Well-known as a poet, cultural critic, and novelist, William Gilmore Simms’s undertaking of an edited volume of Shakespearean apocrypha seems, at first, odd and atypical.  Yet, throughout his long career, Simms displayed a real interest in the theatre, attempting, often unsuccessfully, to write and stage plays.  His correspondence also shows a recurring concern with the opinions and evaluations of the great Shakespearean actor Edwin Forrest, for whom Simms wrote several dramas, none of which were ever staged.[1]  Taking into account the author’s deep and abiding interest ...

            Published in 1846 by John Russell in Charleston, SC, Areytos was also titled Songs of the South, because all the poems dealt with subject matter related to the southern United States.  Many had been published previously in various periodicals.[1] Simms issued this collection on the heels of his Grouped Thoughts and Scattered Fancies. A Collection of Sonnets.[2]  Thinking of himself primarily as a poet and wanting to secure his place as one of America’s best, he followed the publications of Grouped Thoughts (1845) and Areytos (1846) with five other volumes of poetry, all published ...

            As Good as a Comedy and Paddy McGann are two short novels that reveal Simms’s talents as a comedic writer.  While other works, like Border Beagles, contain humorous sections or characters, these two works stand out as sustained comedic successes.  In these, Simms shows an understanding of and skill at utilizing the tropes of frontier humor, popularized by the likes of A.B. Longstreet’s Georgia Scenes, as well as a use of humor as social commentary that foreshadowed the work of Twain.  While each was published previously, they were published together in one volume in 1972, ...

            As Good as a Comedy and Paddy McGann are two short novels that reveal Simms’s talents as a comedic writer.  While other works, like Border Beagles, contain humorous sections or characters, these two works stand out as sustained comedic successes.  In these, Simms shows an understanding of and skill at utilizing the tropes of frontier humor, popularized by the likes of A.B. Longstreet’s Georgia Scenes, as well as a use of humor as social commentary that foreshadowed the work of Twain.  While each was published previously, they were published together in one volume in 1972, ...

            Though the first edition of Atalantis.  A Story of the Sea (1832) was well received by reviewers both North and South, it had only one printing.  The limited print run of just 500 copies meant that relatively few readers could enjoy the many “uncommonly strong and vigorous passages” that comprised William Gilmore Simms’s fanciful tale.[1]  Simms was early convinced that a larger readership existed and that Atalantis offered him an opportunity to increase his reputation in both the Northern states and Europe.  In 1837 he wrote to James Lawson, one of his best friends ...

            William Gilmore Simms published Atalantis.  A Story of the Sea: In Three Parts in the fall of 1832.  While Simms’s name does not appear anywhere on or in the text, it is unlikely that he sought any type of anonymity in its publication.  Within weeks of its appearing in print a reviewer in the Charleston Courier announced, “It is attributed to the pen of our fellow-townsman, William Gilmore Simms, Esq.…”[1]  Even without such prompting anyone familiar with Simms’s work would have quickly recognized his authorship, because the opening sonnet was one that he had previously ...

            Early in the morning of 7 November 1825, in the town of Frankfort, KY, a young lawyer named Jereboam O. Beauchamp crept to the house of the state attorney general, Solomon P. Sharp, and stabbed him to death.  The murder was orchestrated to avenge the honor of Anna Cook[1], Beauchamp’s wife, who as a single woman had been seduced, impregnated, and abandoned by Sharp[2].  The event was a national sensation immediately following its discovery and Beauchamp’s capture days later.  Following Cook and Beauchamp’s failed joint suicide attempt and the latter’s subsequent execution, ...

            Early in the morning of 7 November 1825, in the town of Frankfort, KY, a young lawyer named Jereboam O. Beauchamp crept to the house of the state attorney general, Solomon P. Sharp, and stabbed him to death.  The murder was orchestrated to avenge the honor of Anna Cook[1], Beauchamp’s wife, who as a single woman had been seduced, impregnated, and abandoned by Sharp[2].  The event was a national sensation immediately following its discovery and Beauchamp’s capture days later.  Following Cook and Beauchamp’s failed joint suicide attempt and the latter’s subsequent execution, ...

                Biographical Sketch from the Life of M.C.M. Hammond is a brief memorial pamphlet commemorating the life and service of Marcus Claudius Marcellus Hammond, the middle brother of the Hammond family with whom Simms was so closely connected.  Collected on the occasion of Hammond’s 23 January 1876 death, this volume consists of three distinct parts.  The first two of these parts are biographical sketches of Hammond, one by Simms, and one by Brigadier General Benjamin Alvord, who served with Hammond in the Mexican-American War. The third section of the work is a brief memorial ...

          In The Major Fiction of William Gilmore Simms, Mary Ann Wimsatt argues that Border Beagles, the sequel to the scandalous Richard Hurdis, shows Simms as continuing to explore the contentious relationship between the older, civilized tidewater south and the wild trans-mountain frontier.[1]  While thus continuing a theme begun with Guy Rivers and Richard Hurdis, Border Beagles saw Simms decidedly scaling back the violence found in those two books, especially the latter.  Here, the author’s presentation of the chaos and dangers of the frontier is tempered by humor, with ...

          In The Major Fiction of William Gilmore Simms, Mary Ann Wimsatt argues that Border Beagles, the sequel to the scandalous Richard Hurdis, shows Simms as continuing to explore the contentious relationship between the older, civilized tidewater south and the wild trans-mountain frontier.[1]  While thus continuing a theme begun with Guy Rivers and Richard Hurdis, Border Beagles saw Simms decidedly scaling back the violence found in those two books, especially the latter.  Here, the author’s presentation of the chaos and dangers of the frontier is tempered by humor, with ...

           Carl Werner was published in December 1838 by George Adlard of New York.[1]  In the author’s advertisement, Simms classified the collected stories as “moral imaginative” tales, a form of allegory illuminating the “strifes between the rival moral principles of good and evil.”  Such stories, according to John C. Guilds, may often exploit supernatural elements, although it is not necessary.  Simms attributed the origin of the title story to “an ancient monkish legend,” as he set “Carl Werner” in the deepest parts of the German forest where the narrator and his friend ...

            A gothic tale of ghosts, infidelity, murder, and love, Castle Dismal follows the protagonist Ned Clifton, a “veteran bachelor” who fears the bonds of marriage, in his holiday visit to the home of married friends.  Set during the Christmas season in South Carolina, Simms’s story illustrates the southern custom of bringing together family around a table to feast; and while Clifton eventually marries Elizabeth Singleton—freeing him from the “melancholy dependencies of bachelorism”—Simms subverts naïve nineteenth-century notions of marriage and domesticity.[1]  Marked ...

