishermen</a>. It is nearly impossible to miss the connection of a young roughian turned saint-like as Paul did. When Paul Bunyan…I mean John Bunyan… alludes to his unfaithful origins, it is reminiscent of Paul, who not only was a sinner, but also persecuted and helped kill the Christians. Both of these men turned their lives towards Christ and in so doing amassed a following that would read their words over and over again.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"> Even within his work Bunyan makes statements that lead the reader to view himself as someone called of God to write this book and establish it as another form of the bible. First, Bunyan labels the intro to his book “The Author’s Apology for His BOOK,” putting forth his apologies for any manmade errors that may lie within (pg 5). He then proceeds to explain that “When at the first I took my Pen in hand, Thus for to Write; I did not understand That I at all should make a little Book In such a mode; Nay, I had undertook To make another, which when almost done, Before I was aware, I this begun” (pg 5). He writes phrasing like this through his intro which alludes to the words being written as perhaps not his own, but rather maybe those given to him through inspiration, as the bible was written. Later he even goes as far as to say that “My dark and cloudy words they do but hold The Truth, as Cabinets inclose the Gold” (pg 7). Should an individual’s words really be compared with Gold? I know that I would never claim my words were like Gold unless God told me to say that. As if calling his own words “Gold” isn’t enough, Bunyan goes even further in his self-promotion and aggrandizement. Bunyan refers to Paul as using parables in which “lay hid That Gold” (pg 8). It would take a strong argument to convince me that Bunyan did not purposefully refer to his words as gold, then refer to Paul’s words as gold as well. To complete his own parallelism between his and Paul’s writing, Bunyan claims his own writing as a parable, something that he also claims Paul did in his writing. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal"> “This Book will make a Travailer of thee, If by its Counsel thou wilt ruled be; It will direct thee to the Holy Land” (pg 9). This is the promise offered by Bunyan as you begin to read his book. It appears that this book, most likely not accidentally, is set up by Bunyan to become a book, similar in structure and purpose of the bible, which will guide individuals through life and the spiritual challenges that they will face. It is no wonder <i style="mso-bidi-font-style: normal;">The Pilgrim’s Progress</i> became a best seller; who, during times of a religious saturation of society, wouldn’t buy a book that claimed to be written like the bible by a man who so closely resembled the authors of the bible, particularly Paul? </div><div class="MsoNormal"><br />
</div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com3tag:blogger.com,1999:blog-801923704097832986.post-53127417323604613602011-01-21T07:43:00.000-08:002011-10-31T08:47:19.038-07:00Michael Wiggelsworth’s Wiggly Disposition<div style="text-align: left;"><span class="Apple-style-span" style="font-size: medium;">There seems to be a disparity between what people say about Wiggelsworth’s cheerful disposition and the darkness and sorrow found in his writings. Wiggelsworth claims that he is a happy person, in his introduction of the <i>Day of Doom</i> which is titled "To the Christian Reader," he makes some remarks on his weak physical state and how because he is a cheerful person people often do not believe that he is ill. Lines 58-62 exemplify this best as it states, “Some for, because they see not/My chearfulness to fail,/Nor that I am disconsolate,/Do think I nothing ail”(58-62). Here it is obvious to see that at least Wigglesworth believes himself to be a cheerful person, but it was more than just his own self image. Other people in Wigglesworth’s community truly believed him to be an extremely cheerful person, so much so that they indeed did not believe that he was as ill as he claimed to be. In the Colonial Poetry and Prose he was called a “genial philanthropist, so cheerful that some of his friends thought he could not be so sick as he averred. Dr Peabody used to call him a man of the beatitudes, ministering not alone to the spiritual but to the physical needs of his flock.”(47-48). </span><span class="apple-style-span"><span style="line-height: 115%;"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span><span class="Apple-style-span" style="font-size: medium;">Dean John Ward’s article also emphasizes the cheerful nature of Wigglesworth despite his illnesses. However, this cheerfulness is greatly contrasted by the message of his epic poem</span><span class="Apple-style-span" style="font-size: medium;">.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;">Some parts of the poems found in The Day of Doom could be considered pleasant to read, as Wiggelsworth does believe that the select will be saved and loved by god for eternity, but the overall theme of the poems is the fear and dread of those who are damned. Much of "A Short discourse on Eternity" is extremely sardonic. At times the reader is hopeful and happy thinking of the bliss of heaven. Then the poem transitions to how terrible hell is. According to Wigglesworth and Puritan teachings, those who are damned are damned for eternity. Reading these poems and seeing just how sardonic and depressing they really are I wonder how a supposedly cheerful person can write on such topics.</span></div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5564667055721757602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG1AWZkK0GvmfjJZByr6FoCFDzc9DO_6vdD05ihc27nv9Viou8nU61r7XmInf1uw4bxO_UAzZwf6knNmPAUqD0lGqZjdosE3e3pN087ltkZaoLIPDmHEDlQVM641dtpM64q5SomHQpl2qX/s320/5_Points_of_Calvinism___TULIP_by_jlel.jpg" style="cursor: pointer; float: right; height: 320px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; width: 320px;" /></span><br />
