...Thomas R. Mitchell Duke University Press 2004 2 Hawthorne Thomas R. Mitchell It was a banner year for new readings of The Marble Faun and for studies of ‘‘the School of Hawthorne but otherwise a rather thin year for Hawthorne scholarship. Thanks to Roman Holidays...

... work. Criticism focusing on The Scarlet Letterand The Marble Faun domi- nates, and queer readings of various texts appear alongside deliberations featuring transatlanticism and aesthetics. Additionally, a special issue of the Nathaniel Hawthorne Review (38, ii) adds color and texture...

.... imperialism. The Marble Faun illustrates transnational ambitions of the Civil War era, while anticipating how U.S. imperi- alism works today to appropriate the histories and cultures of other peoples. Especially in the context of today’s debates over globalization, Hawthorne’s concerns...

... in a special edition of the Nathaniel Hawthorne Review. Strong essays appear by Sandra Burr on Hawthorne as an early advocate of science education, by Agnieszka Soltysik Monnet on the gothic strategies of The Marble Faun, by Ken Parille on the gendering of childhood in the tales, by Neill Matheson...

.... The placing of Hawthorne in a historical context continues to engage many Haw- thorne scholars; in this regard, Millicent Bell and John Carlos Rowe o√er two fine readings of The Marble Faun. Of particular note as well is Robert Milder’s nuanced psychological interpretation of Hawthorne’s oeuvre, one...

... in The Marble Faun. The irony of Hawthorne s Fuller Mystery is that its subject is Haw- thorne, not Fuller. As a consequence, Fuller s riddlenot just for Hawthorne, but for the reader remains unsolved. Despite Mitchell s nuanced intentions and his elegant readings, Margaret Fuller continues to appear as some...

... on The Scarlet Letter. As usual, The Scarlet Letter and The Marble Faun receive the pre- ponderance of comment, usually of a New Historical bent that reads Hawthorne’s last completed novel, for example, as an antebellum text of racial import. Patricia Crain’s The Story of A: The Alphabetization of America...

.... For the novelist, “anxieties about biological, as opposed to biblical, heredity lay at the heart” of much of his writing, including The Scarlet Letter, The House of the Seven Gables, The Marble Faun, and Our Old Home, which reveals more specific “anxieties and contradictions about mixing between types...

... or paragone as Hawthorne considers “the limits and potential of the written word” throughout his career. Thus in works as diverse as “Chippings with a Chisel,” “The Christmas Banquet,” “The Great Stone Face,” and The Marble Faun Karen Roggenkamp 25 plastic arts emerge as a “silent form...

... and Hawthorne’s The Marble Faun in conversation with modernity’s proliferation of printed texts. In a chapter on “Hawthorne before ‘Hawthorne,’ ” Lounsbery concentrates on several of Hawthorne’s early tales and prefaces, writ- ten during a time of personal poverty and obscurity and at a cultural moment...

...,” The Scarlet Letter, The House of the Seven Gables, The Blithedale Romance, and The Marble Faun. Hawthorne’s children’s books, A Wonder Book for Boys and Girls and Tanglewood Tales, are considered together in a single chapter, additional evidence of the increasing recent attention devoted...

... not is ironic—sometimes sassy, occasionally sarcastic, even at times flippant. Rather than o√ering a lengthy disquisition on why Hawthorne could not have been exactly serious in his elevation of Hilda at the closing of The Marble Faun, for instance, Wineapple ends a paragraph by quot- ing the closing...

... William Wetmore Story, Gollin comments that Hawthorne responded most deeply to art that ‘‘conŽ rmed his own deep-seated if provisional faith that this world is a place of grief and guilt And while he may have seemed typically Victorian in much of his taste, by the time he wrote The Marble Faun he...

...-Daurand Forgues, and Louis Etienne dismantled Alexis de Tocqueville’s earlier assertion that “Americans still have no literature.” Anesko and Brookes include a translation of Montégut’s 1860 essay on The Marble Faun and argue that scholars should familiarize themselves with its contents, if only...

... Faun,” explores how the differences between matriarchal and patriarchal myths are complicated by race. For Peter West, Hawthorne’s (and Melville’s) art depended upon a modernizing marketplace where reality was up for sale. In The Arbiters of Reality: Hawthorne, Melville, and the Rise of Mass...

...” engendered by public performance. d. The Marble Faun  In “War and Union in Little America: The Space of Hawthorne’s Rome” (NHR 40, ii: 60–84) Joshua Parker draws on theories about narrative space in order to understand how the spaces of 19th-century Rome, as imagined by the author, “tell a story...

... attention to something that has long been in plain view. He looks at Faulkner’s recurrent use of the marble faun and finds an image that opened, as Faulkner’s career developed, into a “trope of whiteness and hybridity” that allowed him “to articulate in a single body the shifting perspectives...

... and the Making of The Scarlet Letter” Riss challenges readings of The Scarlet Letter that are dependent upon what he reads as unsubstantiated assumptions about race and identity built upon “mystification of the ‘person.’ ” In “The Art of Discrimination: The Marble Faun, ‘Chiefly About War Matters...

... lingered on The Marble Faun as a source for analysis, with all articles but one exploring The Scarlet Letter or The House of the Seven Gables. Along with psychoanalytic approaches, intertextuality and influ- ences remained sturdy windows through which to view Hawthorne’s writing, with pieces about...

... Notebooks and The Marble Faun go beyond basic anti-Semitic prejudice and intertextual misrepresentations, however, for he blurs the distance between character, narrator, and reader and transforms the Wandering Jew into an object of the narrative gaze. In the case of A Virtuoso s Collection, the Jewish...