Nautical fiction
Nautical fiction, frequently also naval fiction, sea fiction, naval adventure fiction or maritime fiction, is a
The development of nautical fiction follows with the development of the English language novel and while the tradition is mainly British and North American, there are also significant works from literatures in Japan, France,
Because of the historical dominance of nautical culture by men, they are usually the central characters, except for works that feature ships carrying women passengers. For this reason, nautical fiction is often marketed for men. Nautical fiction usually includes distinctive themes, such as a focus on
Definition
What constitutes nautical fiction or sea fiction, and their constituent naval, nautical or sea novels, depends largely on the focus of the commentator. Conventionally sea fiction encompasses novels in the vein of Marryat, Conrad, Melville, Forester and O'Brian: novels which are principally set on the sea, and immerse the characters in nautical culture.[2] Typical sea stories follow the narrative format of "a sailor embarks upon a voyage; during the course of the voyage he is tested – by the sea, by his colleagues or by those that he encounters upon another shore; the experience either makes him or breaks him".[3]
Some scholars chose to expand the definition of what constitutes nautical fiction. However, these are inconsistent definitions: some like Bernhard Klein, choose to expand that definition into a thematic perspective, he defines his collection "Fictions of the Sea" around a broader question of the "Britain and the Sea" in literature, which comes to include 16th and 17th maritime instructional literature, and fictional depictions of the nautical which offer lasting cultural resonance, for example Milton's Paradise Lost and Coleridge's "The Rime of the Ancient Mariner".[2] Choosing not to fall into this wide of a definition, but also opting to include more fiction than just that which is explicitly about the sea, John Peck opts for a broader maritime fiction, which includes works like Jane Austen's Mansfield Park (1814) and George Eliot's Daniel Deronda (1876), that depict cultural situations dependent on the maritime economy and culture, without explicitly exploring the naval experience.[4] However, as critic Luis Iglasius notes, when defending the genesis of the sea novel genre by James Fenimore Cooper, expanding this definition includes work "tend[ing] to view the sea from the perspective of the shore" focusing on the effect of a nautical culture on the larger culture or society ashore or focusing on individuals not familiar with nautical life.[5]
This article focuses on the sea/nautical novel and avoids broader
History
There I heard nothing
but the roaring sea,
the ice-cold wave.
At times the swan's song
I took to myself as pleasure,
the gannet's noise
and the voice of the curlew
instead of the laughter of men,
the singing gull
instead of the drinking of mead.
Storms there beat the stony cliffs,
where the tern spoke,
icy-feathered;
from the Old English poem The Seafarer.
Sea narratives have a long history of development, arising from cultures with genres of adventure and travel narratives that profiled the sea and its cultural importance, for example
- There is a pleasure in the pathless woods,
- There is a rapture on the lonely shore,
- There is society where none intrudes,
- By the deep Sea and music in its roar.[8]
Early sea novels
A distinct sea novel genre, which focuses on representing nautical culture exclusively, did not gain traction until the early part of the 19th century. However, works dealing with life at sea had been written in the 18th century. These include works dealing with piracy, such as Daniel Defoe's Captain Singleton (1720), and A General History of the Pyrates (1724), which contains biographies of several notorious English pirates such as Blackbeard and Calico Jack.[9]
Tobias Smollett's The Adventures of Roderick Random, published in 1748, is a picaresque novel partially based on Smollett's experience as a naval-surgeon's mate in the British Navy.
19th century
Fenimore Cooper greatly influenced the French novelist Eugène Sue (1804 –1857), his naval experiences supplying much of the material for Sue's first novels, Kernock le pirate (1830), Atar-Gull (1831), the "widely admired" La Salamandre (1832), La Coucaratcha (1832–1834), and others, which were composed at the height of the Romantic movement.[14] The more famous French novelist Alexandre Dumas (1802–1870) "made no secret of his admiration for Cooper" and wrote Le Capitaine Paul (1838) as a sequel to Cooper's Pilot.[15] Another French novelist who had a seafarer background was
In Britain, the genesis of a nautical fiction tradition is often attributed to Frederick Marryat. Marryat's career as a novelist stretched from 1829 until his death in 1848, with many of his works set at sea, including
Late 19th century
As the model of the sea novel solidified into a distinct genre, writers in both Europe and the United States produced major works of literature in the genre, for example
Mellville's fiction frequently involves the sea, with his first five novels following the naval adventures of seamen, often a pair of male friends (Typee (1846), Omoo (1847), Mardi (1849), Redburn (1849) and White-Jacket (1850) ).[20] Moby-Dick is his most important work, sometimes called the Great American Novel, it was also named "the greatest book of the sea ever written" by D.H. Lawrence.[21] In this work, the hunting of a whale by Captain Ahab immerses the narrator, Ishmael, in a spiritual journey, a theme also featured in Conrad's much later Heart of Darkness.[19]
The importance of naval power in maintaining
At the same time that literary works embraced the sea narrative in Britain, so did the most popular novels of adventure fiction, of which Marryat is a major example.
