An American Tale
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This edition includes a comprehensive biography of Charles Brockden Brown from the 1856 edition of the Cyclopaedia of American Literature, and an introduction from noted scholar James P. Lynch.
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About the Author
Charles Brockden Brown
17 January 1771 - 21 February 1810
Generally regarded as the first American novelist, Brown is a key figure in the tradition of Gothic fiction, for some of his novels--Edgar Huntly, Wieland, Arthur Mervyn--are responsible for "Americanizing" the Gothic, which in its European incarnation featured imagery (ruined castles, etc) that was simply non-existent, and hence symbolically inert, in America. Brown shifted the settings of his works to American locales--forests, towns, caves, outlying estates -- and relocated the sources of terror, yet retained a Gothic mood of emotional and psychological extremity.
--This text refers to an alternate Paperback edition.
17 January 1771 - 21 February 1810
Generally regarded as the first American novelist, Brown is a key figure in the tradition of Gothic fiction, for some of his novels--Edgar Huntly, Wieland, Arthur Mervyn--are responsible for "Americanizing" the Gothic, which in its European incarnation featured imagery (ruined castles, etc) that was simply non-existent, and hence symbolically inert, in America. Brown shifted the settings of his works to American locales--forests, towns, caves, outlying estates -- and relocated the sources of terror, yet retained a Gothic mood of emotional and psychological extremity.
--This text refers to an alternate Paperback edition.
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Most Helpful Customer Reviews
20 of 21 people found the following review helpful:
4.0 out of 5 stars
A Classic of American Gothic Horror,
By Daniel Jolley "darkgenius" (Shelby, North Carolina USA) - See all my reviews (HALL OF FAME REVIEWER) (TOP 100 REVIEWER) (VINE VOICE) (REAL NAME)
This review is from: Wieland: Or the Transformation: An American Tale (Paperback)
Charles Brockden Brown's importance in the field of American literature is indisputably very high; thus, how unfortunate it is that his works are so unknown to us today. Were it not for H.P. Lovecraft's mention of him in his essay "Supernatural Horror in Literature," I myself would remain ignorant of his very existence. Brown is arguably the father of the American novel, a brave pioneer in the era of the early Republic. This man set upon himself the noble purpose of writing fiction for a living, going against the wishes of his family and the dictates of contemporary society. Had there been no Charles Brockden Brown, there may never have been a Poe--at least, not Poe as we know him today. The story is an Americanized Gothic romance. The spirit of Gothic literature pervades the tale, but the setting has been transferred from old castles and courtly settings to a recognizably American rural landscape which is preeminently beautiful rather than spooky. The horrors described so effectively by Brown are borne in the minds of the characters. The female protagonist Clara narrates the tortured history of her family. Her father dies mysteriously, perhaps by spontaneous combustion, ostensibly due to his failure to follow God's will in his life. She enjoys a happy adult life with her brother and his wife until a stranger named Carwin appears and quickly becomes a part of their inner circle. Carwin eventually becomes Clara's tormentor. She, her brother, and their mutual friend Pleyel all hear mysterious, unexplained voices warning them of danger and imparting fateful news on several occasions. Her brother, deeply religious like his father, is greatly affected by these phenomena--how much so we learn later in the novel. Carwin fatefully destroys Clara's life when his evil designs paint her as a harlot in Pleyel's eye. Her unrequited love for Pleyel is now met with his condemnation of her--the agony of the charges against her is particularly poignant in the early American era in which the story takes place. On the fateful night, she discovers Carwin hiding in her home, and he admits to having had murderous designs on her. Her sorrows are greatly magnified the following day by the murder of her brother's wife and five children by none other than her own beloved brother. She blames Carwin for having influenced her brother to commit murder, but we later learn that dementia itself is almost surely to blame for her brother's wrongs. Before the tale ends, she faces a confrontation with both Carwin and her murderous brother, an experience which she is fortunate to survive. The tale itself is wonderful. The suspense Brown draws out and continually heightens is first-rate. Clara's encounters with voices and human spirits hidden in the darkness of her bedroom are spine-tingling. The language of the novel does make it a work that requires some concentration on the part of the reader and may serve to frustrate some, but I think it greatly magnifies the horrific aspects of the tale. The dialogues of the actors are admittedly overdramatic and drawn out. No one speaks in this book; rather, everyone makes speeches. The protagonist often resorts to long laments of her great woe and asks how she can possibly go on with the story. Despite such dramatics on her part, though, Clara is clearly a brave, independent woman (reflecting Brown's strong and admirable commitment to the rights of women). Overall, the tale delivers a buffet of the passive voice style of writing, which I for one refuse not to love; even the most unimportant sentences are graced with a flowery, beautiful aspect. In terms of the Gothic element to the story, one cannot say that the supernatural aspects are wholly disproved in the end--to some extent they are, but not to such an extent that Wieland's murderous actions can be explained by them. Clearly, Wieland did hear voices other than those made by Carwin the biloquist. The air of mystery that remains about Wieland's dementia and the causes of it makes the ending more successful than I feared it would be once I learned of the power of ventriloquism exercised by Carwin to dictate many of the related events. My only complaint is with the final chapter, which is basically an epilogue in the protagonist's journal. Inexplicably, it introduces a new character to explain something about a minor character whom I frankly could not even remember.
9 of 9 people found the following review helpful:
5.0 out of 5 stars
The first solid American novel,
By
This review is from: Wieland or the Transformation (Literary Classics) (Paperback)
Charles Brockden Brown has been almost completely forgotten today. Unlike the more famous James Fenimore Cooper, who is often accorded the title of the first American novelist that Brown should bear, Brown's reputation is largely borne up by those few literary critics who love the earliest roots of American fiction. "Wieland" is Brown's best novel, and still quite readable today as a Gothic novel (although the secret of the villain seems rather mundane today, as the 'power' he exhibits has been played largely for laughs since the days of vaudeville and radio). Brown was born in Philadelphia in 1771, trained in the law, was one of the first to try and make a living as a writer in the early years of the American republic, and died young in 1810. If you like Gothic novels, or you have a passion for early American literature, you will enjoy "Wieland." Myself, I prefer him to Cooper, who has been forever rendered laughable in my mind by Mark Twain's hilarious essays on Cooper's literary sins.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Gothic goodness, transplanted,
By Nicole (Chicago) - See all my reviews
This review is from: Wieland: Or the Transformation: An American Tale (Paperback)
This is very firmly a late-18th/early-19th century novel, but shouldn't be shied away from as boring or staid. Yes, there is a perfect and pure heroine who faints away from time to time, but really the narrative is almost entirely plot-driven and a real page-turner. Setting a gothic romance among American Quakers proves to be an interesting conceit, as is allowing the swooning heroine to narrate the whole thing herself. The tale also has many elements of the mystery, and Carwin's long soliloquy presages in many ways the final scene of a detective novel, where the investigator reveals everything and all becomes so suddenly obvious. (That explanation, in this case, may seem to us a bit silly but I understand it was much more exciting in 1798.) Those who follow the 50-page rule (of which I seriously disapprove) may not make it out of the initial exposition and into the real story, which would be a shame, because soon enough the plot takes a much more exciting and breathless turn.
This was not just an enjoyable and unusual execution of the gothic novel, but simply a good read, and a fascinating precursor to other American writers like Edgar Allen Poe.
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