Argersinger, Jana L., and Leland S. Person, eds. Hawthorne and Melville: Writing a Relationship. Athens: Georgia University, 2008. Fourteen essays that focus on the relationship that the two authors shared during the time that Melville was writing Moby Dick. The essays also discuss how each writer affected the other’s work. Essential for anyone interested in either writer.
Bunge, Nancy. Nathaniel Hawthorne: A Study of the Short Fiction. New York: Twayne, 1993. Discusses Hawthorne’s major short stories in three categories: isolation and community, artists and scientists, and perspective, humility, and joy. Includes excerpts from Hawthorne’s journals, letters, and prefaces; also includes excerpts on Hawthorne from Herman Melville, Edgar Allan Poe, Henry James, and several contemporary critics.
Charvat, William, et al., eds. The Centenary Edition of the Works of Nathaniel Hawthorne. Columbus: Ohio State University Press, 1962-1997. This continuing multivolume edition of Hawthorne’s works will, when complete, contain the entire canon. Somewhat unevenly accomplished by a variety of editors, the volumes contain a considerable amount of textual apparatus as well as biographical and critical information. Volumes 9, 10, and 11 give the texts of all known Hawthorne short stories and sketches.
Doubleday, Neal Frank. Hawthorne’s Early Tales: A Critical Study. Durham, N.C.: Duke University Press, 1972. Doubleday focuses on what he calls “the development of Hawthorne’s literary habit,” including Hawthorne’s literary theory and the materials from which he fashioned the stories of his twenties and early thirties. The index, while consisting chiefly of proper names and titles, includes some features of Hawthorne’s work (“ambiguity,” “irony,” and the like).
Fogle, Richard Harter. Hawthorne’s Fiction: The Light and the Dark. Rev. ed. Norman: University of Oklahoma Press, 1964. One of the first critics to write full analytical essays about the short stories, Fogle examines eight stories in detail as well as the four mature novels. He sees Hawthorne’s fiction as both clear (“light”) and complex (“dark”). He is particularly adept, although perhaps overly ingenious, in explicating Hawthorne’s symbolism.
Keil, James C. “Hawthorne’s ‘Young Goodman Brown’: Early Nineteenth-Century and Puritan Constructions of Gender.” The New England Quarterly 69 (March, 1996): 33-55. Argues that Hawthorne places his story in the seventeenth century to explore the nexus of past and present in the attitudes of New Englanders toward theology, morality, and sexuality. Points out that clear boundaries between male and female, public and private, and work and home were thresholds across which nineteenth century Americans often...