<div class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;">Wigglesworth focuses about half of his poems on the negative aspects of his religion specifically the fate the wicked will suffer at the second coming and hell. The only explanation I have found justifying this disparity in personality versus preaching is in statistics of people’s reasons for modern religion. People choose to be religious for a few reasons including out of tradition or familial obligation, spiritual belief, and hope or faith that they will be saved for their belief. Out of these reasons hope and faith are some of the strongest motivators. Wigglesworth obviously believed that he was among the elect who was going to be saved. It is also safe to assume that the individuals who were buying and reading the Day of Doom believed that they too were among the elect and would be saved. If we assume these two things then it makes sense that Wigglesworth was able to write about the suffering of the sinners the way he did because he did not fear that he would be included among the suffering but rather he found hope and joy in the idea of being able to be with god again and feel his love for eternity. Most of the people who were purchasing the Day of Doom also would have thought themselves among the elect. So instead of simply thinking they must have been a group of masochists it is safe to assume that they also found the poems to be inspirational as the majority would have associated themselves with the pleasant imagery of heaven and God’s love.</span></div><div class="MsoNormal"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5564667190794996434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSiReQ52mFdSKqYqjGpNc8sUiTmW3i25CL_puXvKrEKMHqtKpxXWa5rVBOIc9Uf9O2nJ7fzXOfp1_gLYV_87nLoV4DEAzPRzZonD_Ozp5bWtVzH-kV1cThuSV_jcX82KHcuRRHjbWRjY0z/s320/calvinism+daisy.jpg" style="cursor: pointer; display: block; height: 256px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 320px;" /></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-size: medium;">Bibliography</span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #0000ee;"></span></div><span class="Apple-style-span" style="color: #0000ee;"></span><br />
<div class="MsoNormal"><span class="Apple-style-span" style="color: #0000ee;"><span class="apple-style-span"><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></span></span></span></span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #0000ee;"><span class="apple-style-span"><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;">Dean, John Ward.</span></span></span></span><span class="apple-converted-space"><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span></span><span class="apple-style-span"><b><i><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;">Sketch of the life of Rev. Michael Wigglesworth, A.M., author of the Day of doom.</span></span></span></i></b></span><span class="apple-style-span"><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;">Albany, 1863. 20pp.</span></span></span></span><span class="apple-converted-space"><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span></span><span class="apple-style-span"><span style="font-family: Arial, sans-serif; line-height: 115%;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></span></span></span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #0000ee;"><span class="apple-style-span"><span style="font-family: Arial, sans-serif;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></span></span></span></span></div><div class="MsoNormal"><span class="Apple-style-span" style="color: #0000ee;"><span class="apple-style-span"><span style="font-family: Arial, sans-serif; line-height: 115%;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;">Trent, William P. and Wells, Benjamin W.,</span></span></span></span><span class="apple-converted-space"><span style="font-family: Arial, sans-serif; line-height: 115%;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;"> </span></span></span></span><span class="apple-style-span"><i><span style="font-family: Arial, sans-serif; line-height: 115%;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;">Colonial Prose and Poetry: The Beginnings of Americanism 1650–1710</span></span></span></i></span><span class="apple-style-span"><span style="font-family: Arial, sans-serif; line-height: 115%;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span" style="font-size: medium;">, New York: Thomas Y. Crowell Co., 1903 single-volume edition, pp. 47–48.<o:p></o:p></span></span></span></span></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Arial, sans-serif; font-size: medium;"><span class="Apple-style-span" style="line-height: 13px;"><br />
</span></span></div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com3tag:blogger.com,1999:blog-801923704097832986.post-22061333704157810572011-01-20T00:50:00.000-08:002011-10-31T08:49:05.419-07:00Day of Doom: Visible saints and a call to repentance<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnr8nDZ6xPPCnaJg1oUcmWjbmwm0dEMJQGNfabw7Nf9dmlVdsAE9jNf70mASwPPyC0xJ69pDGoKWpWIGUrJn8ko6je0W9OJIeG_mv607e3R7QV8zvRQFvr9l_WgMf0pr_lDS9C_kdAGN8/s1600/Pilgrims+Going+to+Church.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5564210361130960658" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUnr8nDZ6xPPCnaJg1oUcmWjbmwm0dEMJQGNfabw7Nf9dmlVdsAE9jNf70mASwPPyC0xJ69pDGoKWpWIGUrJn8ko6je0W9OJIeG_mv607e3R7QV8zvRQFvr9l_WgMf0pr_lDS9C_kdAGN8/s320/Pilgrims+Going+to+Church.jpg" style="cursor: pointer; display: block; height: 205px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a>Pilgrims Going to Church by George Henry Boughton</div><div class="MsoNormal" style="line-height: normal; text-indent: 0.5in;"><br />
</div><div class="MsoNormal" style="line-height: normal; text-indent: 0.5in;">In Michael Wigglesworth’s day the people living in New England were second and third generation puritans. Church congregations were dwindling (comparatively) and becoming more female-centric; the reason being that only “visible saints” were considered actual members. Visible saints were people who had publicly declared their faith, had a written conversion experience, and then had been voted into the congregation by its members. Second and third generation puritans didn’t have the same conversion experiences as their pilgrim forefathers and had a harder time becoming members of the church. This was a problem because 1. Only fully fledged members could have their children baptized and 2. It discouraged people from trying to join the church in the first place, even if they were otherwise leading pious, Christian lives. </div><div class="MsoNormal" style="line-height: normal; text-indent: 0.5in;">This was partially resolved by the Halfway Covenant in 1662. The Covenant allowed for partial church membership where halfway members could still baptize their children and aspire to full membership if they could put forth evidence of a conversion experience.