(W.D.) Howells asserted that the Americans' 'love of the supernatural is their common inheritance from no particular ancestry.' Their fiction, he added, often gathers in the gray 'twilight of the reason, ' on 'the borderland between experience and illusion." Howells's geographical metaphor was derived, of course, from Hawthorne's idea of a moonlit 'neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other.' Whether literally, as in Cooper's The Spy, or metaphorically, as in Hawthorne's works, the neutral territory/borderland was the familiar setting of the American romance. As American writers came to realize, not only was there a borderland between East and West, civilization and wilderness, but also between the here and the hereafter, between conscious and unconscious, 'experience and illusion' - psychic frontiers on the edge of territories both enticing and terrifying.
During 'Hawthorne', I was constantly trying not to be too outrageous and keep it serious. This has been so refreshing for me because it's such a good outlet for the inner me to just be. That's the whole point of 'Glee' anyways - to just be who you are and that's enough. I really feel that way on set.
Trying to imagine E. M. Forster, who found Ulysses indecorous, at a London performance of Lenny Bruce""to which in fact he was once taken. Trying to imagine the same for a time-transported Nathaniel Hawthorne""who during his first visit to Europe was even shocked by the profusion of naked statues.
Sometimes the road was only a lane, with thick hawthorne hedges, and the green elms overhung it on either side so that when you looked up there was only a strip of blue sky between. And as you rode along in the warm, keen air you had a sensation that the world was standing still and life would last forever. Although you were pedaling with such energy you had a delicious feeling of laziness.
W. Somerset Maugham
Great books are readable anyway. Dickens is readable. Jane Austen is readable. John Updike's readable. Hawthorne's readable. It's a meaningless term. You have to go the very extremes of literature, like Joyce's "Finnegan's Wake," before you get a literary work that literally unreadable.
I grew up in the '80s and '90s listening to Public Enemy and Mobb Deep and the Smashing Pumpkins. I don't even know what it was like in the '60s - I wasn't alive then - so the Mayer Hawthorne sound is taking what I can learn from the classics, and blending it with my hip-hop DJ and producer background and punk-rock bands that I played in as a kid.
Do you know what the lurid intermixture of complicated emotions produces, according to Nathaniel Hawthorne? That's right, it produces the illuminating blaze of the infernal regions. Ryan MacDonald's glorious shards of prose are both lurid and blazing, and together they comprise an anthology of complex feelings-dream-like, vivid, and never, ever obvious.
There is the grand truth about Nathaniel Hawthorne. He says NO! in thunder; but the Devil himself cannot make him say yes. For all men who say yes, lie; and all men who say no,why, they are in the happy condition of judicious, unincumbered travellers in Europe; they cross the frontiers into Eternity with nothing but a carpet-bag,that is to say, the Ego. Whereas those yes-gentry, they travel with heaps of baggage, and, damn them! they will never get through the Custom House.
Here eglantine embalm'd the air, Hawthorne and hazel mingled there; The primrose pale, and violet flower, Found in each cliff a narrow bower; Fox-glove and nightshade, side by side, Emblems of punishment and pride, Group'd their dark hues with every stain The weather-beaten crags retain.
It's Nathaniel Hawthorne Month in English. Poor Nathaniel. Does he know what they've done to him? We're reading The Scarlet Letter one sentence at a time, tearing it up and chewing on its bones. It's all about SYMBOLISM, says Hairwoman. Every word chosen by Nathaniel, every comma, every paragraph break -- these were all done on purpose. To get a decent grade in her class, we have to figure out what he was really trying to say. Why couldn't he just say what he meant? Would they pin scarlet letters on his chest? B for blunt, S for straightforward?
Laurie Halse Anderson
Ever seen a two-year-old tattering around a garden? There might be a poison ivy, or rose bushes or hawthorne around the edges. There might be spades or secateurs lying on the lawn. The kid doesn't care. He just wants to play with all those brightly coloured things he sees. To him, the world is a safe place. And you might want to rush out and cut back all those sharp spiky plants so they can't hurt him, and you might want to clear away all those dangerous tools just in case, he picks them up and cut himself on them, but you know you shouldn't because if you keep doing that then he either will grow up thinking the can never hurt him, or he might go the other way, and think that everything is dangerous, and he should never go far from your side. So you just watch. And wait. And if he does get rush from the poison ivy or if he does cut his fingers off with the secateurs, then you get him to the hospital as quickly as you can, in the reasonably sure knowledge the he'll never make the same mistake again.
Do you know why teachers use me? Because I speak in tongues. I write metaphors. Every one of my stories is a metaphor you can remember. The great religions are all metaphor. We appreciate things like Daniel and the lion's den, and the Tower of Babel. People remember these metaphors because they are so vivid you can't get free of them and that's what kids like in school. They read about rocket ships and encounters in space, tales of dinosaurs. All my life I've been running through the fields and picking up bright objects. I turn one over and say, Yeah, there's a story. And that's what kids like. Today, my stories are in a thousand anthologies. And I'm in good company. The other writers are quite often dead people who wrote in metaphors: Edgar Allan Poe, Herman Melville, Washington Irving, Nathaniel Hawthorne. All these people wrote for children. They may have pretended not to, but they did.
76. David Hume - Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau - On the Origin of Inequality; On the Political Economy; Emile - or, On Education, The Social Contract 78. Laurence Sterne - Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith - The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant - Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon - The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell - Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier - Traite e‰lementaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison - Federalist Papers 85. Jeremy Bentham - Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe - Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier - Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel - Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth - Poems 90. Samuel Taylor Coleridge - Poems; Biographia Literaria 91. Jane Austen - Pride and Prejudice; Emma 92. Carl von Clausewitz - On War 93. Stendhal - The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron - Don Juan 95. Arthur Schopenhauer - Studies in Pessimism 96. Michael Faraday - Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell - Principles of Geology 98. Auguste Comte - The Positive Philosophy 99. Honore de Balzac - Pe¨re Goriot; Eugenie Grandet 100. Ralph Waldo Emerson - Representative Men; Essays; Journal 101. Nathaniel Hawthorne - The Scarlet Letter 102. Alexis de Tocqueville - Democracy in America 103. John Stuart Mill - A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin - The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens - Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard - Introduction to the Study of Experimental Medicine 107. Henry David Thoreau - Civil Disobedience; Walden 108. Karl Marx - Capital; Communist Manifesto 109. George Eliot - Adam Bede; Middlemarch 110. Herman Melville - Moby-Dick; Billy Budd 111. Fyodor Dostoevsky - Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert - Madame Bovary; Three Stories 113. Henrik Ibsen - Plays 114. Leo Tolstoy - War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain - The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James - The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James - The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche - Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincare - Science and Hypothesis; Science and Method 120. Sigmund Freud - The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw - Plays and Prefaces
Mortimer J. Adler