The 20th and 21st centuries
Twentieth century novelists expand on the earlier traditions. The
A number of other novelists started writing nautical fiction early in the century.
The novels of two other prominent British sea novelists,
Several other notable authors, wrote contemporary to O'Brian and Forester, but expanded the boundaries of the genre.
Four of
Authors continue writing nautical fiction in the twenty-first century, including, for example, another Scandinavian, Danish novelist Carsten Jensen's (1952–) epic novel We, the drowned (2006) describes life on both sea and land from the beginning of Danish-Prussian War in 1848 to the end of World War II. The novel focuses on the Danish seaport of Marstal, on the island of Ærø,[40] and voyages by the town's seamen all over the globe.[41]
Common themes
Masculinity and heroism
Those nautical novels dealing with life on naval and merchant ships set in the past are often written by men and deal with a purely male world with the rare exception, and a core themes found in these novels is male heroism.[42] This creates a generic expectation among readers and publishers. Critic Jerome de Groot identifies naval historical fiction, like Forester's and O'Brian's, as epitomizing the kinds of fiction marketed to men, and nautical fiction being one of the subgenre's most frequently marketed towards men.[16][31] As John Peck notes, the genre of nautical fiction frequently relies on a more "traditional models of masculinity", where masculinity is a part of a more conservative social order.[12]
However, as the genre has developed, models of masculinity and the nature of male heroism in sea novels vary greatly, despite being based on similar historical precedents like
Though much of the tradition focuses on a militaristic storytelling, some of the prototypes of the genre focus on a commercial naval heritage but continue to highlight the role of masculinity and heroism with that tradition. For example, Iglesias describes Coopers novels and the subsequent novels in the American tradition growing out of "a distinctive attitude borne of commercial enterprise, confronting and ultimately superseding its Atlantic rival."[5] Only one of his novels, The Two Admirals, describes order of battle. Yet, the investigation of masculinity is central to the novels;[42] Critic Steven Hathorn describes "Cooper deliberately invests his nautical world with a masculine character, to such a degree that the appearance of women aboard ships presents an array of problems […] the novels explore how some of the biggest challenges to manhood come from within—from the very nature of masculinity itself."[42] James Fenimore Cooper's The Pilot questions the role of nautical symbols of heroes of the revolutionary period, such as John Paul Jones, and their unsavory naval practices while privateering.[5]
Women at sea
Although contemporary sea culture includes women working as fishers and even commanding naval ships, maritime fiction on the whole has not followed this cultural change.[note 3] Generally, in maritime fiction, women only have a role on passenger ships, as wives of warrant officers, and where the plot is on land. An example of a woman aboard a ship is Joseph Conrad's Chance (1913), where in the final section Captain Anthony takes his younger bride to sea with him and the captain's "obsessive passion" disturbs "the normal working relations of the ship".[47] James Hanley's Captain Bottell closely parallels Conrad's work, though here Captain Bottell's obsession is with a government official's wife. This causes him to descend into madness, leaving the crew struggling "heroically to keep the ship afloat" during a storm. Critic John Fordham sees Hanley's novel as "a conscious anti-romantic attack" on Chance.[48]
There are, however, stories of women dressed as men serving at sea. In 1815, American Louisa Baker supposedly wrote The Female Marine; or the Adventures of Louisa Baker a narrative about her life aboard the USS Constitution as a warning to other young women. The book was widely read and accepted as fact, but historians now believe that Louisa Baker never existed, and that her story was created by publisher Nathaniel Coverly, Jr., and written by Nathan Hill Wright. The story was so popular that a sequel, The Adventures of Lucy Brown, was published. The success of this further inspired Nathaniel Coverly, Jr., to publish another tale of a female sailor, The Surprising Adventures of Almira Paul, in 1816. Again historians doubt that the book, which is full of fantastic adventure, danger, and romance, is really an autobiography of Almira Paul of Halifax, Nova Scotia, and what it is more likely is that the story was based on the lives of real women such as Hannah Snell and Mary Anne Talbot—women who defied convention to live life on their own terms.[49] Star-Crossed (Alfred A. Knopf, 2006) by Linda Collison, and the subsequent Barbados Bound, Book 1 of the Patricia MacPherson Nautical Adventure Series is historical fiction, which were inspired by the documented occurrences of actual women who served aboard ship as men.
