FICTION IN AMERICA. While the art of fiction writing in America is scarcely more than 100 years old, its genesis may be traced far back into the records of literature. Prior to 1798, when Charles Brockden Brown laid the foundations of his fame with the writings and the publication of 'Wieland,' the art of writ ing fiction in this country was scarcely known. Novels were published, imported and read, but they were largely the work of English writers or translations from foreign languages. With the advent of Charles Brockden Brown, how ever, imaginative literature began to gain a foothold, and the literary man to secure a standing in the professional world. Brown has usually been styled the precursor of the Amer ican novelist and the rounder of American fic tion. There had been isolated attempts at fic tion writing before his day, but the results were meagre both in quantity and in quality. The list is virtually complete with 'The Pretty Story,' by Francis Hopkinson; 'The Power of Sympathy,' by Mrs. Morton; 'The Foresters,' by Jeremy Belknap; (Modern Chivalry,' by Hugh Henry Brackenridge; 'The Algerine Captive,' by Royall Tyler (who also holds posi tion as one of the early American dramatists) ; 'History of a Corporation of Servants,' a satirical romance, by John Witherspoon; 'Fe male Quixotism: the Romantic Opinions and Extravagant Adventures of Dorcasina Shel don,' by Mrs. Tabitha Tenny; and 'The Co quette,' by Mrs. Hannah Foster. Of these early novels (The Foresters,' by Jeremy Bel knap, was the most important. The poet Bryant describes it as "a work which sought to embel lish our literature with the charms of wit and humor.) Susannah Rowson's 'Charlotte Tem ple' can scarcely be accounted an American novel, for it was first published in England and its author was of English birth and residence, although she lived for a considerable length of time in this country.
It is a somewhat curious fact that Charles Brockden Brown (q.v.) reveals in his work little of the American character, the American temperament and the American people. On the other hand, he shows in his own trend of thought and choice of subjects that longing for the mysterious in life which was later to find its fullest expression in Poe and in Hawthorne. He was a student of the mystic and his novels presage the beginning of modern psychical re search. His (Wieland,' (Ormond,' 'Arthur Mervyn,' 'Edgar Huntley,' 'Clara Howard' and (Jane Talbot' were varied expositions of experiences now classed exclusively as psychical phenomena, although by him they were treated merely from the curious and spiritual points of view. His life ended 22 Feb. 1810, before he
had reached the age of 40, and so slow was the growing interest in American fiction that little advancement had been made prior to his death. With the advent of Washington Irving (q.v.) and James Fenimore Cooper (q.v.), the imagi native literature of America proved the force and might of its English heritage. As early as 1809 appeared Irving's (Knickerbocker History of New York,' which may fairly be classed as a romance if not as a novel. It was Irving's sec ond published work, his first being the volume of reprinted miscellany called (Salmagundi,' which had appeared the year before. Sur rounded by a group of brilliant men, Irving set tled down to a life of literary leisure, and in time 'The Sketch Book,' 'Bracebridge Hall) and 'Tales of a Traveler' took their place in literature. James Kirke Paulding (q.v.), his friend and comrade, shared the honors of the 'Salmagundi) essays with Irving, and in 1813 his 'Diverting History of John Bull and Brother Jonathan) led the way to a continuous flow of volumes in fiction, poetry and essay which did not cease until his death, 6 April 1860. 'The Dutchman's Fireside' was his most important novel.
It was not, however, until 1821-22 that the novel of American life, written by a typical American author, began its vogue. In that year, with the publication of 'The Spy,' the fame of James Fenimore Cooper had its beginning. He had already written (Precaution) (1820) ; but that novel was a romance of English society life and does not form a part of Cooper's most characteristic work. After 'The Spy' came 'The Pioneers' • 'The Pilot); 'Lionel Lin coln); 'The Last of the Mohicans); 'The Bravo' ; 'The Prairie' ; and (The Red Rover' ; and for 30 years, until his death, 14 Sept. 1851, Cooper was the pre-eminent American novelist who was equally expert in chronicling the life of the Indians and in writing the narratives of perilous adventures by sea. During this period the American novel and the American novelist proved their position secure. John Pendleton Kennedy, with his 'Swallow Barn); 'Rob of the Bowl); and 'Horseshoe Robinson' ; Dr. Robert Montgomery Bird, with his 'Nick of the Woods); William Ware with his 'Zenobia' and (Julian' ; Herman Melville with his (Type& ; (Omoo' ; and other remarkable sea stones; William Gilmore Simms, next to Cooper the most voluminous American novelist, with his many revolutionary and border ro mances; Charles Fenno Hoffman with his many romances of historical and legendary lore; Mrs.