Book Description
This collection of stories from Washington Irving includes some of America's best-known works of fiction-such as the famous Rip Van Winkle and The Legend of Sleepy Hollow-as well as lesser-known works as The Specter Bridegroom, Westminster Abbey, English Writers on America, Stratford on Avon, The Art of Bookmaking, The Mutability of Literature, and The Christmas Quintet.
The Merriam-Webster Encyclopedia of Literature
) Short-story collection by Washington Irving, first published in 1819-20 in seven separate parts. Most of the book's 30-odd pieces concern Irving's impressions of England, but six chapters deal with American subjects. Of these, the tales THE LEGEND OF SLEEPY HOLLOW and RIP VAN WINKLE have been called the first American short stories, although both are actually Americanized versions of German folktales. In addition to the stories based on folklore, the collection contains travel sketches, literary essays, and miscellany. The Sketch Book was the first American work to gain international literary success and popularity. Its unprecedented success allowed Irving to devote himself to a career as a professional author.
From the Publisher
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Sketch Book of Geoffrey Crayon
FROM THE PUBLISHER
"I stepped upon the land of my forefathersbut felt than I was a stranger in the land." With these words, Washington Irving expresses the dilemma of every American artist in the nineteenth century. The Sketch Book (1820-1) looks simultaneously towards audiences on both sides of the Atlantic, as Irving explores the uneasy relationship of an American writer to English literary traditions. He sketches a series of encounters with the cultural shrines of the parent nation, and in two brilliant experiments with tales transplanted from Europe creates the first classic American short stories, 'Rip Van Winkle' and 'The Legend of the Sleepy Hollow'. Based on Irving's final revision of his most popular work, this new edition includes comprehensive explanatory notes of The Sketch Book's sources for the modern reader. In her introduction, Susan Manning suggests that the author forged a new idiom, the 'Literary Picturesque', to accommodate and turn to advantage his dilemma of dual literary allegiances.