Introduction: more-than-human literary history Part I. Leaves and Roots: 1. Sovereign remedies 2. Staple-colony circumspection Part II. Fruits and Flowers: 3. The pomology of Eden 4. Beeing in the world Conclusion: 5. Walled in and farmed out: pastoral isolation and georgic collectivities Notes.

Environmental Practice and Early American Literature

Making a Picture of the View from Mount Holyoke

The many satires of James Fenimore Cooper's Leatherstocking novels that circulated in the United States in the second half of the nineteenth century are unified by their insistence on Cooper's problems with depth. From James Russell Lowell, who decided that Cooper's characters are as flat as a prairie, and Francis Bret Harte, who shows Cooper heroes getting mor- tally confused by false hair pieces, to Mark Twain, who demonstrates that Cooper was the king of wonky landscape perspectives, Cooper's satirists attacked him for his seeming refusal of proper dimensionality. Tempting as it may be to conclude that Cooper's satirists had a good point, I wish to suggest that this later-nineteenth-century preoccupation with Cooper's depth offers an important clue about the way in which certain concepts of racial and continental destiny, popularized by Cooper in the 1820s, were being experimentally remodeled by a number of U.S. constituencies in the decades surrounding the Civil War. Indeed, Cooper himself participated in this remodeling project by taking issue, late in his career, with his own notion of racial identity as something deeply and immutably fixed in the depths of the body and soul. As many critics note, Cooper's Leatherstocking Tales of the 1820s had sought to authenticate the white frontiersman for the naturist myths of con- tinental expansion by freely (if sometimes contradictorily) drawing on the two prevailing racial theories of his era, both of which understood racial differences as embedded in human bodies and destinies. On the one hand, as Jared Gardner has shown, Cooper embraced the newer polygenist theory of racial origins, according to which the races had all been created by God as distinct and already hierarchized entities. Each race had what Cooper called its own "gifts" and its own destiny on the North American continent. By depicting the Native Americans as a group whose coherence was inci- dental to geographical location, this theory vacated the continent for use by Anglo-European settlers by insisting on the alienability of Native American land and on the natural priority of those given to the land's "cultivation"

"Clothes upon sticks": James Fenimore Cooper and the Flat Frontier

Focusing on Otsego Lake, named as the Glimmerglass, this paper attempts to offer a further insight into the mode of perceiving and imagining the lake scenery. To get a full picture, the case studies include both fictional and non-fictional works, concerning three generations’ male and female perspectives from James Fenimore Cooper, his father and his eldest daughter. The specific study adopts a method of being “descriptive and phonomenological” (Hodder, 2001, p. 23). By citing and juxtaposing relative writings, it tries to relive the multiple views of the Glimmerglass and examine particularly the person’s immediate responses to the lake, which might demonstrate the decisive transformation of his or her consciousness. The study finds that although multiple views of a lake are involved in perceiving and imagining its scenery, which combine to make a full picture and bring in rich experiences, the close-up views preferred in The Deerslayer can denote more immediate responses to the lakesape, and accordingly with more engagement and even immersion in the environment an encounter of a lake might become an insider, who, with a “sympathy for mystic states” (Hodder, 2001, p. 21) might regain a sense of homecoming or dwelling.

/pdf/multiple-views-of-the-glimmerglass-in-the-coopers-otsego-3bvttasf9q.pdf

Multiple Views of the Glimmerglass in the Coopers’ Otsego Lake Writings

The Last of the Mohicans reconsidered

Cooper's landscapes : an essay on the picturesque vision

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Cooper's landscapes : an essay on the picturesque vision