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By Susan Fenimore Cooper

Susan Fenimore Cooper (1813-1894), notwithstanding frequently overshadowed by way of her famous person father, James Fenimore Cooper, has lately turn into well-known as either a pioneer of yankee nature writing and an early suggest for ecological sustainability. Editors Rochelle Johnson and Daniel Patterson have assembled the following a suite of ten items through Cooper that symbolize her such a lot comprehensive nature writing and the fullest articulation of her environmental rules. With one exception, those essays haven't been to be had in print considering their unique visual appeal in Cooper's lifetime.A portrait of her recommendations on nature and the way we should always dwell and imagine on the subject of it, this assortment either contextualizes Cooper's magnum opus, Rural Hours (1850), and demonstrates how she perceived her paintings as a nature author. often her essays are types of the way to capture and continue the curiosity of a reader while writing approximately crops, animals, and our dating to the actual atmosphere. by way of lamenting the decline of chook populations, unique forests, and total biodiversity, she champions protection and invokes a collective environmental judgment of right and wrong that may now not start to wake up until eventually the top of her existence and century.The decisions contain self sustaining essays, miscellaneous introductions and prefaces, and the 1st 3 installments from Cooper's paintings of literary ornithology, "Otsego Leaves," arguably her such a lot mature and entirely learned contribution to American environmental writing. as well as a foreword by means of John Elder, one of many nation's major environmental educators, an advent analyzes every one essay in numerous cultural contexts. short yet convenient textual notes complement the essays. excellent for nature-writing aficionados, environmental historians, and environmental activists, this assortment will substantially extend Cooper's value to the historical past of yank environmental inspiration.

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Reingold, “Definitions and Speculations,” . . Mabel Osgood Wright, The Friendship of Nature: A New England Chronicle of Birds and Flowers (); ed. Daniel J. Philippon (Baltimore: Johns Hopkins University Press, ). . Barrow, A Passion for Birds, –. Editorial Principles O , of course, is to present these texts as their author would wish. Since no manuscripts and no subsequent republications are known to survive, we are limited for textual information to the published versions.

If we bear in mind,” says Schiller, “the beautiful scenery with which the Greeks were surrounded, and remember the opportunities possessed by a people living in so genial a climate, of entering into the free enjoyment of the contemplation of nature, and observe how conformable were their mode of thought, the bent of their imaginations, and the habits of their lives to the simplicity of nature, which was so faithfully reflected in their poetic works, we can not fail to remark with surprise how few traces are to be met among them of the sentimental interest with which we in modern times attach ourselves to the individual characteristics of natural scenery.

Since we know that Susan Cooper thought deliberately about punctuation and spelling, we feel confident that she wanted to spell words consistently. For this reason we make her spelling of words consistent in the few cases where inconsistent spellings occur. We decide which spelling of a particular word to use by looking at how she spelled the word in all of her published and unpublished texts. In every case, there are only two spellings of a word in question; in most cases it is clear that one spelling is an aberration and the other the standard spelling in Cooper’s practice.

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