            Early in the morning of 7 November 1825, in the town of Frankfort, KY, a young lawyer named Jereboam O. Beauchamp crept to the house of the state attorney general, Solomon P. Sharp, and stabbed him to death.  The murder was orchestrated to avenge the honor of Anna Cook[1], Beauchamp’s wife, who as a single woman had been seduced, impregnated, and abandoned by Sharp[2].  The event was a national sensation immediately following its discovery and Beauchamp’s capture days later.  Following Cook and Beauchamp’s failed joint suicide attempt and the latter’s subsequent execution, ...

            Charleston and Her Satirists consists of a single poem that William Gilmore Simms drafted in response to a previously published work on Charleston.  Simms is not directly identified as the author, but is referred to as “A City Bachelor.”  The work was printed and published in two sections by James S. Burges in Charleston, SC during 1848.  The first section probably came to press sometime around November 24, as that is when Simms sent a copy to J.H. Hammond.[1]  In the accompanying letter, Simms asked for Hammond’s opinion of the work, noting that he himself had some ...

                Charleston: The Palmetto City is a 1976 pamphlet republication of an essay of the same name, originally published anonymously by Simms in Harper’s New Monthly Magazine in June 1857.[1]  The pamphlet edition of this essay is a facsimile of the original Harper’s piece.  In the essay, a rare example of the author’s travel writing, Simms focused on the architecture and geography of his native city, descriptions that are complimented by detailed illustrations of many of the most significant of Charleston’s buildings and memorials.[2]  While a minor work, the essay ...

            The City of the Silent is a poem of 500 lines written by William Gilmore Simms in November 1850.  It was published by Walker & James in Charleston, SC that same year.  The cover lists a specific date, November 19, which was the date that Simms delivered the poem at the consecration of the new Magnolia Cemetery on the banks of the Cooper River, just north of Charleston.  Although it was being published in December of 1850, and despite the fact the cover notes the date of publication as 1850, the work was released as a pamphlet in February of 1851.[1]             ...

            Building out of his early experiences with writing in the psychological gothic mode in such texts as Martin Faber (1833) and Carl Werner (1838) and anticipating his later work Castle Dismal (1844), William Gilmore Simms published Confesssion; or, The Blind Heart in 1841.  Coming at the front of what many consider to be the author’s most productive period, this novel is the extended confession of Edward Clifford who is orphaned at a young age and sent to be reared by his aunt and uncle in Charleston.  Rising above his foster parents’ scorn, Clifford becomes a lawyer, a prominent citizen, ...

            Building out of his early experiences with writing in the psychological gothic mode in such texts as Martin Faber (1833) and Carl Werner (1838) and anticipating his later work Castle Dismal (1844), William Gilmore Simms published Confesssion; or, The Blind Heart in 1841.  Coming at the front of what many consider to be the author’s most productive period, this novel is the extended confession of Edward Clifford who is orphaned at a young age and sent to be reared by his aunt and uncle in Charleston.  Rising above his foster parents’ scorn, Clifford becomes a lawyer, a prominent citizen, ...

                While generally considered to be one of Simms’s weakest novels, Count Julian; or, the Last Days of the Goth provides one of the most intriguing textual histories of any of the author’s numerous works.  Conceived as a sequel to Simms’s 1838 novel Pelayo, Count Julian continues Simms’s fictional treatment of Medieval Spain, dramatizing the legendary betrayal of Julian, Count of Cueta, an act that helped lead to the Muslim conquest of Iberia.  The work suffered from multiple delays in both composition and publication and was not published until 1845 or 1846, more ...

            Donna Florida is a narrative poem dealing with Ponce de Leon's exploits in what would later become Spanish Florida.  Before full publication in 1843, portions of the poem appeared in The Boston Monthly in 1841 and in the February-May 1843 issues of the Magnolia.[1]  Simms more than likely paid for the publication of this work in book form himself, with the volume being issued in 1843 by Burges and James in Charleston, SC.[2] Simms described the work as not “published, but presented for private distribution.”[3]  Indeed, according to a 29 June 1843 letter that Simms sent ...

            The year 1827 was an eventful one for William Gilmore Simms.  He completed reading law in the office of boyhood friend Charles Rivers Carroll and was appointed as a magistrate for Charleston; his first child, Anna Augusta Singleton, was born, and he published two volumes of collected poetry.[1]  Early Lays was the second of those volumes and it was published by A.E. Miller of Charleston in the fall of 1827.[2]  In his dedication Simms noted, however, that the material in Early Lays was “principally compiled from a surplus quantity of matter left from the publication ...

                Egeria: or, Voices of Thought and Counsel, for The Woods and Wayside was published by E.H. Butler of Philadelphia in 1853 as a collection of Simms-authored laconics written over the course of many years.[1]  Simms began composing his proverbs as early as April 1846 when he published selections of them in the Southern Patriot until April 1847 under the title, “Wayside Laconics.”  Soon afterward, Simms collected these alongside many others and sought Rufus Griswold’s assistance in locating a book publisher for the manuscript, which proved unsuccessful.  Simms then ...

            Eutaw, published by Redfield on 19 April 1856, is the sequel to The Forayers, and the penultimate romance in Simms's Revolutionary War saga[1].  It completes the story of the British withdrawal from their outpost at Ninety-Six, including the battle of Eutaw Springs, the last major engagement of the Carolina theatre, and its aftermath.  Simms’s biographer John Caldwell Guilds notes that it is necessary to understand Eutaw as a sequel, as it was “not a new venture but the extension and completion of a scheme which kept expanding in the author's fertile imagination.”[2]  ...

           Father Abbott collects together a series of related political fictions Simms wrote for the Charleston Mercury from September to November 1849.[1]  Here, the author revealed his significant wit and complex thinking about social, political, and philosophical issues through the perambulations of the titular Father Abbott about Charleston and its environs.  As Father Abbott travels around the city with various companions, its economic and political future are discussed; this conceit allowed Simms to use his satirical gifts to create a humorous, yet biting, commentary on the socioeconomic ...

         One of Simms’s minor works, the epistolary novella, Flirtation at the Moultrie House, presents an interesting picture of society life in mid-century Charleston.  Mary Ann Wimsatt notes that Flirtation, published as a pamphlet in 1850 by Edward C. Councell of Charleston, shows Simms’s “growing talent for brisk descriptions of city life,” while Simms biographer John C. Guilds notes the satiric success of the work:  “Not only is Flirtation of interest because it represents a type of fiction almost wholly different from that characteristically associated with the prolific ...

