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Collected here are detailed and diverse essays, some that examine Rural Hours, Susan Fenimore Cooper's most famous work, and others that help establish Cooper as a major practitioner and theorist of American nature writing and as a socially engaged artist in many other genres. These essays discuss Cooper's uses and manipulations of various literary conventions, such as the picturesque, the literary village sketch, and domestic fiction, and illuminate her positions on conservation, religion, and woman's place in society.The engaging collection is divided into four sections. The first features essays examining Cooper's work in light of her relationship with her famous literary father, James Fenimore Cooper, and their devotion to and cultivation of each other's careers. The second focuses on Cooper's fascination with landscape and its relation to her environmental philosophies. Rural Hours is the subject of the third section, which presents new readings on its subtly crafted authorial stance, its two complementary conceptions of time, and its re-valuation of rural and scientific ways of knowing. The collection concludes with four works whose insights into Cooper's views on gender, domesticity, and environmental philosophy grow out of comparisons with several contemporary women writers.These remarkable essays by both established and emerging scholars of nineteenth-century literature present new findings and insights into a writer who is being reintroduced to the fields of eco-criticism and American literature.

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- The first of two volumes of the internationally acclaimed series 'The Leatherstocking Tales'.- Includes: The Pioneers (1832), The Last of the Mohicans (1826), The Prairie (1827).- Just as accessible and enjoyable for today's modern readers as they would have been when first published well over a century ago, the novels are some of the great works of American literature and continue to be widely read and studied throughout the world. - This meticulous edition from Heritage Illustrated Publishing is a faithful reproduction of the original texts.

A definitive new biography of James Fenimore Cooper, early nineteenth century master of American popular fiction American author James Fenimore Cooper (1789–1851) has been credited with inventing and popularizing a wide variety of genre fiction, including the Western, the spy novel, the high seas adventure tale, and the Revolutionary War romance. America’s first crusading novelist, Cooper reminds us that literature is not a cloistered art; rather, it ought to be intimately engaged with the world.   In this second volume of his definitive biography, Wayne Franklin concentrates on the latter half of Cooper’s life, detailing a period of personal and political controversy, far-ranging international travel, and prolific literary creation. We hear of Cooper’s progressive views on race and slavery, his doubts about American expansionism, and his concern about the future prospects of the American Republic, while observing how his groundbreaking career management paved the way for later novelists to make a living through their writing. Franklin offers readers the most comprehensive portrait to date of this underappreciated American literary icon.

James Fenimore Cooper (1789-1851) was America’s first novelist, celebrated for his masterpiece, /The Last of the Mohicans/. Over a prolific career he created a national mythology that endures to this day. According to Daniel Webster, “We may read the nation’s history in his life.” Yet Cooper was also a provocative figure, ultimately disillusioned with American democracy. He spent his boyhood in the wilds of the frontier, served as a merchant sailor and naval officer, traveled the courts of Europe in an age of upheaval and returned home to scandal and controversy. He conquered the literary world only to fall victim to his own fame. In the first popular biography of Cooper in a generation, historian Nick Louras brings the man and his age vividly to life.

The American Revolution comes to vivid life in two dramatic tales of espionage, intrigue, and romance from the author of The Last of Mohicans.With his second novel, The Spy:A Tale of the Neutral Ground, in 1821, James Cooper (the Fenimore would come later) found his true voice and what became his most enduring subject matter: the history of his young nation, born of the clash between Old World and New. Set largely in Westchester County--site of the real-life intrigues of Benedict Arnold and Major John Andre--The Spy traces the conflicting allegiances of rebels and loyalists, with the supposed loyalist spy Harvey Birch (actually in the service of George Washington) finding himself caught up in conflicts between friendship and duty as he moves between the two sides. Washington himself makes an incognito appearance as the mysterious "Mr. Harper." Cooper continued in the same vein with Lionel Lincoln; Or, The Leaguer of Boston (1825), a carefully researched panorama of the coming of the Revolution, complete with detailed depictions of the battles of Lexington and Concord and Bunker Hill. With the hero a native-born American serving in the British Army, issues of loyalty are again complex, and some American reviewers, not for the last time, found Cooper's politics a bit too ambiguous for comfort.LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

