CENTENARY ED WORKS NATHANIEL HAWTHORNE: VOL. X, MOSSES FROM AN OLD MANSE (Centenary Edition of the Works of Nathaniel Hawthorne) [Hardcover]

NATHANIEL HAWTHORNE (Author)

Book Description

Publication Date: July 1, 1974 | Series: Centenary Edition of the Works of Nathaniel Hawthorne (Book 10)

Contents:
The Old Manse
The Birthmark
A Select Party
Young Goodman Brown
Rappaccini's Daughter
Mrs. Bullfrog
Fire Worship
Buds and Bird Voices
Monseiur du Miroir
The Hall of Fantasy
The Celestial Railroad
The Procession of Life
Feathertop: A Moralized Legend
The New Adam and Eve
Egotism; or, The Bosom Serpent
The Christmas Banquet
Drowne's Wooden Image
The Intelligence Office
Roger Malvin's Burial
P.'S Correspondence
Earth's Holocaust
Passages from a Relinquished Work
Sketches from Memory
The Old Apple-Dealer
The Artist of The Beautiful
A Virtuoso's Collection

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--This text refers to the Kindle Edition edition.

Editorial Reviews

Review

"Whatever Nathaniel Hawthorne may hereafter write, Mosses from an Old Manse will ultimately be accountedhis masterpiece." —Herman Melville --This text refers to the Kindle Edition edition.

From the Inside Flap

Mosses from an Old Manse is Nathaniel Hawthorne?s second story collection, first published in 1846 in two volumes and featuring sketches and tales written over a span of more than twenty years, including such classics as ?Young Goodman Brown,? ?The Birthmark,? and ?Rappaccini?s Daughter.? Herman Melville deemed Hawthorne the American Shakespeare, and Henry James wrote that his early tales possess ?the element of simple genius, the quality of imagination. That is the real charm of Hawthorne?s writing?this purity and spontaneity and naturalness of fancy.? --This text refers to the Paperback edition.

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Product Details

• Hardcover: 664 pages
• Publisher: Ohio State University Press; 1 edition (July 1, 1974)
• Language: English
• ISBN-10: 0814202039
• ISBN-13: 978-0814202036
• Product Dimensions: 9.5 x 6.4 x 1.9 inches
• Shipping Weight: 2.7 pounds (View shipping rates and policies)
• Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #2,105,015 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

14 of 14 people found the following review helpful:

5.0 out of 5 stars Allegories of doom, gloom, and progress, June 25, 2005

By 

D. Cloyce Smith (Brooklyn, NY) - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)   

This review is from: Mosses from an Old Manse (Modern Library Classics) (Paperback)

First published in 1846, Hawthorne's second collection includes 26 stories, most of them written after the publication of the second (1842) edition of "Twice-Told Tales," as well as "Young Goodman Brown" and "Roger Malvin's Burial," two great tales from the 1830s that were inexplicably left out of the earlier book.

The only "new" piece (that is, the only one not previously published in a periodical) is the opening sketch, which took Hawthorne nearly a year to write; it is a leisurely tour of the "old Manse," his newly acquired historical estate in Concord and Emerson's childhood home. Interesting mostly from a biographical perspective, the essay tries hard--but largely fails--to share with the reader Hawthorne's enthusiasm for his new home. The rest of the volume, fortunately, is filled with grand, eerie, humorous, and memorable allegories. Every reader and critic has his or her own favorites, but a few stand out for their uniqueness.

"A Select Party" recounts a dinner hosted by a "Man of Fancy" in "one of his castles in the air"; the guests are such improbable personages as "an incorruptible Patriot; a Scholar without pedantry; a Priest without world ambition, and a Beautiful Woman without pride or coquetry." The thoughts and desires of the partygoers are as ethereal as the clouds they inhabit. In a similar vein, "The Intelligence Office" is a comic pre-Kafkaesque allegory of a parade of customers who seek the whereabouts (and the worth) of their long-lost desires; only a man seeking Truth unveils the Intelligencer as "merely delusive," a bureaucrat who makes wishes come true by simply acknowledging, not fulfilling, them. "The Celestial Rail-road," the full implications of which I appreciated only after a second reading, is a retelling of "Pilgrim's Progress," in which devilishly clever entrepreneurs have repackaged Christian's journey through the Valley of the Shadow of Death and to the Celestial City as a Disneyland-style theme park and tourist attraction.