            Grouped Thoughts and Scattered Fancies, a collection of sonnets written by William Gilmore Simms, features poems published in the Southern Literary Messenger throughout 1844 and 1845.  This volume was also printed by the Messenger’s printer, W. Macfarlane, in 1845.[1]  Simms is not specifically named as the author on the title page; however, he is identified as the author by the listing of two of his other notable works, Atalantis and Southern Passages and Pictures. Simms personally selected the works for Grouped Thoughts and Scattered Fancies “from his private repertoire ...

          Guy Rivers was published by Harper & Brothers in July 1834 as the first of Simms’s many fictional frontier writings known as the Border Romance series. According to the author, these works were “meant to illustrate the border & domestic history of the South.”[1]  Writing to James Lawson in December 1833, Simms described the novel as “a tale of Georgia—a tale of the miners—of a frontier and wild people, and the events are precisely such as may occur among a people & in a region of that character.”[2]  Mary Ann Wimsatt notes that Guy Rivers established ...

          Guy Rivers was published by Harper & Brothers in July 1834 as the first of Simms’s many fictional frontier writings known as the Border Romance series. According to the author, these works were “meant to illustrate the border & domestic history of the South.”[1]  Writing to James Lawson in December 1833, Simms described the novel as “a tale of Georgia—a tale of the miners—of a frontier and wild people, and the events are precisely such as may occur among a people & in a region of that character.”[2]  Mary Ann Wimsatt notes that Guy Rivers established ...

                While one of the lesser-known of Simms’s border romances, the novella Helen Halsey is nevertheless a strong work, indicative of the overall project the author undertook in that series.  The first mention of Helen Halsey in the Letters was in June 1843.  By September, Simms told James Lawson that the work was “nearly ready.”  Helen Halsey was “to follow up” Simms’s ghost story Castle Dismal, a work he announces in the same letter to be sending to “the Harpers.”[1]  Letters to Lawson from this time period indicate that the author was interested in shopping ...

            William Gilmore Simms spoke at the opening of the Spartanburg Female College at approximately 1pm[1] on August 22, 1855 to an audience comprised largely of the Board of Trustees and other persons involved in the founding of that institution[2].  His remarks were published several weeks later in a pamphlet entitled Inauguration of the Spartanburg Female College.  His talk focused on the two related topics of the value of education in general and the importance of female education specifically.  On the former, Simms compared the mind of man to a wilderness terrain awaiting ...

          Although written and published last among his eight Revolutionary novels in 1867, Joscelyn should be placed first in the series chronologically, for it lays out the preliminaries and “origins of this partisan conflict.”[1]  Set in the final six months of 1775, the romance depicts the beginnings of the Revolutionary conflict between patriots and loyalists in the backcountries of Georgia and South Carolina. Simms mixed historical figures, such as William Henry Drayton and Thomas Browne, with fictional ones to illustrate the dramatic tensions and implications of the early partisan ...

          Although written and published last among his eight Revolutionary novels in 1867, Joscelyn should be placed first in the series chronologically, for it lays out the preliminaries and “origins of this partisan conflict.”[1]  Set in the final six months of 1775, the romance depicts the beginnings of the Revolutionary conflict between patriots and loyalists in the backcountries of Georgia and South Carolina. Simms mixed historical figures, such as William Henry Drayton and Thomas Browne, with fictional ones to illustrate the dramatic tensions and implications of the early partisan ...

          Set in September of 1780, Katharine Walton is the third installment of a trilogy that follows The Partisan and Mellichampein covering the Revolution in South Carolina.[1]  While The Partisan and Mellichampe are set in the interior of the Santee and Wateree rivers, Katharine Walton  takes the reader to the city of Charleston in 1780-81 to trace the social world of South Carolina under British occupation.[2]  The city functions narratively as a “unifying center,” according to John C. Guilds, to free Katharine Walton of the “awkward shifts in action and setting ...

          Set in September of 1780, Katharine Walton is the third installment of a trilogy that follows The Partisan and Mellichampein covering the Revolution in South Carolina.[1]  While The Partisan and Mellichampe are set in the interior of the Santee and Wateree rivers, Katharine Walton  takes the reader to the city of Charleston in 1780-81 to trace the social world of South Carolina under British occupation.[2]  The city functions narratively as a “unifying center,” according to John C. Guilds, to free Katharine Walton of the “awkward shifts in action and setting ...

            Lays of the Palmetto is a collection of poems that William Gilmore Simms wrote in honor of the South Carolina regiment that participated in the war with Mexico.  Many of the poems were originally published in the Charleston Courier in February and March of 1848.[1] Simms is directly identified as the author of the work on the title page.  In a March 23, 1848 letter to his friend and New York agent, James Lawson, Simms indicated to him that he had “just finished,” the work and was preparing it to go to press.[2]  In late July 1848, Lays of the Palmetto was published by John ...

            The Charleston firm of Ellis & Neufville issued Lyrical and Other Poems, which was Simms’s first published collection of poetry, in January or early February of 1827.  An early date is most likely, because the copyright notice reprinted at the front of the text indicates that Ellis & Neufville filed the necessary paperwork on December 13, 1826, and a review of the volume appeared in the New York Literary Gazette and American Athenæum on February 3, 1827.  The collection was generally well-received by critics and in later years Simms would recall fondly the praise ...

                Marie de Berniere: A Tale of the Crescent City is a collection of stories published in 1853 by Lippincott, Grambo, and Co. of Philadelphia.  In addition to the title story, the collection includes “The Maroon” and “Maize in Milk.”  Each story was published serially prior to the collection and gradually expanded from its serial version into novella form.  In a 20 June 1853 to James Henry Hammond, Simms mentioned “collecting my scattered novellettes & tales.  You have probably seen ‘Marie de Berniere &c.’ This will be followed up by other vols. of similar ...

           One of the most important works in Simms’s development as a writer, Martin Faber has a long and intriguing publication history.  Originally published as a novella by J. & J. Harper of New York in 1833, it was revised and expanded for re-publication, alongside nine other short stories and a poem, as Martin Faber, the Story of a Criminal, and Other Tales, issued by Harper & Brothers in 1837.[1]  Simms biographer John Caldwell Guilds notes the significance of Martin Faber for the author, as its writing and Simms’s hopes for it, seemed to seriously alter his life in his late ...

           One of the most important works in Simms’s development as a writer, Martin Faber has a long and intriguing publication history.  Originally published as a novella by J. & J. Harper of New York in 1833, it was revised and expanded for re-publication, alongside nine other short stories and a poem, as Martin Faber, the Story of a Criminal, and Other Tales, issued by Harper & Brothers in 1837.[1]  Simms biographer John Caldwell Guilds notes the significance of Martin Faber for the author, as its writing and Simms’s hopes for it, seemed to seriously alter his life in his late ...