James Fenimore Cooper (1789-1851) was America’s first novelist, celebrated for his masterpiece, /The Last of the Mohicans/. Over a prolific career he created a national mythology that endures to this day. According to Daniel Webster, “We may read the nation’s history in his life.” Yet Cooper was also a provocative figure, ultimately disillusioned with American democracy. He spent his boyhood in the wilds of the frontier, served as a merchant sailor and naval officer, traveled the courts of Europe in an age of upheaval and returned home to scandal and controversy. He conquered the literary world only to fall victim to his own fame. In the first popular biography of Cooper in a generation, historian Nick Louras brings the man and his age vividly to life.

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The authoritative biography of James Fenimore Cooper, author of the Leather-Stocking Tales and representative figure of the early American republic James Fenimore Cooper (1789–1851) invented the key forms of American fiction—the Western, the sea tale, the Revolutionary War romance. Furthermore, Cooper turned novel writing from a polite diversion into a paying career. He influenced Herman Melville, Richard Henry Dana, Jr., Francis Parkman, and even Mark Twain—who felt the need to flagellate Cooper for his “literary offenses.” His novels mark the starting point for any history of our environmental conscience. Far from complicit in the cleansings of Native Americans that characterized the era, Cooper’s fictions traced native losses to their economic sources. Perhaps no other American writer stands in greater need of a major reevaluation than Cooper. This is the first treatment of Cooper’s life to be based on full access to his family papers. Cooper’s life, as Franklin relates it, is the story of how, in literature and countless other endeavors, Americans in his period sought to solidify their political and cultural economic independence from Britain and, as the Revolutionary generation died, stipulate what the maturing republic was to become. The first of two volumes, James Fenimore Cooper: The Early Years covers Cooper’s life from his boyhood up to 1826, when, at the age of thirty-six, he left with his wife and five children for Europe.

The library of America is dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as the "finest-looking, longest-lasting editions ever made" (The New Republic), Library of America volumes make a fine gift for any occasion. Now, with exactly one hundred volumes to choose from, there is a perfect gift for everyone.

The Last of the Mohicans is an epic novel by James Fenimore Cooper, first published in January 1826. It was one of the most popular English-language novels of its time, and helped establish Cooper as one of the first world-famous American writers. The story takes place in 1757 during the French and Indian War, when France and Great Britain battled for control of the American and Canadian colonies. During this war, the French often allied themselves with Native American tribes in order to gain an advantage over the British, with unpredictable and often tragic results. After the Cooper text comes Mark Twain's caustic, funny, and damning "Fenimore Cooper's Literary Offenses". Wherein Twain takes deadly aim at the casual manner in which Cooper wrote. Together for the first time these two classics are perfect counterpoints to one another.

The Last of the Mohicans is an epic novel by James Fenimore Cooper, first published in January 1826. It was one of the most popular English-language novels of its time, and helped establish Cooper as one of the first world-famous American writers. The story takes place in 1757 during the French and Indian War, when France and Great Britain battled for control of the American and Canadian colonies. During this war, the French often allied themselves with Native American tribes in order to gain an advantage over the British, with unpredictable and often tragic results. After the Cooper text comes Mark Twain's caustic, funny, and damning "Fenimore Cooper's Literary Offenses". Wherein Twain takes deadly aim at the casual manner in which Cooper wrote. Together for the first time these two classics are perfect counterpoints to one another.

Two beautiful sisters make a perilous journey through the wilderness to Fort William Henry at the height of the French and Indian War, accompanied by Hawkeye, the frontier scout, and his Mohican companions, Chingachcook and Uncas.

Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

France (1837) was the third volume published in Cooper’s Gleanings in Europe series, but first in the chronology of his European experience. Less sequential than his other travel narratives, France distills his impressions of French and European culture during his first two years abroad. Exhibiting many qualities of the familiar essay, it considers a wide range of topics of interest to Cooper, his friends, and potential readers in the United States. As a celebrity thoroughly at home in the brilliant society of Bourbon Paris, Cooper was able to provide fascinating glimpses of personalities, spectacles, institutions, and manners―from his distinctly American perspective.Indeed, as Professor Philbrick remarks, “No other of Cooper’s works, perhaps, brings us closer to his speaking voice or puts us more directly in contact with the man himself, with all his idiosyncratic preoccupations, his quick resentments, his restless curiosity, his surprising humor, and his nobility of principle.”The reader of this edition is brought even closer to Cooper in the draft of a hitherto unpublished letter, probably intended for this book, which illustrates Cooper’s grasp of the still finer points of French customs and attitudes.

Turning to his own extensive maritime experience, Cooper’s novel, written in Paris in 1827, reflects his immersion in the romantic movement that was sweeping the Continent. European readers enjoyed his poetic and imaginative portrayal of the sea, while American readers were interested in how he depicted the early stirrings of nationalism in the New World decades prior to the Revolution.Cooper’s striking association of the sublime power of nature with the rebellious spirit of his pirate-hero established and defined the sea novel as a literary genre. By far the most influential of his maritime tales, The Red Rover was read and admired by Goethe and Berlioz, Melville and Conrad.This edition, the first to be based on Cooper’s original manuscript, offers the modern reader a major document of romanticism and a compelling narrative of adventure at sea.

Describing Italy as “the only region of the earth that I truly love,” James Fenimore Cooper used the style of picturesque impressionism to convey his vision of Italy as the microcosm of an ordered and a beautiful world.In theory, the picturesque style of writing could produce verbal sketches that embodied a visual complexity similar to that of the great Baroque and Romantic landscape paintings. In practice, the hundreds of travel books written in the picturesque style in the early 1900s communicated rapturous enthusiasm with blurred or even false reports of actual scenes. Cooper, with his scrupulous fidelity to the seen world, intended to alter this practice decisively.The response of his imagination to the light, color, forms, artifacts and figures of the Italian landscape and to the manifold significances they embody follows in joyful appreciation of the land, culture and people of a country that induced in him the desire “to enjoy the passing moment.”In Italy, Cooper refrained from commenting on politics, though he was an incorrigibly political man who responded to an insistent need to define the New World in defining the Old. The independence of his observations drew censure from American reviewers of the 1830s, who could not comprehend that his preference for the Bay for Naples over New York Harbor reflected his intellectual passion to rise above nationalistic feelings in matters of taste, morality and justice.

"One of the misfortunes of a nation, is to hear little besides its own praises," wrote James Fenimore Cooper in his Preface to Wyandotté in 1843. The novel arrived at a time when a patriotic mythology about the American Revolution was developing, and Cooper's somber tale of the sufferings of an isolated family in upstate New York during the Revolution was not congruent with the celebratory stories then being told. One reviewer indeed objected to Cooper's "cynicism which hunts after cracks and crevices and unshapely stones in the altar of our political devotion." In its critical trenchancy, somber tone, and subdued action, Wyandotté is representative of the strongest novels of Cooper's last decade. The elements of romance that are prominent in his fiction of the 1820s here give way to a new emphasis upon characterization and a new interest in familial life. As Edgar Allen Poe observed, in Maud Meredith Cooper creates his most spirited heroine, and in Saucy Nick, his most credible Indian. "Nothing is truly patriotic," Cooper warns us in his Preface, "that is not strictly true and just." In his last tale of the Revolution, he leaves national self-congratulation to the orators and newspaper editors and hews to his own demanding conception of devotion to his country.