Yes, that's the entire title, and I chose to use it to distinguish this novel from O Pioneers!, which might have come to your mind if I had only written The Pioneers. This book is the first published (fourth chronologically) of the Leatherstocking Tales by James Fenimore Cooper, and it sold 3,500 copies before noon on the day it was published (1823). Most famous of the Leatherstocking Tales is the second chronologically, The Last of the Mohicans, which is sometimes called >adopt reverent tone< THE GREAT AMERICAN NOVEL. (Incidentally, this should remove a weight from the minds of all you aspiring American writers, in that, since Cooper has already written the great American novel, you don't have to!) I have chosen to read all five of them this year, and I was undecided whether to read them in order of chronology or of publication, until someone suggested doing the latter in order to more easily follow Cooper's development as a writer. That appealed to me, so down I sat with The Pioneers.
Egads. After about 300 pages, I was considering greasing my eyeballs to allow them to slide over the text more quickly. It was, how you say, le boring. And then, somewhere around page 325 (I'm guessing), the clouds parted, the sun beamed down, the birds sang and somebody smacked Cooper upside the head and said, "Get going!!" Well. After that the plot took off galloping and didn't stop until a finish that crammed in everything. Instead of spreading out the literary goodness over the entire novel, Cooper was rather stingy at the beginning, and then piled it on at the end. Seriously, in approximately the last 100 pages, you will find SPOILERS AHEAD>>> entrapment, poaching, a weaponized stand off, a trial, a jailbreak, a wildfire, rescue of damsel in distress (twice), the death of a noble chief, appearance of a long lost friend/relative, revelation of a character's true identity, confession of true love, proposal and marriage, burial and romantic epitaphs, poetic speeches about death, the afterlife, wilderness, civilization, law and justice, and finally the hero walks off into the sunset.
END SPOILERS
Now, before you think Cooper a tired cliche for having his hero walk off into the sunset, let me point out that The Pioneers was the first novel to contain such an exit. Far from cliche, this was original and very romantic (in the original sense of the word). Also romantic is the continuous tension between wilderness and settlement. Cooper addresses issues of environmental stewardship, conservation and use, and is possibly the first novelist to do so. He also pointedly demonstrates the difference between justice and law, and the fact that the law exists to serve itself (or possibly power). He devises a surprisingly universalist hero for an American in 1823, as can be seen in Hawkeye's statement that, although whites want to be buried facing east and Indians want to be buried facing west, after death they will meet in the land of the just.
Despite being far ahead of his time in many ways, there are other areas in which Cooper has not shed the conventional prejudices of his day. The portrayal of black slaves and freedmen as childlike is similar to or slightly worse than that of Mark Twain's Huck Finn (written a generation later than the Leatherstocking Tales). Expect to see the "N" word in the first few chapters, used by black people as often as by whites. That said, Cooper was the first American novelist to include African American characters at all, so even his stereotypical portrayal was a milestone. As for women, they are virtuous but mentally vacuous, occasionally fainting and getting into dangerous predicaments from which they require rescuing. Their main functions are as daughters, servants and wives, but not mothers, interestingly. (Both mothers are dead). A contemporary critic wrote of Cooper: "the women he draws from one model don't vary / All sappy as maples and flat as a prairie." Despite these shortcomings, Cooper's portrayal of Native Americans is varied and complicated. He succeeds, through the course of the Leatherstocking Tales, in creating contrasts between some Native characters that are noble and heroic and others with few redeeming qualities. In this, he demonstrates his view of Native Americans as a large group with certain tendencies, but comprised of individuals with different characters. In other words, they have the dignity and depth of any other human culture group.
As a short aside, I must question whether Cooper was a genius. You see, he was enrolled at Yale at age 13, but was expelled after a dangerous prank that involved him blowing up another student's door. Another less dangerous prank consisted of training a donkey to sit in a professor's chair. That certainly looks like the work of a genius to me. ;)
Stats:
ponderously annoying semi-main character: Judge Marmaduke
maple and prairie female: Elizabeth
ethnic stereotypes: the German guy, the French guy, the black guy, the English guy
hero: Hawkeye, aka Leatherstocking, aka Nathaniel Bumpo, aka Natty Bumpo
comrade of aforementioned hero: Chingachgook (also of The Last of the Mohicans fame)
there was a lot of : trees, wildlife, use and misuse of said trees and wildlife
there should have been more of: women with brains...or at least personalities...
this book makes you want to: preserve some unspoiled wilderness, treat people right, get away from stupid people
this book makes you glad you don't have to: be a woman or ethnic minority in 1823
Edit: I read and reviewed The Last of the Mohicans in May.