           Carl Werner was published in December 1838 by George Adlard of New York.[1]  In the author’s advertisement, Simms classified the collected stories as “moral imaginative” tales, a form of allegory illuminating the “strifes between the rival moral principles of good and evil.”  Such stories, according to John C. Guilds, may often exploit supernatural elements, although it is not necessary.  Simms attributed the origin of the title story to “an ancient monkish legend,” as he set “Carl Werner” in the deepest parts of the German forest where the narrator and his friend ...

          The second of eight novels in the Revolutionary War series, William Gilmore Simms’s Mellichampe was originally published by Harper in 1836, then revised and republished in the Redfield edition in 1854.  The story follows the fictional band of Francis Marion’s partisans in the fall of 1780 after the Battle of Camden, as they engage in guerrilla warfare on the Santee River against loyalist and British forces.  In his advertisement to the first edition, Simms considered Mellichampe a “Historical romance” that accurately conveyed the career of Marion[1] to the “very ...

          The second of eight novels in the Revolutionary War series, William Gilmore Simms’s Mellichampe was originally published by Harper in 1836, then revised and republished in the Redfield edition in 1854.  The story follows the fictional band of Francis Marion’s partisans in the fall of 1780 after the Battle of Camden, as they engage in guerrilla warfare on the Santee River against loyalist and British forces.  In his advertisement to the first edition, Simms considered Mellichampe a “Historical romance” that accurately conveyed the career of Marion[1] to the “very ...

           “I have also a very Texan drama unpublished in my desk,” Simms wrote to state legislator, Armistead Burt, in January 1845, “which will make a rumpus, be sure, if ever it reaches light upon the stage.”[1]  That drama, Michael Bonham, was originally published pseudonymously (by “A Southron”) in the Southern Literary Messenger from February to June 1852.  Richmond publisher, John R. Thompson, released it as a small pamphlet after its serial run in July 1852.[2]  The drama is based on James Butler Bonham, a South Carolina native and lieutenant in the Texas Calvary, who died ...

In 1825, a nineteen-year-old Simms published his first major work, Monody, on the Death of Gen. Charles Cotesworth Pinckney, and thus took his initial step toward establishing himself as one of the leading literary voices in Charleston.  His work at this time, and especially in this long poem, pointed to intellectual concerns that would follow him throughout his literary career.  Monody was published during one of Simms’s first periods of sustained literary labor, his acting as editor of the Album: A Weekly Miscellany, a magazine first published on 2 July 1825, and then every Saturday for the rest ...

                Throughout his long career, Simms was regularly concerned with theatre, though drama would always be the genre with which he had the least commercial and critical success.  Norman Maurice; or,The Man of the the People is perhaps Simms’s best dramatic work, though its failings are typical of his theatrical frustrations.  Norman Maurice was a lofty experiment, mixing contemporary politics with common language presented in the format of the Elizabethan tragedy.  Written in strict blank verse, Norman Maurice is a play in which the Constitutional and slavery questions that ...

                Throughout his long career, Simms was regularly concerned with theatre, though drama would always be the genre with which he had the least commercial and critical success.  Norman Maurice; or,The Man of the the People is perhaps Simms’s best dramatic work, though its failings are typical of his theatrical frustrations.  Norman Maurice was a lofty experiment, mixing contemporary politics with common language presented in the format of the Elizabethan tragedy.  Written in strict blank verse, Norman Maurice is a play in which the Constitutional and slavery questions that ...

                By the late 1830s, Simms’s reputation and fame were on a steady rise; on the strength of romances like The Yemassee and The Partisan, Simms was widely regarded as one of antebellum America’s finest writers.  At this point, the always self-conscious novelist made one of the more curious decisions of his literary career by reworking a piece of verse-drama juvenilia into the novel Pelayo:  A Story of the Goth, published in two volumes by Harper & Brothers of New York in 1838.  In writing Pelayo, Simms left the romantic epics of America’s history and frontier on which ...

            William Gilmore Simms’s ultimate ambition for his collected poetical works titled Poems: Descriptive, Dramatic, Legendary, and Contemplative was limited to posterity.  Unlike most of his literary efforts, it was not a money-making operation.  He wrote his friend B.F. Perry in January 1852, “my hope & expectation are not profit.  I seek only to put myself fully on record for the future.”  Remarkably, Simms went on to explain this bid for future acclaim:  “I regard my career as pretty well over, and wish now to revise and make myself as worthy as possible in the eyes ...

         Poetry and the Practical was published in 1996 by The University of Arkansas Press as part of The Simms Series.  Edited with an introduction and notes by James Everett Kibler Jr., the book contains a lecture written by Simms between the years of 1851-54, which expanded from one to three parts.  Kibler summarizes the lecture as “a clear, forceful, inspired defense of poetry against those who would relegate it to the margins of life.”[1]  In a 12 November 1850 letter to Evert Augustus Duyckinck, Simms made first mention of the lecture: “I recieve [sic] another application for a public Lecture ...

           Richard Hurdis, the second of Simms’s Border Romances (following Guy Rivers of 1834), presents an intriguing study of the author’s development, as its publication history illustrated Simms’s notorious sensitivity to critical reception.  Hurdis came out during a worrisome time in Simms’s life, with his second wife, Chevillette Eliza Roach Simms, severely ill while pregnant, and the writer’s relationship with his publisher, the Harper Brothers of New York, souring.  John C. Guilds notes that “alternating moods of depression and optimism—lifelong traits—soon became dominant ...

           Richard Hurdis, the second of Simms’s Border Romances (following Guy Rivers of 1834), presents an intriguing study of the author’s development, as its publication history illustrated Simms’s notorious sensitivity to critical reception.  Hurdis came out during a worrisome time in Simms’s life, with his second wife, Chevillette Eliza Roach Simms, severely ill while pregnant, and the writer’s relationship with his publisher, the Harper Brothers of New York, souring.  John C. Guilds notes that “alternating moods of depression and optimism—lifelong traits—soon became dominant ...

            Sabbath Lyrics is a collection of poems written by William Gilmore Simms based on Christian scripture.  The poems featured in this collection had been published previously in Godey’s throughout 1848 and 1849.[1]  These individual poems were published as a collection in 1849 by the Press of Walker and James in Charleston, SC.  Simms intended for this work to be, “a Christmas giftbook,” that people could give as a Christmas present to their loved ones.  His effort to find a printer for the work in July of 1849, however, was unsuccessful.[2]  In a letter to Nathaniel ...

           One of the more important, though most-lightly studied, of Simms’s works is Sack and Destruction of the City of Columbia, SC, a narrative recounting of William Tecumseh Sherman’s entry into and occupation of South Carolina’s capital city, and its subsequent destruction in the waning days of the Civil War.  Simms originally published Sack and Destruction serially in The Columbia Phoenix, “a small newspaper edited by Simms that commenced publication in the waning weeks of the Confederacy” from the newspaper’s first edition until 10 April 1865; after the close of the War, ...