</div><div class="MsoNormal" style="line-height: normal; text-indent: 0.5in;">But, of course, this didn’t fix everything. The idea was that the halfway members would see the benefits of full membership and desire it. At the same time, they would still be able to attend church services and be exposed to spiritual experiences--and to perhaps have that conversion experience necessary to become a true member. It pretty much flopped though because the real members thought they were lowering God’s standards and a lot of the people who would be halfway members didn’t want to take what they viewed as a short-cut. You can read more about visible saints and the halfway covenant <a href="http://books.google.com/books?id=Xh2780VqWbMC&printsec=frontcover&dq=Visible+saints+:+the+history+of+a+Puritan+idea&hl=en&ei=lf03TdC6BYqssAOI8tH-Ag&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCkQ6AEwAA#v=onepage&q=halfway%20covenant&f=false"><span style="color: blue;">here</span></a>.</div><div class="MsoNormal" style="line-height: normal; text-indent: 0.5in;">I don’t think it’s any coincidence that 1662 also happens to be the year that Wigglesworth wrote and published <i>The Day of Doom,</i> or that it became an immediate bestseller. Church leaders, including Wigglesworth, worried about their decreasing congregations and <i>The Day of Doom</i> is an obvious call to all Christians to repentance and to come back to the church. His first poem is addressed "To the Christian Reader" after all, not "To official members of the church and no one else". </div><div class="MsoNormal" style="line-height: normal; text-indent: 0.5in;">Critics of the early 20<sup>th</sup> century really have a beef with Wigglesworth, especially a gentleman named Moses Coit Tyler. He claimed that Wigglesworth made God “a character the most execrable and loathsome to be met with, perhaps in any literature” and that in his “intense pursuit of what he believed to be the good and true, he forgot the very existence of the beautiful” (<a href="http://www.jstor.org.erl.lib.byu.edu/stable/25056535?&Search=yes&searchText=Theology&searchText=Covenant&searchText=Salvation&searchText=doom.&searchText=Wigglesworth%27s&searchText=style&searchText=England&searchText=New&searchText=study&searchText=day&searchText=Michael&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DSalvation%2BNew%2BEngland%2Bstyle%2B%253A%2Ba%2Bstudy%2Bof%2BCovenant%2BTheology%2Bin%2BMichael%2BWigglesworth%2527s%2BThe%2Bday%2Bof%2Bdoom.%26acc%3Don%26wc%3Don&prevSearch=&item=1&ttl=7&returnArticleService=showFullText"><span style="color: blue;">Hammond</span></a>). What Tyler and his contemporaries mostly complain of is Wigglesworth's clumsy way of going about poetry. But they're missing the point, especially within the context in which it was written. Puritans totally rejected anything flowery or showy because it detracted from the religious message and it also was seen as prideful. And <i>The Day of Doom</i> isn't supposed to be this beautiful work of art but rather a warning about what would happen if a person didn't humble themselves and prepare for the last days: "That Death and Judgment may not come, And find thee unprepar'd" (119-20). You could argue that there are poetic elements in it so therefore Wigglesworth is recognizing the “existence of the beautiful”; but the internal rhyme was probably mostly an aid to memorization and the ballad meter was simply typical for disaster pieces. Technically, everything Tyler said about this poem is true; Wigglesworth makes God into a terrifying monster. But that's just his way of scaring them straight. Go to church and repent or you'll kill yourself trying to escape a vengeful God. </div>Vox Populihttp://www.blogger.com/profile/18433630442741491548noreply@blogger.com1tag:blogger.com,1999:blog-801923704097832986.post-48142694399578702182011-01-10T06:59:00.001-08:002011-01-10T07:29:29.802-08:00John Usher's Invoices<div>Between 1682 and 1685 John Usher, Boston's largest bookseller, imported more than 3,000 books in five purchases from one of his London suppliers. Separating the titles listed on the invoices from theses purchases by genre helps to give us some idea as to the reading preferences of Bay Colony consumers in the late seventeenth century: </div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPW3W66n8baKIbode9PUKncYWV5gCQCEs5ZLsFikXeRMIn8hmvagaYy2uyMA8wcVXZtq-21lsmlwydyd5VYgxrh8ZfTYTjayP8zbjXG38n-HV-439B8KLv91dngK-YRwBq7lIyXwuL1t4/s1600/usher%2527simports.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 309px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPW3W66n8baKIbode9PUKncYWV5gCQCEs5ZLsFikXeRMIn8hmvagaYy2uyMA8wcVXZtq-21lsmlwydyd5VYgxrh8ZfTYTjayP8zbjXG38n-HV-439B8KLv91dngK-YRwBq7lIyXwuL1t4/s400/usher%2527simports.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5560572172715251186" /></a>Religious texts, clearly, predominated; when you consider that most of the "educational" texts of the period included catechisms or other forms of religious instruction, it would be fair to say that almost three quarters (74%) of the books that Usher imported contained religious content. Of course, Usher undoubtedly imported books from other sources, and it's <i>possible</i> that those texts were of a markedly different character . . . but also highly unlikely. <div><br /></div><div>In addition to books that Usher imported, he also sold at least five titles printed in New England during this time period, and four of the five (80%) were works meant to inculcate piety:</div><div><br /></div><div><ul><li>John Bunyan, <i>The Pilgrim's Progress </i>(Boston: Samuel Sewall, 1681)</li><li>W. Brattle Philomath, <i>An Ephemeris of Coelestial Motions</i> (Cambridge: Samuel Green, 1682)</li><li>James Fitch, <i>An Explanation of the Solemn Advice</i> (Boston: Samuel Green, 1683)</li><li>John Cotton, <i>God's Promise to His Plantations</i> (Boston: Samuel Green, 1686)</li><li>John Higginson, <i>Our Dying Saviour's Legacy</i> (Boston: Samuel Green, 1686)</li></ul><div>Only Philomath's almanac is a secular text concerned more with rationality than revelation. This sample size of five domestic titles is hardly as reliable as the selection of 3,421 books that Usher imported, but since both groups of texts demonstrate the overwhelmingly religious concerns of Usher's customers, it seems safe to say that the invoices from his London source really do provide an accurate depiction of the Boston populace's reading preferences. </div></div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com1tag:blogger.com,1999:blog-801923704097832986.post-46827995138928980492010-12-23T13:01:00.000-08:002010-12-31T14:23:30.558-08:001890-1900<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 625,000 copies<br />
