The early United States was a culture of the episode. In Episodic Poetics, Matthew Garrett merges narrative theory with social and political history to explain the early American fascination with the episodic, piecemeal plot. Since Aristotle's Poetics, the episode has been a vexed category of literary analysis, troubling any easy view of the subsumption of unwieldy narrative parts into well-plotted wholes. Garrett puts forward a new, dialectical theory of episodic form to recast this peculiar object of literary history, looking to the episode as a narrative unit smaller than the genre in order to give an account of all the period's major prose genres. Garrett shows how, in ways both magisterial and mundane, episodic forms gave variegated shape to the social, political, and economic conflicts that defined the moment of national formation. Episodic Poetics proposes a new method of reading and a new way of conceiving of literary history. The book asks how we might understand the cultural role of the episode as a literary micro-unit, one that forces us to read individual narratives in terms of an always partial and fraught development toward plot. Episodic Poetics combines theoretical reflection and historical rigor with careful readings of texts from the early American canon such as The Federalist, Benjamin Franklin's Autobiography, and the novels of Charles Brockden Brown, along with hitherto understudied texts and ephemera such as Washington Irving's Salmagundi, Susanna Rowson's Trials of the Human Heart and the memoirs of the metalworker and failed entrepreneur John Fitch. Garrett recounts literary history not as the easy victory of grand nationalist ambitions, but rather as a series of social struggles expressed through writers' recurring engagement with incompletely integrated forms.

The essays in this pathbreaking collection consider the significance of varied early American fragmentary genres and practices—from diaries and poetry, to almanacs and commonplace books, to sermons and lists, to Indigenous ruins and other material shards and fragments—often overlooked by critics in a scholarly privileging of the “whole.” Contributors from literary studies, book history, and visual culture discuss a host of canonical and non-canonical figures, from Edward Taylor and Washington Irving to Mary Rowlandson and Sarah Kemble Knight, offering insight into the many intellectual, ideological, and material variations of “form” that populated the early American cultural landscape. As these essays reveal, the casting of the fragmentary as aesthetically eccentric or incomplete was a way of reckoning with concerns about the related fragmentation of nation, society, and self. For a contemporary audience, they offer new ways to think about the inevitable gaps and absences in our cultural and historical archive.

This volume traces how American literature evolved in response to widespread conflicts over the very nature of US democracy in the early republic and antebellum eras. It examines how American writers reacted to three moments of profound divisiveness in the 1790s, 1830s, and 1850s.

Edgar Huntly is a compelling tale of sleepwalking, murder, and frontier violence set in rural Pennsylvania in the 1780s. His memory and wits shaken by the scenes he has witnessed, ordinary republican citizen Edgar Huntly relates the unpredictable and catastrophic consequences of his chance encounter with Clithero Edny, a mysterious Irish immigrant whose unfortunate but violent history catches up with him in the New World. Huntly’s growing obsession with Clithero plunges both men into physical and mental danger, unsettling the colonial territories of the Delaware basin and the cognitive territory of Huntly’s own mind. Brockden Brown’s artful sensationalism transplants the European form of the gothic romance to the new United States, yielding one of the most exciting, metaphysically sophisticated, and historically self-aware novels in early American literary culture. This Broadview Edition includes a rich selection of historical materials on the gothic and sublime, sleepwalking, captivity narratives, and early American literary nationalism.

Transoceanic America offers a new approach to American literature by emphasizing the material and conceptual interconnectedness of the Atlantic and Pacific worlds. These oceans were tied together economically, textually, and politically, through such genres as maritime travel writing, mathematical and navigational schoolbooks, and the relatively new genre of the novel. Especially during the age of revolutions in the late eighteenth and early nineteenth centuries, long-distance transoceanic travel required calculating and managing risk in the interest of profit. The result was the emergence of a newly suspenseful form of narrative that came to characterize capitalist investment, political revolution, and novelistic plot. The calculus of risk that drove this expectationist narrative also concealed violence against vulnerable bodies on ships and shorelines around the world. A transoceanic American literary and cultural history requires new non-linear narratives to tell the story of this global context and to recognize its often forgotten textual archive.