                Selections from the Letters and Speeches of the Hon. James H. Hammond, of South Carolina was originally published in New York by John F. Trow & Co. in 1866.  The Southern Studies Program at the University of South Carolina included Selections in the South Caroliniana Series, and so it was published by the Reprint Company in 1978.  James Henry Hammond (1807-1864) served South Carolina as a member of Congress from 1835-1836, governor from 1842-1844, and United States senator from 1857 until 1860, when he resigned upon South Carolina’s secession from the Union.  Hammond ...

            William Gilmore Simms was invited to give the oration, which would become Self-Development, by the Literary Societies of Oglethorpe University in Milledgeville, GA in 1847.  In consideration of his student audience, Simms took as his theme the nature and progress of the individual, especially in relation to his function within God’s plan.  The title quality, according to the author, is about recognizing one’s God-given potentials and subsequently nurturing and expressing them in action.  Everybody has inborn strengths and aptitudes; self-development is the art of fully ...

            Published in 1846 by John Russell in Charleston, SC, Areytos was also titled Songs of the South, because all the poems dealt with subject matter related to the southern United States.  Many had been published previously in various periodicals.[1] Simms issued this collection on the heels of his Grouped Thoughts and Scattered Fancies. A Collection of Sonnets.[2]  Thinking of himself primarily as a poet and wanting to secure his place as one of America’s best, he followed the publications of Grouped Thoughts (1845) and Areytos (1846) with five other volumes of poetry, all published ...

           A month before the Battle of Fort Sumter, Simms, in a letter to William Porcher Miles, asserted that the system that was about to plunge the nation into the Civil War was misunderstood:  “In 1835 I took the ground, in my pamphlet on the Morals of Slavery, that our Institution was not slavery at all, in the usual acceptation of the term[…]but that the negro in the South was a minor, under guardianship[…]was distinctly individualized, & protected in all his rights & privileges, through a representative master.”[1]  The pamphlet to which Simms referred was Slavery ...

           Throughout his life, William Gilmore Simms was deeply invested in researching and interpreting the history of the American Revolution and was particularly concerned with promoting the participation of his native South Carolina in that conflict.  As evidenced by his biographies of Francis Marion and Nathanael Greene, his series of epic romances of the Revolution largely set in South Carolina, and his emphasis on the Revolution in his The History of South Carolina, Simms’s understanding of South Carolina’s role in the conflict was one of patriotism and heroic self-sacrifice.  ...

            Southern Passages and Pictures is a volume of poetry by William Gilmore Simms, although his name is not mentioned directly on the title page. The work announced its author simply as the writer of “Atalantis,” “The Yemassee,” “Guy Rivers,” and “Carl Werner,” perhaps assuming that readers would know Simms in association with his authorship of these well-read works.  The volume was published in December of 1838 by George Adlard, who also published Carl Werner on Simms’s behalf.  Craighead and Allen were the Printers. Although Southern Passages and Pictures was published ...

            William Gilmore Simms assembled his 1854 Southward Ho!  A Spell of Sunshine largely out of his various periodical fiction publications, many from the late 1840s.  Often categorized as one of the author's novels, the work is organized as a collection of short stories unified by the central narrative conceit of a group of storytelling passengers on a sea voyage from New York to Charleston.[1]  The travelers pass the time by sharing stories of their homes or other familiar (usually southern) locales.  Because of this organization, John C. Guilds says the text exhibits ...

           Stories and Tales is Volume V of the University of South Carolina’s Centennial Edition of the writings of William Gilmore Simms[1].  This volume contains fifteen stories and tales, chronologically presented, collecting writings from all phases of Simms’s career. [2]  Simms wrote short fiction, often of wildly inconsistent quality, throughout his long career; his best fiction was praised by Poe, while his poorer fiction was often self-consciously born out of economic necessity[3].  Simms published his short fiction widely both in a variety of periodicals and multiple book-length ...

                The Army Correspondence of Colonel John Laurens was published in an 1867 limited edition printing by the Bradford Club of New York.[1]  This collection displays Simms’s efforts of documentary editing in the vein of a similar project he published the prior year, Selections from the Letters and Speeches of the Hon. James H. Hammond (1866).  The Army Correspondence consists of letters John Laurens wrote to his father, Henry, between the years of 1777 and 1778 during his service with the Continental Army in the Revolutionary War.  The volume also features an introductory ...

                While a minor work overall in the Simms canon, The Book of My Lady: A Melange, published in 1833 by Key & Biddle of Philadelphia, is nevertheless an important text.  Here, Simms presents several stories that appear in later works, positioning The Book of My Lady as an interesting transitional work.  This collection of nineteen stories and ten poems also provides a clear glimpse of the influence of Romanticism on Simms, particularly in his thinking about the complex relationships between art, history, and nationality—subjects that would fascinate the author throughout ...

      The Cassique of Accabee, a volume of poetry by William Gilmore Simms, features one long narrative poem, which shares its title with the book.  The volume also contains a section of shorter poems.  These poems were all previously published in other forms before they appeared in this collection,[1] published by John Russell in 1849 in Charleston, South Carolina.  As James Kibler notes, the volume was completely printed by September 19, 1849, but copies were still being bound around September 27, 1849.[2]  Kibler observes further that subsequent copies of the work, all of which were ...

          The Cassique of Kiawah, thought by many critics of Simms’s own time and several modern scholars to be the author’s best work, is a colonial romance about the early days of Charleston.  Setting the book in the 1680s, Simms robustly describes the competing claims of the English and Spanish over Charleston and its environs, including the attendant violence and actions of Spanish pirates and English privateers.  In so doing, he presents a vision of Charleston that was not genteel and sophisticated, but rather raucous and frontier-like; Simms thus usedThe Cassique of Kiawah to critique ...

           One of the major American cities of the mid-19th century, Charleston was viewed by its citizens as a hub of culture and erudition equal to that of the other great cities of the time, including New York, Boston, Philadelphia, and Baltimore.  To illustrate the quality of the city’s intellectual life and literary merits, “Charleston book-seller and Reform Jewish leader Samuel Hart, Sr. proposed that Charlestonians join the trend” of putting together an anthology of writings by city residents, much as several other cities had done throughout the late 1830s.[1]  Simms, the leading ...

                Simms was the primary, anonymous contributor to the Cosmopolitan: An Occasional, and the two numbers of this short-lived publication reveal the state of his talents at the end of his apprenticeship period.  Issued in May and July 1833 by Wm. Estill of Charleston, the two issues of the Cosmopolitan are among the works leading to what John C. Guilds calls Simms’s “flurry of literary efforts that produced four major works of fiction within the next two years.”.[1] As such, Guilds suggests that the Cosmopolitan be considered not so much for the quality of Simms’s inconsistent ...