<br />
(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>, <span class="Apple-style-span" style="background-color: #6aa84f;">Scotland</span>, <span class="Apple-style-span" style="background-color: #f1c232;">Canada</span>, <span class="Apple-style-span" style="background-color: #c27ba0;">Poland</span>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b style="background-color: white;">1890</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>A Window in Thrums</i>, </span><span class="Apple-style-span" style="background-color: #6aa84f;">Sir James Barrie</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott.</b> First American edition: 1892)</span></div><div style="text-align: center;"><i style="background-color: white;"><br />
</i></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Sign of the Four</i>, </span><span class="Apple-style-span" style="background-color: #6aa84f;">Sir Arthur Conan Doyle</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Barrack-Room Ballads</i>, </span><span class="Apple-style-span" style="background-color: #3d85c6;">Rudyard Kipling</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Light that Failed</i>, </span><span class="Apple-style-span" style="background-color: #3d85c6;">Rudyard Kipling</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1891</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Little Minister</i>, </span><span class="Apple-style-span" style="background-color: #6aa84f;">Sir James Barrie</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Adventures of Sherlock Holmes</i>, </span><span class="Apple-style-span" style="background-color: #6aa84f;">Sir Arthur Conan Doyle</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b> First American edition: 1892)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Life's Handicap </i>or <i>Mine Own People</i>, </span><span class="Apple-style-span" style="background-color: #3d85c6;">Rudyard Kipling</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1893</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Heavenly Twins</i>, </span><span class="Apple-style-span" style="background-color: #3d85c6;">Sarah Grand</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1894</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Trilby</i>, </span><span class="Apple-style-span" style="background-color: #3d85c6;">George du Maurier</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Coin's Financial School</i>, William Harvey</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Prisoner of Zenda</i>, </span><span class="Apple-style-span" style="background-color: #3d85c6;">Anthony Hope</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Beside the Bonnie Briar Bush</i>, </span><span class="Apple-style-span" style="background-color: #6aa84f;">Ian Maclaren</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Beautiful Joe</i>, </span><span class="Apple-style-span" style="background-color: #f1c232;">Marshall Saunders</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1895</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Red Badge of Courage</i>, Stephen Crane</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>The Jucklins</i>, Opie Read</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1896</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Quo Vadis?</i>, </span><span class="Apple-style-span" style="background-color: #c27ba0;">Henryk Sienkiewicz</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1897</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>In His Steps</i>, Charles Sheldon</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott.</b>)</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><br />
</span></div><div style="text-align: center;"><b style="background-color: white;">1898</b></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;"><i>Black Rock</i>, </span><span class="Apple-style-span" style="background-color: #f1c232;">Ralph Connor</span></div><div style="text-align: center;"><span class="Apple-style-span" style="background-color: white;">(<b>Mott & Hart.</b>)</span></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>David Harum</i>, Edward Noyes Westcott</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1899</b></div><div style="text-align: center;"><i>Richard Carvell</i>, Winston Churchill</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Janice Meredith</i>, Paul Leicester Ford</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1900</b></div><div style="text-align: center;"><i>Eben Holden</i>, Irving Bacheller</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Crisis</i>, Winston Churchill</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-79699892299018177462010-12-23T13:00:00.002-08:002011-01-11T14:46:32.225-08:001880-1889<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">Once percent standard</a>: 500,000 copies</div><div style="text-align: center;"><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>, <span class="Apple-style-span" style="background-color: #6aa84f;">Scotland</span>,<span class="Apple-style-span" style="background-color: white;"> </span><span class="Apple-style-span" style="background-color: #cc0000;">France</span><span class="Apple-style-span" style="background-color: white;">, </span><span class="Apple-style-span" style="background-color: #e69138;">Switzerland</span><span class="Apple-style-span" style="background-color: white;">, </span><span class="Apple-style-span" style="background-color: #ea9999;">Russia</span>)</span><br />
<br />
