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Published online by Cambridge University Press: 02 December 2020
In his preface to Homeward Bound Cooper tells the reader that this book
… was commenced with a sole view to exhibit the present state of society the United States, through the agency in part, of a set of characters with different peculiarities, who had freshly arrived from Europe, and to whom the distinctive features of the country would be apt to present themselves with greater force, than to those who had never lived beyond the influence of the things portrayed. By the original plan, the work was to open at the threshold of the country, or with the arrival of the travellers at Sandy Hook, from which point the tale was to have been carried regularly forward to its conclusion. But a consultation with others has left little more of these plan than the hatter's friends left of his sign. As a vessel was introduced in the first chapter, the cry was for “more ship,” until the work has become “all ship”; it actually closing at, or near, the spot where it was originally intended it should commence.
1 T. R. Palfrey, “Cooper and Balzac—The Headsman,” Mod. Phil., xxix (1932), 335-341.
2 Dorothy Dondore, “The Debt of Two Dyed-In-The-Wool Americans To Mrs. Grant's Memoirs: Cooper's Satanstoe and Paulding's, The Dutchman's Fireside,” Am. Lit., xii (1940), 52-58.
3 Donald M. Goodfellow, “The Sources of Mercedes of Castile,” Am, Lit., xii (1940), 318-328.
4 Quarterly Review, January, 1817, pp. 281-321; London Monthly Review, October, 1817, pp. 127-139; North American Review, September, 1817, pp. 389-409.
5 Robert E. Spiller, Fenimore Cooper (New York, 1931), p. 70.