           In the closing years of his life, William Gilmore Simms found himself physically unwell, near-indigent, and living in a post-Civil War world that challenged his entire conception of social order.  Yet, out of this, Simms produced one last great flourish of creativity, including The Cub of the Panther:  A Hunter Legend of the “Old North State.”  This novel shares certain features with the author’s earlier border romances, exhibiting a similar interest in violence, comedy, and social stratification.  Yet, the different socio-political circumstances of the postbellum world ...

           The Damsel of Darien was published in two volumes in 1839.  Simms first mentioned the story to James Lawson in a 2 September 1838 letter, revealing that he “wrote during the first part of the summer some 150 pages of a new novel & there it sticks.”[1]  Simms informed Lawson in January of 1839 that Damsel would be published with Lea & Blanchard of Philadelphia, who would pay $1000 for a first edition of 3,000 copies; in the meantime, Simms was busy revising the “numerous errors of history & geography” committed while composing the first volume of the story.[2]  ...

            Simms biographer John Caldwell Guilds notes that, in 1855, Simms would "enter a four-year period marked not by the exuberance and the surging creative force of the young Simms, but rather by an artistic imagination tempered and refined by maturity and experience."[1] The first major product of this new period was The Forayers, another in Simms's series of revolutionary romances, published by Redfield in 1855.  The Forayers is concerned with the British army's retreat from its outpost at Ninety-Six, and explores the events leading up the Battle of Eutaw Springs in 1781; ...

            The Geography of South Carolina, written as a companion piece for the 1842 edition of The History of South Carolina, was published by Babcock & Co. in 1843.  Simms conceived of The History and The Geography as parts of a single project and initially desired the two books to be published together in one volume.[1]  Sean R. Busick notes that such a publication was cost-prohibitive; thus, The History and The Geography were published separately.[2]  In the preface to The Geography, Simms suggests another reason for their separate publication:  by breaking up his subject ...

                Marie de Berniere: A Tale of the Crescent City is a collection of stories published in 1853 by Lippincott, Grambo, and Co. of Philadelphia.  In addition to the title story, the collection includes “The Maroon” and “Maize in Milk.”  Each story was published serially prior to the collection and gradually expanded from its serial version into novella form.  In a 20 June 1853 to James Henry Hammond, Simms mentioned “collecting my scattered novellettes & tales.  You have probably seen ‘Marie de Berniere &c.’ This will be followed up by other vols. of similar ...

                Published by Walker & Richards in 1852, The Golden Christmas is novella of social manners set in the lowcountry of Berkeley County in Charleston, South Carolina.  Geography is of central importance to both the book itself and the story within.  Charleston, as the home of the author, the setting of the story, and the location of the publisher and printer is as much the focus of the work as any characters or details of plot; in a 2005 introduction to the novella, critic David Aiken claims that The Golden Christmas “today provides one of the most comprehensive and accurate ...

            Believing it “necessary to the public man, as to the pupil,” Simms undertook The History of South Carolina explicitly for the education of the state’s young people, so as to tell them the vibrant history of the state and the distinguished accomplishments of her leaders.[1]  There is evidence to suggest that Simms was particularly motivated to write such a history in order to provide an historical account of South Carolina and notable South Carolinians, to his eldest child Augusta, who was attending boarding school in Massachusetts in the late 1830s.[2]  Simms seemingly ...

            Believing it “necessary to the public man, as to the pupil,” Simms undertook The History of South Carolina explicitly for the education of the state’s young people, so as to tell them the vibrant history of the state and the distinguished accomplishments of her leaders.[1]  There is evidence to suggest that Simms was particularly motivated to write such a history in order to provide an historical account of South Carolina and notable South Carolinians, to his eldest child Augusta, who was attending boarding school in Massachusetts in the late 1830s.[2]  Simms seemingly ...

            Believing it “necessary to the public man, as to the pupil,” Simms undertook The History of South Carolina explicitly for the education of the state’s young people, so as to tell them the vibrant history of the state and the distinguished accomplishments of her leaders.[1]  There is evidence to suggest that Simms was particularly motivated to write such a history in order to provide an historical account of South Carolina and notable South Carolinians, to his eldest child Augusta, who was attending boarding school in Massachusetts in the late 1830s.[2]  Simms seemingly ...

            William Gilmore Simms’s third novel of the Revolutionary War (though fifth in order of plot chronology) was originally published in 1841 under the title The Kinsmen.  It became an early offering as part of the Redfield edition under its more popularly-known title The Scout in 1854.  A novel of familial conflict in the context of war and a broad-minded exploration of patriotism across classes, The Scout opens shortly after the Battle of Hobkirk’s Hill (aka the Second Battle of Camden)[1] in May 1781.  The action ends with the British departure from the Star Fort at Ninety ...

            In his lifetime, William Gilmore Simms “was the author of thirty-four works of fiction, nineteen volumes of poetry, three of drama, three anthologies, three volumes of history, two of geography, six of biography, and twelve of reviews, miscellanies and addresses, a total of eighty-two volumes.”[1]  The estimate of the output was impressive, if not quite complete.[2]  Regardless, Simms’s influence was unparalleled.  No mid-nineteenth-century writer and editor did more to frame white southern self-identity and nationalism, shape southern historical consciousness, or foster ...

            In his lifetime, William Gilmore Simms “was the author of thirty-four works of fiction, nineteen volumes of poetry, three of drama, three anthologies, three volumes of history, two of geography, six of biography, and twelve of reviews, miscellanies and addresses, a total of eighty-two volumes.”[1]  The estimate of the output was impressive, if not quite complete.[2]  Regardless, Simms’s influence was unparalleled.  No mid-nineteenth-century writer and editor did more to frame white southern self-identity and nationalism, shape southern historical consciousness, or foster ...

            In his lifetime, William Gilmore Simms “was the author of thirty-four works of fiction, nineteen volumes of poetry, three of drama, three anthologies, three volumes of history, two of geography, six of biography, and twelve of reviews, miscellanies and addresses, a total of eighty-two volumes.”[1]  The estimate of the output was impressive, if not quite complete.[2]  Regardless, Simms’s influence was unparalleled.  No mid-nineteenth-century writer and editor did more to frame white southern self-identity and nationalism, shape southern historical consciousness, or foster ...