</div><div style="text-align: center;"><b>1880</b></div><div style="text-align: center;"><i>Uncle Remus</i>, Joel Chandler Harris</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Five Little Peppers and How They Grew</i>, Margaret Sidney</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Ben-Hur</i>, Lew Wallace</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Nana</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Emile Zola</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1881</b></div><div style="text-align: center;"><i>Madame Bovary</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Gustave Flaubert</span></div><div style="text-align: center;">(<b>Mott. </b>First written in French in 1856 and translated into English at an unknown date; first American edition: 1881)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1882</b></div><div style="text-align: center;"><i>L'Abbe Constantin</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Ludovic Halevy</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1883</b></div><div style="text-align: center;"><i>The Old Swimmin' Hole and 'Leven More Poems</i>, James Whitcomb Riley</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Christian's Secret of a Happy Life</i>, Hannah Whitall Smith</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Life on the Mississippi</i>, Mark Twain</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1884</b></div><div style="text-align: center;"><i>Heidi</i>, <span class="Apple-style-span" style="background-color: #e69138;">Johanna Spyri</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Treasure Island</i>, <span class="Apple-style-span" style="background-color: #6aa84f;">Robert Louis Stevenson</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Huckleberry Finn</i>, Mark Twain</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1885</b></div><div style="text-align: center;"><i>A Child's Garden of Verses</i>, <span class="Apple-style-span" style="background-color: #6aa84f;">Robert Louis Stevenson</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>King Solomon's Mines</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">H. Rider Haggard</span></div><div style="text-align: center;">(<b>Mott & Hart. </b>First American edition: 1886)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1886</b></div><div style="text-align: center;"><i>Little Lord Fauntleroy</i>, Frances Hodgson Burnett</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Strange Case of Dr. Jekyll and Mr. Hyde</i>, <span class="Apple-style-span" style="background-color: #6aa84f;">Robert Louis Stevenson</span></div><div style="text-align: center;">(<b>Mott & Hart.</b> First American edition: 1893)</div><div style="text-align: center;"><i><br />
</i></div><div style="text-align: center;"><i>War and Peace</i>, <span class="Apple-style-span" style="background-color: #ea9999;">Leo Tolstoy</span></div><div style="text-align: center;">(<b>Mott & Hart.</b> First written in Russian and French in 1869)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1887</b></div><div style="text-align: center;"><i>Thelma</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Marie Corelli</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Mr. Barnes of New York</i>, A. C. Gunter</div><div style="text-align: center;">(<b>Mott & Hart. </b>First American edition: 1888)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>She</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">H. Rider Haggard</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>A Study in Scarlet</i>, <span class="Apple-style-span" style="background-color: #6aa84f;">Sir Arthur Conan Doyle</span></div><div style="text-align: center;">(<b>Mott & Hart.</b> First American edition: 1890)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1888</b></div><div style="text-align: center;"><i>Looking Backward</i>, Edward Bellamy</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Deemster</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Sir Hall Caine</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>A Romance of Two Worlds</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Marie Corelli</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Plain Tales from the Hills</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Rudyard Kipling</span></div><div style="text-align: center;">(<b>Mott.</b> First American edition: 1890)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Robert Elsmere</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Mrs. Humphry Ward</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Stories</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Guy de Maupassant</span>*</div><div style="text-align: center;">(<b>Mott.</b> de Maupassant's first collection of short stories was published in French in 1881; the first English collection was published in 1888 under the title <i>The Odd Number</i> and appeared in an American edition in 1889.)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-16266437400316468092010-12-23T13:00:00.001-08:002011-01-01T13:51:07.855-08:001870-1879<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 375,000</div><div style="text-align: center;"><br />
<br />
<div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>,<span class="Apple-style-span" style="background-color: white;"> </span><span class="Apple-style-span" style="background-color: #cc0000;">France</span>)</span></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: center;"></div><br />
<b>1870</b></div><div style="text-align: center;"><i>The Luck of Roaring Camp and Other Stories</i>, Bret Harte</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1871</b></div><div style="text-align: center;"><i>Little Men</i>, Louisa May Alcott</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Hoosier School-Master</i>, Edward Eggleston</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>A Terrible Temptation</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Reade</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1872</b></div><div style="text-align: center;"><i>Barriers Burned Away</i>, E.P. Roe</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1873</b></div><div style="text-align: center;"><i>Twenty Thousand Leagues Under the Sea</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Jules Verne</span></div><div style="text-align: center;">(<b>Mott.</b> First written in French in 1869; translated into English and published in the United States in 1873.)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal;"><i>Around the World in Eighty Days</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Jules Verne</span></span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal;">(<b>Mott.</b>)</span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal;"><br />
