By Carolyn L. Karcher
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It is the anxiety of an American seeking to demonstrate that New England's history offers as much scope as Old England's (and Scotland's) for the homegrown novelist hoping to emulate Scott. Aspiring American writers indeed faced a daunting prospect in 1824, as they groped for direction. Irving had just published The Sketch Book in 1819-20, Cooper The Spy in 1821 and The Pioneers in 1823. As for predecessors like Susanna Rowson, Hugh Henry Breckinridge, and Charles Brockden Brown, none had succeeded in solving the problem that confronted the writers of Child's generation - the creation of a distinctive national literature rooted in American soil.
He was a good man, and meant to be 8 Prologue kind, - but he was not used to showing tenderness," Child would write of her father in her thinly disguised autobiographical novella, Emily Parker (1827): When he came in from work, he would always inquire what she had done during the day. If she had accomplished a great deal, he would praise her industry; but he did not talk with her, during the long winter's evenings, - and it was only by the subdued tone of his naturally stern voice, and the prolonged kiss he sometimes gave her, when she bade him good night, that Emily knew he blessed her in his heart, both for her own, and her mother's sake.
20 True, Palfrey's detailed summary of Yamoyden could have sufficed to provide Child with the germ of her plot, and the idea of drawing for inspiration on English literature's most memorable account of an interracial wooing was obvious enough to have occurred to her independently. In any case, if she did literally write the first chapter of Hobomok, "exactly as it now stands," the very day she read Palfrey's review, she had already conceived the embryo of a plot that differed substantially from Yamoyden's, whatever hints she subsequently derived from directly consulting the poem cited so frequently in her epigraphs.