            In his lifetime, William Gilmore Simms “was the author of thirty-four works of fiction, nineteen volumes of poetry, three of drama, three anthologies, three volumes of history, two of geography, six of biography, and twelve of reviews, miscellanies and addresses, a total of eighty-two volumes.”[1]  The estimate of the output was impressive, if not quite complete.[2]  Regardless, Simms’s influence was unparalleled.  No mid-nineteenth-century writer and editor did more to frame white southern self-identity and nationalism, shape southern historical consciousness, or foster ...

            In his lifetime, William Gilmore Simms “was the author of thirty-four works of fiction, nineteen volumes of poetry, three of drama, three anthologies, three volumes of history, two of geography, six of biography, and twelve of reviews, miscellanies and addresses, a total of eighty-two volumes.”[1]  The estimate of the output was impressive, if not quite complete.[2]  Regardless, Simms’s influence was unparalleled.  No mid-nineteenth-century writer and editor did more to frame white southern self-identity and nationalism, shape southern historical consciousness, or foster ...

            In his lifetime, William Gilmore Simms “was the author of thirty-four works of fiction, nineteen volumes of poetry, three of drama, three anthologies, three volumes of history, two of geography, six of biography, and twelve of reviews, miscellanies and addresses, a total of eighty-two volumes.”[1]  The estimate of the output was impressive, if not quite complete.[2]  Regardless, Simms’s influence was unparalleled.  No mid-nineteenth-century writer and editor did more to frame white southern self-identity and nationalism, shape southern historical consciousness, or foster ...

           The Life of Captain John Smith was published by George F. Cooledge & Brother in March 1847 as part of The Illustrated Library series intended for school libraries and general reading.[1]  Simms’s letters indicate that he began the biography as early as November 1844 when he wrote to George Frederick Holmes: “I have half contracted to prepare a Life of Sumter, one of Paul Jones, and a third of John Smith, with a new edition of his history of Virginia.”[2]  By the middle of the month Simms informed James Lawson he had already “written a chapter.”  The process of getting ...

A significant aim throughout Simms’s work is to provide South Carolina, and the South generally, with pride of place in the emergence of the American nation, its people, and their national character.  Simms does this work largely through his narration of the Revolutionary War in South Carolina, the focus of numerous romances, histories, and other works.  One such work is The Life of Francis Marion, a biography of the legendary “Swamp Fox.”  Simms’s interest in Marion is pronounced, as the famous general appears in several of the revolutionary romances; while flawed at times, Simms’s ...

                Simms was interested in the American Revolution throughout his career, writing significant works about the conflict in both fiction and nonfiction.  By 1840, he had already produced the first edition of his History of South Carolina as well as two of his Revolutionary Romances, all of which are works largely concerned with the effect of the Revolution on his native state.  Around this same time, Simms had decided to complement this work by writing biographies.  In April 1840, he wrote to James Lawson that he was “meditating and taking notes for several Biographies—say ...

           For Simms, it was in a time “when chivalry was at its lowest condition in Christian Europe,” that the Chevalier Bayard provided the world, “the happiest illustration, in a single great example, of its ancient pride and character,” and “the most admirable model to the generous ambition of the young that we find in all the pages of history.”[1]  Simms wrote The Life of Chevalier Bayard, a biography of the late-medieval French knight, to serve as an archetype of virtue for Americans.  In 1845, Simms had written two articles on Bayard for Southern and Western[2], and ...

                While it largely fell out of the public consciousness after the author’s death, Simms’s The Lily and the Totem is one of his most intriguing works, both because of its overall quality and its experimentation with the possibilities of mixing history and fiction.  While The Lily and the Totem is a story of French Huguenots in sixteenth-century Florida, it is not, importantly, a historical romance.  Rather, Simms here experimented with a new way in which to relate history—by telling history through fictionalized narratives that fill in the gaps between what we do and do ...

          The Partisan: A Tale of the Revolution (1835) was the first composed of Simms’s series of romances about the Revolutionary War, though the second in the series’ overall chronology.  The Partisan was also the first of a “trilogy” of closely-related novels within Simms’s overall Revolutionary War saga, sharing characters and other links with Mellichampe (1836) and Katherine Walton (1851).[1] The novel deals with the 1780 Battle of Camden and its aftermath, especially the guerilla warfare tactics employed by “The Swamp Fox,” General Francis Marion, and other ...

          The Partisan: A Tale of the Revolution (1835) was the first composed of Simms’s series of romances about the Revolutionary War, though the second in the series’ overall chronology.  The Partisan was also the first of a “trilogy” of closely-related novels within Simms’s overall Revolutionary War saga, sharing characters and other links with Mellichampe (1836) and Katherine Walton (1851).[1] The novel deals with the 1780 Battle of Camden and its aftermath, especially the guerilla warfare tactics employed by “The Swamp Fox,” General Francis Marion, and other ...

         The Power of Cotton is a pamphlet published by Chatterton & Brother of New York in 1856.  The work claims to be a paper read in New York in November 1856.  The only known copy of the paper had been in the possession of Theodore Parker, the most prominent Unitarian and Transcendentalist minister in the northeast in 1856.  The work was bequeathed to the public library of the city of Boston from the Parker estate on 30 October 1864, four years after Parker’s passing.  On both the cover and title page, the precise location of the reading and the author’s name were both removed ...

         While one of the more obscure works in Simms’s canon, The Prima Donna:  A Passage from City Life, provides an intriguing look into his relationship with the serial publishers who published so much of his work.  It is also a noteworthy work for its content.  Biographer John C. Guilds finds that it  reflects Simms’s “interest in theater” and helps to demonstrate that the author “wrote more effectively about drama than he wrote drama itself.”[1] A brief, 24-page fiction published as a standalone book by Louis A. Godey in 1844, The Prima Donna was originally composed sometime ...

                One of Simms’s most personal works, The Remains of Maynard Davis Richardson is an editorial project the writer undertook after his good friend Richardson’s premature death at the age of 20 on 12 October 1832.  While details about their friendship remain scarce, it is known that Richardson accompanied Simms on the writer’s first trip to the North,[1] and Simms dedicated his long 1832 narrative poem Atalantis to him, referring to the younger man’s “high moral and intellectual worth” in his dedicatory note.  The families of the two men had been long acquainted ...

            William Gilmore Simms’s third novel of the Revolutionary War (though fifth in order of plot chronology) was originally published in 1841 under the title The Kinsmen.  It became an early offering as part of the Redfield edition under its more popularly-known title The Scout in 1854.  A novel of familial conflict in the context of war and a broad-minded exploration of patriotism across classes, The Scout opens shortly after the Battle of Hobkirk’s Hill (aka the Second Battle of Camden)[1] in May 1781.  The action ends with the British departure from the Star Fort at Ninety ...