Showing posts with label classic literature. Show all posts
Showing posts with label classic literature. Show all posts
Sunday, March 20, 2011
Saturday, March 5, 2011
Crime and Punishment
Although I read this book last week (Feb 20-26), I postponed its blog entry because I wanted to first finish reading A Concise History of the Russian Revolution by Richard Pipes, as I will explain below.
Published in 1866, Crime and Punishment follows the St. Petersburg student Raskolnikov as he contemplates, commits, regrets and finally confesses a major crime. The novel is psychological in nature, following Raskolnikov's mental struggle, devolution and evolution. Dostoevsky wrote Crime and Punishment after his release from a labor camp in Siberia, where he had spent five years because of his liberal political ideas. While serving his sentence, his political and religious ideas underwent major changes as he became disillusioned with contemporary Western philosophical movements, and Crime and Punishment is written from his new perspective as a Slavophile and a devout Orthodox. Raskolnikov's dreadful actions are intended as an example of nihilism taken to its logical conclusion, yet the radical thinkers of Dostoevsky's day scorned the idea that Raskolnikov had anything in common with them. Russian nihilism (adhered to by Raskolnikov) encouraged the creation of an élite of superior individuals who are not subject to the morals or laws of society; in fact, they must rise above these restrictions in order to create a new and superior social order. Throughout the novel, Raskolnikov wonders if he, like Napoleon, is one of these so-called superior individuals. He tests his theory by committing a murder near the beginning of the novel, and the rest of the book chronicles his mental anguish and withdrawal from society. The nihilists and other radical thinkers of the day rejected this portrayal, saying that murder simply for the sake of murder was unrelated to their theories.
Unfortunately, Dostoevsky's foresight was proven true by the actions of the Bolsheviks during the Russian Revolution, specifically the Red Terror. The Bolsheviks, like the fictional Raskolnikov and his hero Napoleon, believed that they were superior individuals undertaking the creation of a new social order by whatever methods necessary. During the Red Terror, millions of innocent people were slaughtered. This was not capital punishment as a result of supposed (or even fabricated) crimes; it was death for the sake of death. Zinoviev, one of the top Soviet officials during the revolution, stated in September 1918, "We must carry with us [into the future] 90 million out of the 100 million of Soviet Russia's inhabitants. As for the rest, we have nothing to say to them. They must be annihilated." N.V. Krylenko, official of the Commissariat of Justice added, "We must execute not only the guilty. Execution of the innocent will impress the masses even more." During this time, mass executions were to be used as a tool to subjugate the unwilling masses while the Bolsheviks, who knew what was best for Russia and for the world, created their utopia. Well, Raskolnikov, I'll see your Napoleon and raise you a Lenin.
Dostoevsky writes as a third-person omnisicient narrator in this novel, which was innovative at the time. His penetrating psychological analysis and character development also set him apart as a novelist. I considered following Crime and Punishment with The Brothers Karamazov, but the latter is much longer and I have a few library books to finish this week as well. That said, The Brothers Karamazov will be making an appearance on this blog within the next month or so.
Stats:
Tortured idealist student with no life experience (Lenin, I'm looking at you!): Raskolnikov
Best friend you don't deserve: Razumikhin
Moron: Luzhin
Mary Magdalene without the insanity: Sonya
Strong-willed sister:Dunya
Quotable quote: People are happy who have no need of locks. (Raskolnikov)
Okay, one more: If you weren't a fool, a common fool...if you were an original instead of a translation...you'd come round to meet me instead of wearing out your boots in the street. (Razumikhin)
There was a lot of: mental anguish, fever, poverty-filled streets, illness, thinking, failed attempts at thinking
There should have been more: I don't know, flowers and butterflies? It's called Crime and Punishment, for crying out loud.
This book makes you glad you don't have to: answer all the world's big questions
This book makes you want to: answer all the world's big questions (See, you can drive yourself insane without even killing anybody first)
Published in 1866, Crime and Punishment follows the St. Petersburg student Raskolnikov as he contemplates, commits, regrets and finally confesses a major crime. The novel is psychological in nature, following Raskolnikov's mental struggle, devolution and evolution. Dostoevsky wrote Crime and Punishment after his release from a labor camp in Siberia, where he had spent five years because of his liberal political ideas. While serving his sentence, his political and religious ideas underwent major changes as he became disillusioned with contemporary Western philosophical movements, and Crime and Punishment is written from his new perspective as a Slavophile and a devout Orthodox. Raskolnikov's dreadful actions are intended as an example of nihilism taken to its logical conclusion, yet the radical thinkers of Dostoevsky's day scorned the idea that Raskolnikov had anything in common with them. Russian nihilism (adhered to by Raskolnikov) encouraged the creation of an élite of superior individuals who are not subject to the morals or laws of society; in fact, they must rise above these restrictions in order to create a new and superior social order. Throughout the novel, Raskolnikov wonders if he, like Napoleon, is one of these so-called superior individuals. He tests his theory by committing a murder near the beginning of the novel, and the rest of the book chronicles his mental anguish and withdrawal from society. The nihilists and other radical thinkers of the day rejected this portrayal, saying that murder simply for the sake of murder was unrelated to their theories.
