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William P. Kelly - Plotting Americas past: Fenimore Cooper and The leatherstocking tales

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This is the first book-length study to show how Cooper uses the Leatherstocking series as a touchstone to explore pre-Civil War Americas perception of its past. Kellys historiographic approach to the Tales marks a significant departure from previous critical commentary on the stories: Other critics have centered either on the Tales mythological status, on their relevance for an understanding of Jacksonian America, or on their aesthetic preconceptions. Kelly begins his innovative study by challenging the assumption that American writers of the eighteenth century lacked native models for their fiction. He argues that rather than a void, Americans confronted two competing patterns of historical vision. In documents as diverse as John Winthrops Journal, the Declaration of Independence, Emersons Essays, and Lincolns Second Inaugural, America is imagined as simultaneously free and bound, as a nation at once independent from history and organically linked to centuries of human development. Kelly shows that Coopers fiction illustrates this characteristic perception of the past with an unparalleled clarity. Neither a defense of tradition nor an assault on entailment, his novels plot American history as a progressive development in the continuum of human events and as a departure from that process.

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title Plotting Americas Past Fenimore Cooper and The Leatherstocking - photo 1
title Plotting Americas Past Fenimore Cooper and The Leatherstocking - photo 2

title:Plotting America's Past : Fenimore Cooper and The Leatherstocking Tales
author:Kelly, William P.
publisher:Southern Illinois University Press
isbn10 | asin:0809311445
print isbn13:9780809311446
ebook isbn13:9780585178851
language:English
subjectCooper, James Fenimore,--1789-1851.--Leatherstocking tales, Cooper, James Fenimore,--1789-1851--Knowledge--History, Historical fiction, American--History and criticism, United States in literature, United States--Historiography.
publication date:1983
lcc:PS1442.H5K44 1983eb
ddc:813/.2
subject:Cooper, James Fenimore,--1789-1851.--Leatherstocking tales, Cooper, James Fenimore,--1789-1851--Knowledge--History, Historical fiction, American--History and criticism, United States in literature, United States--Historiography.
Page iii
Plotting America's Past
Fenimore Cooper and the Leatherstocking Tales
William P. Kelly
Southern Illinois University Press
Carbondale and Edwardsville
Page iv
For My Families
Copyright 1983 by the Board of Trustees
Southern Illinois University
All rights reserved
Printed in the United States of America
Edited by Teresa White
Designed by John DeBacher
Library of Congress Cataloging in Publication Data
Kelly, William P.
Plotting America's past.
Includes index.
1. Cooper, James Fenimore, 17891851. Leatherstocking
tales. 2. Cooper, James Fenimore, 17891851Knowledge
History. 3. Historical fiction, American. 4. United
States in literature. 5. United StatesHistoriography.
I. Title.
PS1442.H5K44 1983 813.2 83-4779
ISBN 0-8093-1144-5
Frontispiece is an illustration by F. O. C. Darley from The Pathfinder, Townsend-Stringer edition (185961).
Page v
Contents
Preface
vii
1
The Pioneers and the Abridgements of History
1
2
"A Man without a Cross": Mohicans and the Cyclic Course of Empire
45
3
Containing American History: The Prairie and the New West
85
4
The Pathfinder and the Limits of Originality
129
5
An End in Our Beginning: The Myth of the Glimmerglass
159
Index
189

Page vii
Preface
For one hundred and fifty years, the Leatherstocking Tales have been a point of cultural reference and a source of national identity. The decline in their readership has in no way eroded their resonance. Like the Declaration of Independence, the Gettysburg Address, Moby-Dick, and Huckleberry Finn, they have attained an extratextual statusindependent of the life-support systems of the academyand have become part of our American legacy.
Literary critics and cultural historians have both recognized and augmented the iconographic character of the Tales by describing the series as the repository of a national mythos. Natty's flight from civilization and his bond with the pristine wilderness are emblematic, we have repeatedly been told, of the Adamic longing which distinguishes and informs our cultural perspective. This emphasis addresses a significant aspect of the saga's continuing appeal, but it has had the effect of further denaturing the Tales. By converting five historical novels into a single myth, we have reduced the complexity of Cooper's vision and emptied the Tales of much of their content. This reshaping of the series is particularly ironic, because the tales represent Cooper's ardent attempt to conceptualize rather than to transcend America's history. Across the five volumes of the series, Cooper addresses his culture's relation to the past and
Page viii
struggles to achieve a coherent sense of historical form.
That effort is marked both by a desire for autonomy and a yearning for context. Certainly, the historiographic paradigm Cooper constructs and continually revises in the Tales suggests his attraction to flight from temporal restriction. The prospect of national primacy had for Cooper, as it did for his contemporaries, an irresistible appeal. But Cooper's repudiation of historical entailment in the Leatherstocking Tales is counterbalanced by a simultaneous defense of historical continuity. Cultural autonomy, he recognized, implied a vertiginous freedom and a precarious future. Wary of both radical originality and subservient dependence, Cooper begins the Tales by depicting America as both free from and bound to the past. In The Pioneers and The Last of the Mohicans, he is able to sustain that contradictory perspective by offering an illusory synthesis that purports to reconcile freedom and restraint.
His double vision in these novels illuminates the complexity of his culture's response to the burden of the past; but of greater interest is Cooper's subsequent reformulation of that paradigm. As the series progresses, he comes to recognize the logical inconsistencies inherent in his initial conception of America's growth and reshapes his historiographic and narrative strategies.
Contrary to a long-standing critical assumption, the thrust of that development does not carry Cooper toward a mythic discourse but leads him away from the wistful dual vision of the initial volumes of the series. In
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