</span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-style: normal;"><b>1874</b></span></i></div><div style="text-align: center;"><i>Opening a Chestnut Burr</i>, E.P. Roe</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>A Short History of the English People</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">John Richard Green</span></div><div style="text-align: center;">(<b>Mott.</b> First American edition: 1875)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1876</b></div><div style="text-align: center;"><i>Helen's Babies</i>, John Habberton</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Royal Path of Life</i>, Thomas Haines and Levi Yaggy</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Tom Sawyer</i>, Mark Twain</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1877</b></div><div style="text-align: center;"><i>Black Beauty</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Anna Sewell</span></div><div style="text-align: center;">(<b>Mott.</b> First American edition: 1890)</div><div style="text-align: center;"><b><br />
</b></div><div style="text-align: center;"><b>1878</b></div><div style="text-align: center;"><i>The Leavenworth Case</i>, Anna Katharine Green</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1879</b></div><div style="text-align: center;"><i>Progress and Poverty</i>, Henry George</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-62186193533876016642010-12-23T12:59:00.000-08:002011-01-01T14:06:55.072-08:001860-1869<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 300,000 copies</div><div style="text-align: center;"><br />
<br />
<div style="text-align: center;"><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>, <span class="Apple-style-span" style="background-color: #b4a7d6;">Germany</span>,<span class="Apple-style-span" style="background-color: white;"> </span><span class="Apple-style-span" style="background-color: #cc0000;">France</span>)</span></div><div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><br />
</div></div><div style="text-align: center;"></div></div><div style="text-align: center;"><b>1860</b></div><div style="text-align: center;"><i>Seth Jones</i>, Edward Ellis</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Rutledge</i>, Miriam Coles Harris</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Lucile</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Owen Meredith</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Malaeska</i>, Ann Stephens</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1861</b></div><div style="text-align: center;"><i>Great Expectations</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Silas Marner</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">George Eliot</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Household Tales</i>, <span class="Apple-style-span" style="background-color: #b4a7d6;">Jacob and Wilhelm Grimm</span></div><div style="text-align: center;">(<b>Mott.</b> Grimm's fairy tales were published in German between 1812 and 1857; they were first translated into English in 1823, but have been placed in the year 1861, the year of the first American edition--one of the first English language editions to be released after the Grimms finalized their collection.)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>East Lynne</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Mrs. Henry Wood</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1862</b></div><div style="text-align: center;"><i>Parson Brownlow's Book</i>, William Brownlow</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Les Miserables</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Victor Hugo</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1863</b></div><div style="text-align: center;"><i>Lady Audley's Secret</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Mary Braddon</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Fatal Marriage</i>, E.D.E.N. Southworth</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Faith Gartney's Girlhood</i>, A.D.T. Whitney</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1864</b></div><div style="text-align: center;"><i>Ishmael</i>, E.D.E.N. Southworth</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Self-Raised</i>, E.D.E.N. Southworth</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1865</b></div><div style="text-align: center;"><i>Our Mutual Friend</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Hans Brinker and His Silver Skates</i>, Mary Mapes Dodge</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1866</b></div><div style="text-align: center;"><i>Alice's Adventures in Wonderland</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Lewis Carroll</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Griffith Gaunt</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Reade</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1867</b></div><div style="text-align: center;"><i>Ragged Dick</i>, Horatio Alger</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>St. Elmo</i>, Augusta Evans</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Under Two Flags</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Ouida</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1868</b></div><div style="text-align: center;"><i>Little Women</i>, Louisa May Alcott</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Moonstone</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Wilkie Collins</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1869</b></div><div style="text-align: center;"><i>Innocents Abroad</i>, Mark Twain</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Lorna Doone</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">R.D. Blackmore</span></div><div style="text-align: center;">(<b>Mott & Hart.</b> First American edition: 1874)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-35751275633314962202010-12-23T12:58:00.000-08:002011-01-01T14:23:27.030-08:001850-1859<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 225,000</div><div style="text-align: center;"><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>)</span><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;"><br />
</span><br />