Unfortunately, Dostoevsky's foresight was proven true by the actions of the Bolsheviks during the Russian Revolution, specifically the Red Terror. The Bolsheviks, like the fictional Raskolnikov and his hero Napoleon, believed that they were superior individuals undertaking the creation of a new social order by whatever methods necessary. During the Red Terror, millions of innocent people were slaughtered. This was not capital punishment as a result of supposed (or even fabricated) crimes; it was death for the sake of death. Zinoviev, one of the top Soviet officials during the revolution, stated in September 1918, "We must carry with us [into the future] 90 million out of the 100 million of Soviet Russia's inhabitants. As for the rest, we have nothing to say to them. They must be annihilated." N.V. Krylenko, official of the Commissariat of Justice added, "We must execute not only the guilty. Execution of the innocent will impress the masses even more." During this time, mass executions were to be used as a tool to subjugate the unwilling masses while the Bolsheviks, who knew what was best for Russia and for the world, created their utopia. Well, Raskolnikov, I'll see your Napoleon and raise you a Lenin.
Dostoevsky writes as a third-person omnisicient narrator in this novel, which was innovative at the time. His penetrating psychological analysis and character development also set him apart as a novelist. I considered following Crime and Punishment with The Brothers Karamazov, but the latter is much longer and I have a few library books to finish this week as well. That said, The Brothers Karamazov will be making an appearance on this blog within the next month or so.
Stats:
Tortured idealist student with no life experience (Lenin, I'm looking at you!): Raskolnikov
Best friend you don't deserve: Razumikhin
Moron: Luzhin
Mary Magdalene without the insanity: Sonya
Strong-willed sister:Dunya
Quotable quote: People are happy who have no need of locks. (Raskolnikov)
Okay, one more: If you weren't a fool, a common fool...if you were an original instead of a translation...you'd come round to meet me instead of wearing out your boots in the street. (Razumikhin)
There was a lot of: mental anguish, fever, poverty-filled streets, illness, thinking, failed attempts at thinking
There should have been more: I don't know, flowers and butterflies? It's called Crime and Punishment, for crying out loud.
This book makes you glad you don't have to: answer all the world's big questions
This book makes you want to: answer all the world's big questions (See, you can drive yourself insane without even killing anybody first)
Sunday, January 23, 2011
The Scarlet Letter: A Romance
Wait... "A Romance"?
Yes, that is the subtitle Nathaniel Hawthorne gives to his magnum opus. I know what you're thinking: "A romance among the Puritans? This is going to be about as grotesque as a Russian luau." Now, before you go complaining that I'm insulting Russians, let me point out that I thoroughly enjoy their food, music, novels, ballet, folk tales, fur hats and Faberge eggs. I just don't see them as embodying the aloha spirit. In the same way, the plain, somber, gray-clothed Puritans aren't the first people who come to mind when you want to read about a vibrant and undying loooove. >insert googly eyes here< Perhaps this is why The Scarlet Letter sat on my shelf for 12 years with nary a peek from me. I thought it would be dour and depressing, what with all the "Sinner!" and "Evildoer!" finger pointing.
That is where I was wrong. I humbly repent, in the most literary way possible. I will admit that I suffered through the first half, as did the main characters. That section focused a lot on Hester's de facto shunning by the community, which was very puritanical (how fitting, I know), and the plot came across as heavy-handed with overly repetitive allusions. But the book in its entirety turned out to be a very interesting exploration of many themes, including sin, legalism and guilt.
SPOILER ALERT! SPOILERS AHEAD!
In the latter half, we see how Hester's development as a human has taken her far beyond the Puritan settlement. To couch it in Puritan terms, although they view her as an outcast and sinner, she has become more Christlike than any of them. The minister, however, is still wracked with guilt and we see the contrast between how these two people have dealt with their unacceptable behavior. We also see Chillingworth develop from a husband wronged into the worst sinner in the community.
Conclusion
I recommend this book for anyone who is interested in a discussion of social and religious themes. The plot moves slowly but there is character development, albeit from the narrator's point of view. What I mean by this is that there isn't a lot of dialogue or monologue coming from the characters. The narrator explains what the characters are thinking, feeling and doing. Don't give up on the book if you find it initially distasteful, either. After chapter viii, you will not be bludgeoned repeatedly with the community's view of Hester. (Not as much, anyway) It is also intriguing to read this book in view of Hawthorne's internal conflict between his Puritan ancestry and his distaste for that religious sect. Although he disapproved of his gloomy ancestors' religious persuasion, he felt a real connection to the town of Salem and a strong sense of his place in New England. This comes through in the novel's end, as the protagonist eventually returns to the town of Salem despite her treatment by its inhabitants. We can imagine that Hawthorne would have done the same thing.