Early in the nineteenth century
The Saturday Evening Post in the late 1920s ran a series of short stories about "Tugboat Annie" Brennan, a widow who ran a tugboat and successfully competed for a share of the towboat business in Puget Sound. Annie and her crew also did some crime fighting and helped people caught in storms and floods. The series was extremely popular and there were two films and a television show that were based on it.[49]
Harcourt published L.A. Meyer's
The working class at sea
Until the 20th century nautical fiction focused on officer protagonists and John Peck suggests, that "the idea of the gentleman is absolutely central in maritime fiction".
However, it was not until the twentieth century that sea stories "of men for'ard of the bridge" really developed,
The 1930s saw the publication of a number of short stories and novels about life of seamen below deck, some written by adventure seekers from wealthy families, like Melville and O'Neill, and others from the working class, who had gone to sea out of necessity. Moneyed Malcolm Lowry was "driven to the docks in the family limousine", when he was eighteen to begin a voyage "as deck hand, cabin boy and ultimately a fireman's helper on a tramp steamer".[58] From this experience as a common seaman came Lowry's novel Ultramarine (1933), a work influenced by Nordahl Grieg's The Ship Sails On and Conrad Aiken's Blue Voyage.[59] Working class writers who describe experiences in the merchant navy include, James Hanley, Jim Phelan, George Garrett, John Sommerfield (They Die Young (1930),[60]), Liam O'Flaherty and B. Traven.
Writing about the men below decks required a different approach. For example, James Hanley describes Traven's Death Ship (1934), as "the first real book about the lives for'ard of the bridge".[61] The novel portrays what Hanley calls the "real, horrible, fantastic, but disgustingly true".[62] Hanley's own early novel Boy has been described as "truly disturbing novel", and explores sexual abuse of a teenage youth aboard a cargo ship.[63][64] According to Paul Lester the "opening pages of Jim Phelan's Ten-A-Pennry People, resembles Boy", and this novel continues with details of how life as a stoker "will destroy a man physically".[65] George Garrett in his short stories also wrote "about life among harsh realities" on both land and at sea.[66] The works of these writer diverges greatly from earlier writers who use more romantic depictions of upper-class men at sea, like Fenimore Cooper, Melville (even Redburn) and Joseph Conrad, depicting what critic Alan Ross called men generally "found covered in grease below decks".[67] Garrett wrote, that "[Conrad] could write romantically and vividly of a ship in heavy sea, but when it came to men aboard he wrote as a conservatively-minded officer", and criticizes Conrad's depiction of the sailor Donkin as a villain in his novella Nigger of the Narcissus.[68]
Japanese authors have also explored working-men's life at sea.
Life ashore
Another aspect of sailors' lives is their experiences of
Carsten Jensen's Vi, de druknede (We, the drowned, 2006) not only deals with men at sea but also encompasses the lives of boys growing up with dreams of becoming sailors and the experiences of the wives – and widows – of the seamen.[41] James Hanley is another author who explores not only life afloat but the experiences of them and their families on land, especially in his series of five novels The Furys Chronicle.[71]
Slave ships
While many maritime novels focus on adventure and heroic deeds, the prime function of ships, other than warfare, is the making of money. The darkest aspect of this, involving both greed and cruelty is seen in the slave trade: "The story of Britain's involvement in the slave trade echoes the profit versus morality debate that is present in so many maritime novels".