<b>1850</b></div><div style="text-align: center;"><i>Poems</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Robert Browning</span>*</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>David Copperfield</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Scarlet Letter</i>, Nathaniel Hawthorne</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Reveries of a Bachelor</i>, Donald Mitchell</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Pendennis</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">William Thackeray</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Wide, Wide World</i>, Susan Warner</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1851</b></div><div style="text-align: center;"><i>The House of the Seven Gables</i>, Nathaniel Hawthorne</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1852</b></div><div style="text-align: center;"><i>Bleak House</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Curse of Clifton</i>, E.D.E.N. Soutworth</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Uncle Tom's Cabin</i>, Harriet Beecher Stowe</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1854</b></div><div style="text-align: center;"><i>Ten Nights in a Bar-Room</i>, T. S. Arthur</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Struggles and Triumphs</i>, P. T. Barnum</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Lamplighter</i>, Maria Cummins</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Hard Times</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Tempest and Sunshine</i>, Mary Jane Holmes</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1855</b></div><div style="text-align: center;"><i>The Age of Fable</i>, Thomas Bulfinch</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Prince of the House of David</i>, J. H. Ingraham</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Cloister and the Hearth</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Reade</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Newcomes</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">William Thackeray</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1856</b></div><div style="text-align: center;"><i>Lena Rivers</i>, Mary Jane Holmes</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>John Halifax, Gentleman</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Dinah Maria Mulock</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1857</b></div><div style="text-align: center;"><i>Little Dorrit</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Tom Brown's School Days</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Thomas Hughes</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Barchester Towers</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Anthony Trollope</span></div><div style="text-align: center;">(<b>Mott & Hart.</b> First American edition: 1862)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1859</b></div><div style="text-align: center;"><i>A Tale of Two Cities</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Adam Bede</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">George Eliot</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Beulah</i>, Augusta Evans</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Rubaiyat of Omar Khayyam</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Edward Fitzgerald</span></div><div style="text-align: center;">(<b>Mott & Hart. </b>First American edition: 1870)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Hidden Hand</i>, E.D.E.N. Southworth</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Virginians</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">William Thackeray</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-92061574530037006132010-12-23T12:57:00.002-08:002011-01-01T14:31:22.155-08:001840-1849<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 175,000 copies</div><div style="text-align: center;"><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>, <span class="Apple-style-span" style="background-color: #cc0000;">France</span>, <span class="Apple-style-span" style="background-color: #b6d7a8;">Denmark</span>)</span><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;"><br />
</span></div><div style="text-align: center;"><b>1840</b></div><div style="text-align: center;"><i>The Pathfinder</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Two Years Before the Mast</i>, Richard Henry Dana, Jr.</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Tales</i>, Edgar Allan Poe</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1841</b></div><div style="text-align: center;"><i>Deerslayer</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Barnaby Rudge</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Old Curiosity Shop</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Essays</i>, Ralph Waldo Emerson</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1842</b></div><div style="text-align: center;"><i>American Notes</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Poets and Poetry of America</i>, ed. Wilmot Rufus Griswold</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Mysteries of Paris</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Eugene Sue</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Poems</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Alfred, Lord Tennyson</span>*</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1843</b></div><div style="text-align: center;"><i>The Quaker City</i>, George Lippard</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Conquest of Mexico</i>, William Hickling Prescott</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Wonders of the World</i>, Robert Sears</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>A Christmas Carol</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart. </b>First American edition: 1844)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1844</b></div><div style="text-align: center;"><i>Martin Chuzzlewit</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Three Musketeers</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Alexandre Dumas</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1845</b></div><div style="text-align: center;"><i>The Count of Monte Cristo</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Alexandre Dumas</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Wandering Jew</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Eugene Sue</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Raven and Other Poems</i>, Edgar Allan Poe</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1846</b></div><div style="text-align: center;"><i>Napoleon and His Marshals</i>, Joel Headley</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1847</b></div><div style="text-align: center;"><i>Home Influence</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Grace Aguilar</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Jane Eyre</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charlotte Bronte</span></div><div style="text-align: center;">(<b>Mott & Hart.