First published in 1824, Hobomok is the story of an upper-class white woman who marries an Indian chief, has a child, then leaves him--with the child--for another man.

Although spectral Indians appear with startling frequency in US literary works, until now the implications of describing them as ghosts have not been thoroughly investigated. In the first years of nationhood, Philip Freneau and Sarah Wentworth Morton peopled their works with Indian phantoms, as did Charles Brocken Brown, Washington Irving, Samuel Woodworth, Lydia Maria Child, James Fenimore Cooper, William Apess, Nathaniel Hawthorne, and others who followed. During the late 19th and early 20th centuries, Native American ghosts figured prominently in speeches attributed to Chief Seattle, Black Elk, and Kicking Bear. Today, Stephen King and Leslie Marmon Silko plot best-selling novels around ghostly Indians and haunted Indian burial grounds. RenŽe L. Bergland argues that representing Indians as ghosts internalizes them as ghostly figures within the white imagination. Spectralization allows white Americans to construct a concept of American nationhood haunted by Native Americans, in which Indians become sharers in an idealized national imagination. However, the problems of spectralization are clear, since the discourse questions the very nationalism it constructs. Indians who are transformed into ghosts cannot be buried or evaded, and the specter of their forced disappearance haunts the American imagination. Indian ghosts personify national guilt and horror, as well as national pride and pleasure. Bergland tells the story of a terrifying and triumphant American aesthetic that repeatedly transforms horror into glory, national dishonor into national pride.

As a reformative force, the literary text encouraged activism among all its readers, but affected (and was affected by) women more profoundly than, and differently from, men.".

This definitive biography restores to the public an eloquent writer and reformer who embodied the best of the American democratic heritage.

This text analyses cultural forms to demonstrate the centrality of masculine sentiment in American literary and cultural history. They analyze sentimentalism not just as a literary game but as a structure of feeling manifested in many areas.

If 1776 heralds America's Birth of the Nation, so, too, it witnesses the rise of a matching, and overlapping, American Literature. For between the 1770s and the 1820s American writing moves on from the ancestral Puritanism of New England and Virginia - though not, as yet, into the American Renaissance so strikingly called for by Ralph Waldo Emerson. Even so, the concourse of voices which arise in this period, that is between (and including) Benjamin Franklin and James Fenimore Cooper, mark both a key transitional literary generation and yet one all too easily passed over in its own imaginative right. This collection of fifteen specially commissioned essays seeks to establish new bearings, a revision of one of the key political and literary eras in American culture. Not only are Franklin and Cooper themselves carefully re-evaluated in the making of America's new literary republic, but figures like Charles Brockden Brown, Washington Irving, Philip Frencau, William Cullen Bryant, the other Alexander Hamilton, and the playwrights Royall Tyler and William Dunlop. Other essays take a more inclusive perspective, whether American epistolary fiction, a first generation of American women-authored fiction, the public discourse of The Federalist Papers, the rise of the American periodical, or the founding African-American generation of Phillis Wheatley. What unites all the essays is the common assumption that the making of America was as much a matter of creating its national literature; as the making of American literature was a matter of shaping a national identity.