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• W214965923 abstract "wrote more pieces directly aimed at a juvenile audience than any other canonical male author of the antebellum period. Karen Sanchez-Eppler, and the writing of At the risk of beginning with a twice-told tale, over almost two decades Nathaniel Hawthorne wrote and published a wide range of works intended for a children's reading audience. These included six books: Grandfather's Chair (1840, dated 1841), Liberty Tree (1841), and Famous Old People (1841), which focused on tensions between England and its Massachusetts colonies from Puritan arrival to the American Revolution; Biographical Stories for Children (1842), which sketched the childhood of well-known historical figures; and Wonder Book for Girls and Boys (1852) and Tanglewood Tales, For Girls and Boys; Being Second Wonder Book (1853), the first published retellings of Greek myths in English for children. (1) Hawthorne also published shorter pieces for children such as Gentle Boy (1832), Little Annie's Ramble (1834/1835), Little Daffydowndilly (1843), A Good Man's Miracle (1844), and Snow Image (1849). Additionally, he served as ghostwriter for a book in Samuel Griswold Goodrich's educational Peter Parley series, the two volume Peter Parley's Universal History on the Basis of Geography, for the Use of Families (1836); he also worked as editor for Goodrich's American Magazine of Useful and Entertaining Knowledge from January through June 1836, editing the March through August issues of that year. I rehearse this outline to underscore the extended role that writing for children occupied in Hawthorne's life and literary career. Hawthorne wrote for children when he was both a younger and an older author. wrote for children before and after the validating critical success of The Scarlet Letter. Once he entered his major phase of novel-writing and set aside the short story form, he continued to write for children. never attempted to conceal any of his works for children as he did his early novel Fanshawe. Plainly put, the works for children that Hawthorne regularly wrote during 1835-1853 constitute a central part of his essential literary vocabulary. (2) Hawthorne's works for children have attracted diverse forms of cultural attention over time. In the nineteenth and early twentieth century, editions of both Wonder Book and Tanglewood Tales were lavishly illustrated with attractive color plates by well-known artists such as Walter Crane (1893), Maxfield Parrish (1910), Milo Winter (1913; see figure 1), and Arthur Rackham (1922; see figure 2). In the twenty-first century, illustrated editions of individual tales have been published, such as He iriree Golden Apples, He Pomegranate Seeds, and, replete with pictures that glow in the dark, He Golden Touch. Sound recordings as well as an opera for children have been produced using the children's works. Stories from both Wonder Book and Tanglewood Tales have been repeatedly dramatized for children's performances. For example, in 1908, a New York Times article titled, Play on White House Lawn: 'Midas and the Golden Touch' with President in Audience, detailed a version of He Golden Touch that was performed at the White House for President Heodore Roosevelt, his wife Edith, and various dignitaries. The children's works have been very regularly reprinted and also translated into many languages including American Sign Language, Chinese, German, and Korean. Since their initial publications then, Hawthorne's works for children have very steadily circulated across a variety of media, languages, and cultures. In broad terms, this movement signals the ways that Hawthorne's works for children have been both socially sanctioned and framed. That is, at certain cultural levels, these works have long been regarded as familiar and valued parts of the Hawthorne canon. They are established, admired, sought after, and regularly represented. …" @default.
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• W214965923 date "2010-03-22" @default.
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• W214965923 title "Hawthorne 2.0" @default.
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