</b> First American edition: 1848)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Wuthering Heights</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Emily Bronte</span></div><div style="text-align: center;">(<b>Mott. </b>First American edition: 1848)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1848</b></div><div style="text-align: center;"><i>Fairy Tales</i>, <span class="Apple-style-span" style="background-color: #b6d7a8;">Hans Christian Andersen</span></div><div style="text-align: center;">(<b>Mott.</b> First published in Danish in 1835)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Dombey and Son</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Vanity Fair</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">William Makepeace Thackeray</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>History of England</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Thomas Macaulay</span></div><div style="text-align: center;">(<b>Mott & Hart. </b>First American edition: 1849)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1849</b></div><div style="text-align: center;"><i>Poems</i>, John Whittier*</div><div style="text-align: center;">(<b>Mott.</b>)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-678167793737119042010-12-23T12:57:00.001-08:002011-01-04T20:21:50.644-08:001830-1839<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 125,000</div><div style="text-align: center;"><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #3d85c6;">England</span>,<span class="Apple-style-span" style="background-color: white;"> </span><span class="Apple-style-span" style="background-color: #cc0000;">France</span><span class="Apple-style-span" style="background-color: white;">,</span></span><span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;"> <span class="Apple-style-span" style="background-color: #f1c232;">Canada</span></span><span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">)</span><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;"><br />
</span></div><div style="text-align: center;"><b>1832</b></div><div style="text-align: center;"><i>The Young Christian</i>, Jacob Abbott</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1833</b></div><div style="text-align: center;"><i>The Mother at Home</i>, John S. C. Abbott</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1834</b></div><div style="text-align: center;"><i>The Last Days of Pompeii</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Edward Bulwer-Lytton</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Hunchback of Notre Dame</i>, <span class="Apple-style-span" style="background-color: #cc0000;">Victor Hugo</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1835</b></div><div style="text-align: center;"><i>Rienzi</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Edward Bulwer-Lytton</span></div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1836</b></div><div style="text-align: center;"><i>Awful Disclosures</i>, <span class="Apple-style-span" style="background-color: #f1c232;">Maria Monk</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1837</b></div><div style="text-align: center;"><i>Nick of the Woods</i>, Robert Montgomery Bird</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Pickwick Papers</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><b><span class="Apple-style-span" style="font-weight: normal;"><br />
</span></b></div><div style="text-align: center;"><b><span class="Apple-style-span" style="font-weight: normal;"><i>Three Experiments of Living</i>, Hannah Lee</span></b></div><div style="text-align: center;"><b><span class="Apple-style-span" style="font-weight: normal;">(</span>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Twice-Told Tales</i>, Nathaniel Hawthorne</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1838</b></div><div style="text-align: center;"><i>Oliver Twist</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1839</b></div><div style="text-align: center;"><i>Nicholas Nickleby</i>, <span class="Apple-style-span" style="background-color: #3d85c6;">Charles Dickens</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Poems</i>, Henry Wadsworth Longfellow*</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Life of Washington</i>, Jared Sparks</div><div style="text-align: center;">(<b>Mott.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>The Green Mountain Boys</i>, Daniel Thompson</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0tag:blogger.com,1999:blog-801923704097832986.post-88258188697872593902010-12-23T12:56:00.002-08:002011-01-04T20:28:05.453-08:001820-1829<div style="text-align: center;"><a href="http://earlyamericanbestsellers.blogspot.com/2010/12/methodology.html">One percent standard</a>: 100,000 copies</div><div style="text-align: center;"><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">(Authors color-coded by nation of origin/publication: United States, <span class="Apple-style-span" style="background-color: #6aa84f;">Scotland</span></span><span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;">)</span><br />
<span class="Apple-style-span" style="color: #222222; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 15px; line-height: 21px;"><br />
</span></div><div style="text-align: center;"><b>1821</b></div><div style="text-align: center;"><i>The Spy</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><i>Kenilworth</i>, <span class="Apple-style-span" style="background-color: #6aa84f;">Sir Walter Scott</span></div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1822</b></div><div style="text-align: center;"><i>The Pilot</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1823</b></div><div style="text-align: center;"><i>The Pioneers</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1824</b></div><div style="text-align: center;"><i>Life of Mrs. Mary Jemison</i>, James Seaver</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1826</b></div><div style="text-align: center;"><i>The Last of the Mohicans</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>1827</b></div><div style="text-align: center;"><i>The Prairie</i>, James Fenimore Cooper</div><div style="text-align: center;">(<b>Mott & Hart.</b>)</div>Vox Deihttp://www.blogger.com/profile/07055676317518724905noreply@blogger.com0