Greed and man's inhumanity to his fellows is also the subject of
Passenger ships
The importance of "the idea of the gentleman" can also be a theme of novels set on passenger ships,[52] as for example with Anthony Trollope's novel John Caldigate. Several chapters of this novel deal with the eponymous hero's voyage to Australia. While Trollope claims "that life at sea is unlike life in general" the novel, in fact, presents "an intensified version of ordinary life, with social divisions rigorously enforced" which is underlined by "the physical separation of first- and second-class passengers".[76]
While
Sometimes, as with
Nautical detail and language
A distinction between nautical fiction and other fiction merely using the sea as a setting or backdrop is an investment in nautical detail. Luis Iglesias describes James Fenimore Cooper's use in The Pilot of nautical language and "faithful [...] descriptions of nautical maneuvers and the vernacular expression of seafaring men" as reinforcing his work's authority for the reader, and as giving more credence to characters, which distinguishes it from earlier fiction set on or around the sea.[5]
Other notable works
Novels
Notable exponents of the sea novel not discussed above.[note 4]
- Alain-René Le Sage(1668–1747): Vie et aventures de M. de Beauchesne (1733)
- Abbé Prévost (1697–1763): Voyages du Capitaine Robert Lade (1744)
- William Cardell (1780–1828): The Story of Jack Halyard and other works (1824)
- Pierre Loti (1850–1923) My Brother Yves (1883); An Iceland Fisherman (1886)
- Erskine Childers (1870–1922): The Riddle of the Sands (1903)
- Rafael Sabatini (1875–1950): The Sea Hawk (1915)
- H. M. Tomlinson (1873–1958): Gallions Reach (1927)
- Hans Kirk (1898–1962): The Fishermen (1928)
- Gore Vidal (1925–2012): Williwaw (1946)
- Herman Wouk (1915–2019): The Caine Mutiny (1952)
- Alistair MacLean (1922–1987): HMS Ulysses (1955)
- Hammond Innes (1913–1998): The Wreck of the Mary Deare (1956)
- Jorge Amado (1912–2001): Sea of Death (1936)
Novellas
Notable novellas include:
- Ernest Hemingway (1899–1961): The Old Man and the Sea
Short stories
- Open Boat" (1898)
- Konstantin Mikhailovich Staniukovich(1843–1903): Maximka; Sea Stories (Translated from the Russian by Bernard Isaacs (Moscow, 1969?) )
- Konstantin Mikhailovich Staniukovich, Running to the Shrouds: Nineteenth-Century Sea Stories, translated from the Russian by Neil Parsons. (London; Boston: Forest Books, 1986).
- Liam O'Flaherty, "The Conger Eel"
Magazines
In the twentieth century, sea stories were popular subjects for the pulp magazines.
Adventure
[83] and
- Argosy, an American pulp magazine from 1882 through 1978.
- Boys Own Paper, a British story paper aimed at young and teenage boys, published from 1879 to 1967.
- The Hotspur, a British boys' paper published by D. C. Thomson & Co. From 1933 to 1959,
More specialized magazines include:
- The Ocean, one of the first specialized pulp magazines (March 1907 to January 1908)[85]
- Sea Stories, a Street & Smith pulp (February 1922 to June 1930)
- Sea Novel Magazine, a Frank A. Munseypulp (two issues: November 1940 and January 1941)
- Sea Story Annual and Sea Story Anthology (1940s Street & Smith large-size reprint pulps)
- Tales of the Sea, digest (Spring 1953)
See also
- Adventure fiction
- Children's literature
- Glossary of nautical terms
- Imaginary voyages
- List of fictional ships
- List of underwater science fiction works
- Pirates in popular culture
- Royal Navy in Popular Culture
- Sea in culture
- Submarine films
- War novel
- Women pirates in fiction
Notes
- ^ This is a debatable claim, dependent on the limitations placed on the genre, per the discussion in the definition section. Margaret Cohen, for example, states that "[a]fter a seventy-five year hiatus, the maritime novel was reinvented by James Fenimore Cooper, with the Pilot". The Novel and the Sea. Princeton: Princeton University Press, 2010, p. 133.
- single-ship actions in naval history, founded the legendary reputation of the Speedy's commander, Lord Cochrane (later Admiral Thomas Cochrane, 10th Earl of Dundonald, GCB).
