Excerpt from Oldtown Folks Gentle Reader, - It is customary to omit prefaces. I beg you to make an exception in my particular case; I have something I really want to say. I have an object in this book, more than the mere telling of a story, and you can always judge of a book better if you compare it with the author's object. My object is to interpret to the world the New England life and character in that particular time of its history which may be called the seminal period. I would endeavor to show you New England in its seed-bed, before the hot suns of modern progress had developed its sprouting germs into the great trees of to-day. New England has been to these United States what the Dorian hive was to Greece. It has always been a capital country to emigrate from, and North, South, East, and West have been populated largely from New England, so that the seed-bed of New England was the seed-bed of this great American Republic, and of all that is likely to come of it. New England people cannot be thus interpreted with out calling into view many grave considerations and necessitating some serious thinking. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Excerpt from Oldtown Folks, Vol. 1 of 2: And Sam Lawson's Oldtown Fireside Stories When their attention was directed towards me, I could feel and respond to all their thoughts and feelings, and was conscious that they could in the same manner feel and respond to mine. Sometimes they would take no notice of me, but carry on a brisk conversation among themselves, principally by looks and gestures, with now and then an audible word. In fact, there were but few with whom I was very familiar. These few were much more constant and uniform in their visits than the great multitude, who were frequently changing, and too much absorbed in their own concerns to think much of me. I scarcely know how I can give an idea of their form and general appearance, for there are no objects in the material world with which I can compare them, and no language adapted to an accu rate description of their peculiarities. They exhibited all possible combinations of size, shape, proportion, and color, but their most usual appearance was with the human form and proportion, but under a shadowy outline that seemed just ready to melt into the invisible air, and sometimes liable to the most sudden and grotesque changes, and with a uniform darkly bluish color spotted with brown, or brownish-white. This was the general appearance of the multitude; but there were many exceptions to this descrip tion, particularly among my more welcome and familiar visitors, as will be seen in the sequel. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

An aesthetic of unoriginality shaped literary style and reader taste for decades of the nineteenth century. While critics in the twentieth century and beyond have upheld originality and innovation as essential characteristics of literary achievement, they were not features particularly prized by earlier American audiences, Claudia Stokes contends. On the contrary, readers were taught to value familiarity, traditionalism, and regularity. Literary originality was often seen as a mark of vulgar sensationalism and poor quality. In Old Style Stokes offers the first dedicated study of a forgotten nineteenth-century aesthetic, explicating the forms, practices, conventions, and uses of unoriginality. She focuses in particular on the second quarter of the century, when improvements in printing and distribution caused literary markets to become flooded with new material, and longstanding reading practices came under threat. As readers began to prefer novelty to traditional forms, advocates openly extolled unoriginality in an effort to preserve the old literary ways. Old Style examines this era of significant literary change, during which a once-dominant aesthetic started to give way to modern preferences. If writing in the old style came to be associated with elite conservatism—a linkage that contributed to its decline in the twentieth century—it also, paradoxically provided marginalized writers—people of color, white women, and members of the working class—the literary credentials they needed to enter print. Writing in the old style could affirm an aspiring author's training, command of convention, and respectability. In dismissing unoriginality as the literary purview of the untalented or unambitious, Stokes cautions, we risk overlooking something of vital importance to generations of American writers and readers.

Includes entries for maps and atlases.