            Simms delivered The Sense of the Beautiful, his final public oration, on May 3, 1870, a little over a month before his death.[1]  The occasion was the first Floral Fair held by the Charleston County Agricultural and Horticultural Society, a group that would merge in August with the older and recently revived Agricultural Society of South Carolina.  In his speech, Simms stressed the importance of natural beauty, a harmonious home life, and female leadership.  He praised the spiritual value of the natural world and claimed that a stable domestic sphere was a precondition for the progress ...

            William Gilmore Simms delivered his lecture The Social Principle: The True Source of National Permanence to the Erosophic Society[1] at the University of Alabama on 13 December 1842 during the occasion of his receiving an honorary LL.D. degree from that university.[2]  An important text in Simms studies, this oration marks “Simms’s single most extensive published exposition of his social philosophy.”[3]  He took as the genesis for his talk what he perceived as the fundamentally changed nature of the environs of western Alabama from his previous visit to the area, ...

            The Sources of American Independence. An Oration, on the Sixty-Ninth Anniversary of American Independence was delivered by William Gilmore Simms on 4 July 1844 in Aiken, SC.  As its long title suggests, the speech was composed to celebrate the sixty-nine years of American nationhood since the Declaration of Independence; what is unmentioned in the title but equally relevant to an understanding of this work is the fact that it was composed essentially as a stump speech[1] during Simms’s successful 1844 run for a seat in the South Carolina State Legislature.  Giving a speech ...

       Written in the “midst of one of the most productive creative surges in his career,”[1] Woodcraft; or, Hawks About the Dovecote: A Story of the South at the Close of the Revolution makes the most serious and sustained claim as Simms’s masterpiece in the novel form.[2]  The fifth novel composed in Simms’s saga of the American Revolution, it is set during the chaotic close and aftermath of the war.  This makes it the last (eighth) Revolutionary Romance in terms of chronological action. As the work opens, the British are evacuating Charleston in December 1782. Then the novel shifts ...

          William Gilmore Simms published The Tri-Color; or the Three Days of Blood, in Paris. With Some Other Pieces in the winter of 1830 or the spring of 1831.  He did so anonymously, and the advertisement at the front of the text says simply, “The Work, now offered to the notice of the British Public, is by an American Citizen.”  Though Simms told James Lawson that he did not “wish to be known as its author for a variety of reasons,” he did list it among his publications multiple times within his letters.[1]  James Kibler suggests that one reason that Simms may have ...

            The Vision of Cortes, Cain, and Other Poems, Simms's fourth separate publication, was issued in the summer of 1829.  Like his three previous works, it is a volume of poetry.  Comprised primarily of the three long poems “The Vision of Cortes,” “Cain,” and “Ashley River,” the volume also contains a number of shorter works, some of which had been previously published in other venues.  The subject matter of the volume ranges widely, moving from the title poem, which recalls in verse the 1518 expedition of Hernán Cortés into Mexico, to an ode to South Carolina’s ...

                Originally published by Wiley and Putnam in two volumes—the first series in October 1845 and the second in February 1846—for the Library of American Books series, The Wigwam and the Cabin is a collection of border stories about the southwestern frontier.  Simms best summarized the collection in a dedicatory letter to his father-in-law for the 1856 Redfield edition: “One word for the material of these legends.  It is local, sectional—and to be national in literature, one must needs be sectional.  No one mind can fully or fairly illustrate the characteristics of any great ...

            The Yemassee is historically the best known of the long fictions of William Gilmore Simms.  Set on the South Carolina frontier, Simms’s third book-length fiction treats the Yemassee War of 1715-17, when the Yemassee Indians, with their Spanish and Native American allies, attacked the low country colonial settlements.  Writing in the midst of the removal of natives from east of the Mississippi to the newly created Indian Territory in the future Oklahoma, Simms emphasized such motives for the war as the colonists’ need for land, the conflict between rival European powers ...

            The Yemassee is historically the best known of the long fictions of William Gilmore Simms.  Set on the South Carolina frontier, Simms’s third book-length fiction treats the Yemassee War of 1715-17, when the Yemassee Indians, with their Spanish and Native American allies, attacked the low country colonial settlements.  Writing in the midst of the removal of natives from east of the Mississippi to the newly created Indian Territory in the future Oklahoma, Simms emphasized such motives for the war as the colonists’ need for land, the conflict between rival European powers ...

            Vasconselos is a Colonial Romance (Simms describes it as “ante-colonial,” meaning before European settlement in the future South).  It treats, in various levels of depth, a host of subject matters.[1]  The most notable is the Spanish effort to colonize the New World.  Within this exploration, Simms treats the adjustment of Spanish culture from Medieval to Early Modern standards, the effects of imperialistic ethics upon that culture, ruling class corruption, the alienation of racial and national minorities, and the historic De Soto expedition to mainland North America.  ...

          Part of the Wiley and Putnam’s highly influential Library of American Books, Simms’s two-volume Views and Reviews in American Literature, History and Fiction, shows the author theorizing the “American” aspects of American literature, as well as the relationship between America’s history and its imaginative writing.  In this, we can see Simms presenting and promoting the cultural agenda of the “Young America” movement, whose members included Melville, Poe, and Hawthorne.  Views and Reviews is thus a central text in understanding the struggle for defining American literature ...

           Judging by a letter he wrote to his friend Evert Augustus Duyckinck in December 1868, William Gilmore Simms considered Voltmeier, his forthcoming Mountain Romance, to be, “in some respects, one of the most remarkable books I have ever written,” and “among the most excellent of my prose writings.”[1]  Part of the Border Romance series, the novel was inspired by the story of the infamous Allen Twitty, “a highly respected member of a prominent family noted for public service,” whose indictment and sensational trials for counterfeiting between 1805 and 1815 became a cause célèbre ...

           In his study of the role of guerilla warfare in the Civil War, historian Daniel E. Sutherland observes that Southern authors, including William Gilmore Simms, played a significant role in promoting and advancing guerilla tactics as both a patriotic duty and a means of achieving victory; Sutherland notes that Simms had explicitly “promoted and sanctified partisan warfare.”[1]  While the author’s works about Revolutionary War figures like Thomas Sumter and Francis Marion were certainly repurposed and newly understood in the context of the Civil War, Simms wrote new poetry ...

       Written in the “midst of one of the most productive creative surges in his career,”[1] Woodcraft; or, Hawks About the Dovecote: A Story of the South at the Close of the Revolution makes the most serious and sustained claim as Simms’s masterpiece in the novel form.[2]  The fifth novel composed in Simms’s saga of the American Revolution, it is set during the chaotic close and aftermath of the war.  This makes it the last (eighth) Revolutionary Romance in terms of chronological action. As the work opens, the British are evacuating Charleston in December 1782. Then the novel shifts ...