- ^ "Women in the Royal Navy serve in many roles; as pilots, observers and air-crew personnel; as divers, and Commanding Officers of HM Ships and shore establishments, notably Cdr Sarah West, who took up her appointment as CO of HMS PORTLAND in 2012, taking her ship from a refit in Rosyth to her current deployment as an Atlantic Patrol vessel. In another milestone for the Royal Navy, Commander Sue Moore was the first woman to command a squadron of minor war vessels; the First Patrol Boat Squadron (1PBS) ... Women can serve in the Royal Marines but not as RM Commandos." [1]; for women as crew in the fishing industry, see "Women in Fish harvesting" [2]
- ^ This list includes some of the notable authors covered by Wikipedia. For a more expansive list of notable authors and works, see the Wikipedia Category: Category:Nautical historical novelists. Others not included in Wikipedia can be found at Historical Naval Fiction (though this list focuses only on "Age of Sail" fiction) or John Kohnen's Nautical Fiction list. More specific thematic lists, include Cruel Seas : World War 2 Merchant Marine-Related Nautical Fiction from the 1930s to Present,
References
- ^ Ray Taras, "A Conversation with Carsten Jensen", World Literature Today, May 2011: [3]
- ^ a b c d e Klein, Bernhard, "Introduction:Britain in the Sea" in Klein, Fictions of the Sea, pp. 1-10.
- ^ a b Peck, pp. 165-185.
- ^ Peck, "Introduction", pp. 1-9.
- ^ a b c d e f g Iglesias, Luis (2006). "The'keen-eyed critic of the ocean': James Fenimore Cooper's Invention of the Sea Novel". James Fenimore Cooper Society Miscellaneous Papers. Cooperstown, NY: 1–7. Retrieved 2015-01-27.
- ^ Robert Foulke, The Sea Voyage Narrative. (New York: Routledge, 2002).
- ^ Essay on the sea in the Spectator 1712, quoted by Jonathan Raban, "Introduction" to The Oxford Book of the Sea. (Oxford: Oxford University Press, 1992), p. 8.
- ^ Jonathan Raban, "Introduction" to The Oxford Book of the Sea, p. 14.
- ^ A general history of the robberies & murders of the most notorious pirates. By Charles Johnson Introduction and commentary by David Cordingly. Conway Maritime Press (2002).
- ^ The Oxford Book of the Sea.(Oxford: Oxford University Press, 1992), p. 16.
- ^ S2CID 201753029. Retrieved 2015-02-09.
- ^ a b c d e f Peck, "American Sea Fiction", in Maritime Fiction, 98-106.
- ^ a b Crane, James. "Love and Merit in the Maritime Historical Novel: Cooper and Scott". Sullen Fires Across the Atlantic: Essays in Transatlantic Romanticism. Praxis Series.
- ^ Margaret Cohen, The Novel and the Sea. (Princeton, NJ: Princeton University Press, 2010), p. 170.
- ^ Margaret Cohen, The Novel and the Sea, p. 177.
- ^ a b c d e f g Susan Bassnett "Cabin'd Yet Unconfined: Heroic Masculinity in English Seafaring Novels" in Klein 'Fictions of the Sea
- ^ John Peck "Captain Marryat's Navy" in Maritime Fiction, pp. 50-69.
- ^ a b c Peck, pp. 50-69.
- ^ a b c Peck, pp. 107-126.
- ^ Peck, "Herman Mellville" in Maritime Fiction, 107-126.
- ISBN 9780140183771.
- ^ a b c Peck, "Mid-Victorian Maritime Fiction", pp. 127–148.
- ^ Peck, "Adventures at Sea", pp. 149–164.
- ^ Peck, pp.149-164.
- ^ a b c Peck, pp. 149-164.
- ^ Najder, Z. (2007) Joseph Conrad: A Life. Camden House, pp. 41–42
- ^ Peck, "Joseph Conrad", pp. 165-185.
- ^ New York Review of Books
- ^ "John Masefield a Biographical Sketch. The Masefield Society
- ^ Good Reads
- ^ ISBN 9780203868966.
- ^ McNally, Frank (12 December 2014). "The Life of O'Brian". The Irish Times. Retrieved 20 February 2015.
- ^ "The Commodore". Kirkus Reviews (15 February 1995 ed.). 20 May 2010. Retrieved 20 January 2015.
- ^ Teachout, Terry (3 November 1998). "Don't Give Up the Ship". New York Times. Retrieved 9 February 2015.
- ^ Christine L. Krueger Encyclopedia of British Writers, 19th and 20th Centuries. Infobase Publishing, 2009, p. 257.
- ISBN 9780826263049.
- ^ NADAL, Marita (1994). "William Golding's Rites of Passage: A Case of Transtextuality". Miscelánea: A Journal of English and American Studies. 15.
- ISBN 9780826263049.
- ^ a b Thompson, Howard (June 25, 1964). "The Long Ships (1963) Screen: 'The Long Ships':Widmark and Poitier in Viking Adventure". The New York Times.