Stats:
Best contrast: between the marketplace and the forest
Most conflicted character: Dimmesdale
Most surreal character: Pearl
Favorite short quote: "It is remarkable, that persons who speculate the most boldly often conform with the most perfect quietude to the external regulations of society." [There are a few excellent sections which are too long to feature here.]
This book makes you want to: wander contemplatively through the forest, meet the author
This book makes you glad you don't have to: endure legalistic piety, sew your own clothes
Sense of place: 9 out of 10
Yes, that is the subtitle Nathaniel Hawthorne gives to his magnum opus. I know what you're thinking: "A romance among the Puritans? This is going to be about as grotesque as a Russian luau." Now, before you go complaining that I'm insulting Russians, let me point out that I thoroughly enjoy their food, music, novels, ballet, folk tales, fur hats and Faberge eggs. I just don't see them as embodying the aloha spirit. In the same way, the plain, somber, gray-clothed Puritans aren't the first people who come to mind when you want to read about a vibrant and undying loooove. >insert googly eyes here< Perhaps this is why The Scarlet Letter sat on my shelf for 12 years with nary a peek from me. I thought it would be dour and depressing, what with all the "Sinner!" and "Evildoer!" finger pointing.
That is where I was wrong. I humbly repent, in the most literary way possible. I will admit that I suffered through the first half, as did the main characters. That section focused a lot on Hester's de facto shunning by the community, which was very puritanical (how fitting, I know), and the plot came across as heavy-handed with overly repetitive allusions. But the book in its entirety turned out to be a very interesting exploration of many themes, including sin, legalism and guilt.
SPOILER ALERT! SPOILERS AHEAD!
In the latter half, we see how Hester's development as a human has taken her far beyond the Puritan settlement. To couch it in Puritan terms, although they view her as an outcast and sinner, she has become more Christlike than any of them. The minister, however, is still wracked with guilt and we see the contrast between how these two people have dealt with their unacceptable behavior. We also see Chillingworth develop from a husband wronged into the worst sinner in the community.
Conclusion
I recommend this book for anyone who is interested in a discussion of social and religious themes. The plot moves slowly but there is character development, albeit from the narrator's point of view. What I mean by this is that there isn't a lot of dialogue or monologue coming from the characters. The narrator explains what the characters are thinking, feeling and doing. Don't give up on the book if you find it initially distasteful, either. After chapter viii, you will not be bludgeoned repeatedly with the community's view of Hester. (Not as much, anyway) It is also intriguing to read this book in view of Hawthorne's internal conflict between his Puritan ancestry and his distaste for that religious sect. Although he disapproved of his gloomy ancestors' religious persuasion, he felt a real connection to the town of Salem and a strong sense of his place in New England. This comes through in the novel's end, as the protagonist eventually returns to the town of Salem despite her treatment by its inhabitants. We can imagine that Hawthorne would have done the same thing.
Stats:
Best contrast: between the marketplace and the forest
Most conflicted character: Dimmesdale
Most surreal character: Pearl
Favorite short quote: "It is remarkable, that persons who speculate the most boldly often conform with the most perfect quietude to the external regulations of society." [There are a few excellent sections which are too long to feature here.]
This book makes you want to: wander contemplatively through the forest, meet the author
This book makes you glad you don't have to: endure legalistic piety, sew your own clothes
Sense of place: 9 out of 10
Sunday, January 9, 2011
Heavy on the intrigue
This week I'll be galloping through Alexandre Dumas' The Three Musketeers. Now, in the interest of full disclosure, I must point out that I read an abridged children's classics version of this book... repeatedly... from about the ages of 6-8. My brothers and I would cut out paper swords, fashion makeshift cloaks from scarves and march down the hall shouting, "One for all and all for one!" That said, the glaring fact that my childhood abridged version was about 60 pages, while the novel itself is 630 (this translation, anyway), proves that I have not, in fact, read this book! Also, in an unfortunate example of phonics-gone-wrong, my 6-yr-old self understood the main character's name to be Dee-ART-again....but I have long since redeemed myself, having a undertaken a couple semesters of self-directed French study as penance. Nevertheless, I shall only ever read this book in translation, as my pronunciation of French is still quite brutal, and the only result of my acquaintance with Dumas' original text would certainly be the regrettable murder of a classic novel. This week, I look forward to comparing the plot differences between my old childhood favorite (read: bowdlerized) version and THE REAL DEAL. I also look forward to a long tale of historical intrigue and romance spun by a master storyteller.
P.S. Don't worry, Kurt. I won't make you be Porthos this time.
Subscribe to:
Posts (Atom)