Some of the stories can be read as prototypes in the genres of horror and science fiction. In the futuristic "Earth's Holocaust," a great bonfire is lit to "consume every human and divine appendage of our mortal state": medicine, liquor, literature, weapons, money, art, jewelry, scriptures--so that there "is far less both of good and evil." "The Artist of the Beautiful" pits Owen, a watchmaker who struggles to create a true-to-life mechanical butterfly, against a powerful village blacksmith; both contenders vie for the attentions of a beautiful woman in a classic struggle of intelligence and beauty versus technology and brute strength.

Two of Hawthorne's most well-known tales--"The Birth-mark" and "Rappaccini's Daughter"--are unsettling in their macabre Poe-like finales. Both feature scientists whose quest for what can be discovered override moral considerations of whether something should be done: the alchemist in the first story concocts a method to remove a birthmark from his wife's cheek; the second tale pits two rivals who conduct their academic warfare with potions and antidotes, using one's daughter and the other's apprentice as unwitting intermediaries. Their similar endings, while predictable, are disturbingly bleak visions of modernity.

When this collection was reissued in 1854, Hawthorne wrote that he no longer understood the point he was making "in some of these blasted allegories, but I remember that I always had a meaning--or, at least, thought I had." In spite of his protests, obvious themes do emerge: Hawthorne's mistrust of progress, his disdain for moral absolutism and his Puritan heritage, and his fascination with the elusive nature of evil. What will strike readers willing to wade through Hawthorne's intricate, highly wrought prose is how modern and relevant many of these stories still seem.

1 of 1 people found the following review helpful:

5.0 out of 5 stars Extreme high quality product, September 1, 2009

By 

Bianca F. Jesus (Rio de Janeiro, RJ, Brazil) - See all my reviews
(REAL NAME)   

This review is from: Mosses from an Old Manse (Modern Library Classics) (Paperback)

This would be a good book to spend your money on. This product has high quality paper cover and pages. And most importantly, Hawthorne is a very gifted author, and "Mosses from an old manse" is an accurate selection of his best works.

5.0 out of 5 stars Gems in the Moss, April 18, 2011

By 

Eric Wilson "novelist" (Nashville, TN United States) - See all my reviews
(TOP 100 REVIEWER)   

This review is from: Mosses from an Old Manse (Modern Library Classics) (Paperback)

A longtime Nathaniel Hawthorne fan, I was thrilled to find a hundred-year-old copy of "Mosses from an Old Manse." I appreciate his longer works, such as "The Scarlet Letter" and "The Blithedale Romance," but I have a particular affinity for his short stories. And this volume contains some true gems in the moss.

As always, Hawthorne wrote for a moral and a purpose. Coming from a time of Puritans and religious hypocrisy (and I'm not saying we are much different), he had a way of pinpointing some of these things through his short stories. In "The Birthmark," he deals with vanity. "Young Goodman Brown" is haunting and hearkens to the Salem Witch Trials, which is understandable, considering Hawthorne came from Salem. "The Celestial Railroad" gives a new spin on "Pilgrim's Progress," while "Egotism; or, The Bosom Serpent" deals with some dark spiritual things. There is a lot of moralizing here, but Hawthorne's way with words and his insights into human nature make them somehow more palatable, if not downright addicting. And we find a more playful side in stories such as "Mrs. Bullfrog" and "Drowne's Wooden Image."

Yes, Hawthorne demands an investment of attention and time, but he rewards those who make that investment by serving up some entertaining and thought-provoking short stories. We get a glimpse into his mind, into his era, and into the struggle between holy and profane through all generations. No wonder I love this guy's writing.