- ^ < https://newrepublic.com/article/85793/we-drowned-carsten-jensen>Hillary Kelly New Republic [4]
- ^ a b Book review: Carsten Jensen's 'We, the Drowned' by Peter Behrens, February 22, 2011 [5]
- ^ a b c Harthorn, Steven. ""I Loved Him Like a Brother": Male Bonds in The Two Admirals". James Fenimore Cooper Society Website. orig. presented at the 2000 Central New York Conference on Language and Literature, Cortland, N.Y
- ISBN 978-1-58234-534-5.
- ^ "BBC – Radio 4 Making History – Thomas Cochrane, sea-captain". Retrieved 2015-05-11.
- ^ Cordingly, David. "The Real Master and Commander". The Telegraph. Retrieved April 23, 2015.
- ISBN 978-9042005938.
- ^ James Hanley: Modernism and the Working Class (Cardiff: University of Wales Press, 2002), p. 47.
- ^ John Fordham, James Hanley: Modernism and the Working Class, pp. 47-8.
- ^ a b "Women & The Sea : The Mariner's Museum". www.marinersmuseum.org. Retrieved 2016-01-29.
- ^ John Peck, pp. 53-59.
- ^ John Peck, p. 57.
- ^ a b Maritime Fiction, p. 172.
- ISBN 0-940450-09-7
- ^ See Redburn, p. 82: "For sailors are of three classes able-seamen, ordinary-seamen, and boys […] In merchant-ships, a boy means a green-hand, a landsman on his first voyage."
- ^ James Hanley, "Sugi–Mugi" review of B. Traven's Death Ship, Spectator 26 January 1934, p. 131.
- ^ Murfin, Patrick (16 October 2012). "The Sailor Who Became "America's Shakespere"". Heretic, Rebel, a Thing to Flout.
- ^ Ken Worpole, Dockers and Detectives. London: Verso editions, 1983, p. 80.
- ^ Margerie Lowry, "Introductory Note" to Malcolm Lowry, Ultramarine. London: Jonathan Cape, 1963, p. 7.
- ^ Margerie Lowry, "Introductory Note" to Malcolm Lowry, Ultramarine, pp. 7-8.
- ^ London Books
- ^ James Hanley, "Sugi–Mugi" review of B. Traven's Death Ship.
- ^ Hanley>James Hanley, "Sugi–Mugi" review of B. Traven's Death Ship". Spectator, 26 January 1934, p. 131
- ^ Ken Worpole, Dockers and Detectives, p. 82.
- ^ Ken Worpole, Dockers and Detectives, p. 83.
- ^ Paul Lester, "Life: The Writings of Jim Phelan, London Magazine, vol. 36, nos. 7 & 8, p. 45.
- ^ "Introduction" to The Collected George Garrett, ed. Michael Murphy. Nottingham: Nottingham University Press, 1999, pxxi.
- ^ Alan Ross, ed., James Hanley 'The Last Voyage and Other Stories' . London: Harvill Press, 1997, p. xv
- ^ George Garrett, "Conrad's The Nigger of the 'Narcissus', The Collected George Garrett, ed. Michael Murphy, p. 240.
- ^ See, Valerie Burton, " 'As I wuz a-rolling down the Highway one morn': Fictions of the 19th-century English Sailortown" in Fictions of the Sea: Critical Perspectives on the Ocean in British Literature and Culture. London: Routledge, 2002.
- ^ Andrew Lees, Liverpool: The Hurricane Port. New York: Random House, 2013
- ^ Edward Stokes, The Novels of James Hanley, Melbourne, Australia, F. W. Cheshire, 1964.
- ^ John Peck,Maritime Fiction, pp. 6-7.
- ^ Books of The Times; Trading in Misery On a Doomed Slave Ship Review by The New York Times Booker Club: Sacred Hunger from The Guardian
- ^ "Fred D'Aguiar". British Council Writers Profiles. British Council. Archived from the original on 23 January 2013. Retrieved 6 June 2012.
- ^ S2CID 162386842.
- ^ John Peck, Maritime Fiction, p. 140.
- ^ Indu Kulkarni, The Novels of William Golding. Atlantic Publishers, 2003. p. 100.
- ^ Crawford, Paul, Politics and History in William Golding: The World Turned Upside Down. University of Missouri Press, 2002, p. 194.
- ^ "Every Man for Himself" page, Fantastic Fiction.
- The Enchafed Floodor The Romantic Iconography of the Sea. London: Faber, 1951, p. 61.
- ^ a b Republic, The New (1962-04-02). "Katherine Anne Porter's Crowning Work". New Republic. Retrieved 2016-01-29.
- ^ See Philosophy Now for a one-page summary of Plato's original 'Ship of Fools' argument against democracy (link to article), accessed March 2014.(subscription required)
- ISBN 1-55742-143-9(p.40)
- ^ Horace Vondys, Best Sea Stories from Bluebook, introduced by Donald Kennicott. New York: The McBride Company, 1954.
- ^ "Lost at Sea: The Story of The Ocean," introduction to The Ocean: 100th Anniversary Collection (Off-Trail Publications, 2008).
Scholarly literature
- Bayley, John "In Which We Serve", in Patrick O'Brian: Critical Essays and a Bibliography, edited A. E. Cunningham. (New York: WW Norton, 1994), pp. 33–42.
- Blaszak, M. (2006). "Some Remarks on the Sailors' Language Terminology and Related Issues in British and American Nautical fiction". Stylistyka. 15: 331–350. Archived from the original on 2015-04-02. Retrieved 2015-01-27.
- Clohessy, Ronald John (2003). "Ship of State: American Identity and Maritime Nationalism in the Sea Fiction of James Fenimore Cooper". University of Wisconsin–Milwaukee. Archived from the original on 2016-03-04. Retrieved 2015-01-27.
{{cite journal}}
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(help) Originally published in James Fenimore Cooper Society Miscellaneous Papers, No. 24, August 2007, pp. 3–8 - Cohen, Margaret. The novel and the sea. (Princeton, NJ: Princeton University Press, c. 2010).
- Philip Neil Cooksey. A Thematic Study of James Fenimore Cooper's Nautical Fiction. (Baton Rouge, Louisiana: Louisiana State University, 1977).
- Davis ll, James. "The Red Rover and Looking at the Nautical Machine for Naturalist Tendencies". Archived from the original on 2016-03-03. Retrieved 2015-01-27.
{{cite journal}}
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(help) Originally published in James Fenimore Cooper Society Miscellaneous Papers No. 25, May 2008, pp. 10–13. - Davis, James T. (2012). "Mixed Technological Language in Jack London's THE SEA-WOLF". The Explicator. 70 (4): 322–325. S2CID 162202285.
- Ewers, Chris. 'Travelling by Sea and Land in Robinson Crusoe', in Mobility in the English Novel from Defoe to Austen. (Woodbridge: Boydell and Brewer, 2018), pp. 27–52.
- Keefer, Janice Kulyk (1986-06-06). "Recent Maritime Fiction: Women and Words". Studies in Canadian Literature. 11 (2). ISSN 1718-7850. Retrieved 2015-03-27.
- Krummes, Daniel (2004). Cruel Seas: Merchant Shipping-focused World War 2 Nautical Fiction, 1939 to 2004: an Annotated Bibliography of English Language Short Stories, Novels & Novellas. Institute of Transportation Studies, University of California.
- Klein, Bernhard, ed. (2002). Fictions of the Sea. Critical Perspectives on the Ocean in British Literature and Culture. Aldershot: Ashgate. ISBN 978-0754606208.
- Leys, Simon. La mer dans la littérature française. Paris: Plon, c. 2003.
- Parkinson, C. Northcote, ed. Portsmouth Point: the Navy in fiction, 1793–1815. (Liverpool: Liverpool University Press, 2005).
- Peck, H. Daniel (1976-10-01). "A Repossession of America: The Revolution in Cooper's Trilogy of Nautical Romances". Studies in Romanticism. 15 (4): 589–605. JSTOR 25600051.
- Peck, John (2001). Maritime fiction: sailors and the sea in British and American novels, 1719–1917. New York: Palgrave.
- Smith, Myron J. jr., and Robert C. Weller, Sea fiction guide, with a foreword by Ernest M. Eller and craft notes by Edward L. Beach [et al.]. (Metuchen, N.J.: Scarecrow Press, 1976).
- Zainoun, Ibtisam. Le roman maritime, un langage universel: aspects mythologique, métaphysique et idéologique. (Paris: Harmattan, c. 2007).
External links
- Media related to Nautical fiction at Wikimedia Commons
- https://www.historicnavalfiction.com - a website devoted to cataloging historical fiction within the Naval fiction genre.