The Last of the Mohicans is the most widely read and internationally acclaimed of James Fenimore Cooper's Leatherstocking tales, and has traditionally been regarded as an exciting and well-made adventure story. In recent years, however, critics have found in this classic tale of colonial warfare deeper levels of meaning. In the introduction to this volume, H. Daniel Peck studies these developments by tracking critical responses to the novel from the time of its publication in 1826 to the present day. The essays that follow present contemporary re-assessments of The Last of the Mohicans from a variety of critical perspectives.

The Last of the Mohicans is the most widely-read and internationally acclaimed of James Fenimore Cooper's Leatherstocking tales, and has traditionally been regarded as an exciting and well-made adventure story. In recent years, however, critics have found in this classic tale of colonial warfare deeper levels of meaning. In the introduction to this volume, H. Daniel Peck studies these developments by tracking critical responses to the novel from the time of its publication in 1826 to the present day. The essays that follow present contemporary reassessments of The Last of the Mohicans from a variety of critical perspectives.

A Week on the Concord and Merrimack Rivers and Walden, the only works Thoreau conceived and brought to conclusion as books, bear a distinctively important relation to each other and to his Journal, the document whose twenty-four-year composition encompasses their development. In a brilliant new book, H. Daniel Peck shows how these three works engage one another dialectically and how all of them participate in a larger project of imagination. "Morning work," a phrase from Walden, is the name Peck gives to this larger project. by it he means the work done by memory and perception as they act to shape Thoreau's emerging vision of a harmonious universe. Peck argues that the changing balance of memory and perception in the three works defines the unique literary character of each of them. He offers a major reevaluation of Walden, which he sees neither as the epitome of Thoreau's career (the traditional view) nor as an anomaly (the recent, revisionary view). Rather, he sees Walden as a pivotal work, reflecting the issues of loss and remembrance that earlier had found prominent expression in A Week and prefiguring the late Journal's vision of natural order. Focusing on the two-million-word Journal, Peck provides the first critical analysis that defines the essential forces and the imaginative coherence in its vast discursiveness. The consideration of memory and perception in Thoreau also leads peck to the issue of the writer's modernity, and he explores the ways in which Thoreau anticipates twentieth-century thought, especially in the works of such great objectivist philosophers as William James and Alfred North Whitehead.

Ohio-raised, singer and songwriter Danielle Peckhas a lot on her plate these days. Her self titled debut album features 11 tracks and was produced by Byron Gallimore, Tommy Lee James and Jeremy Stover. With its raw country heartbreak, “I Don’t,”Danielle’s debut single, became the highest charting single by a new female country artist in the last 12 months. Danielle’s current single, “Findin’ A Good Man,” is destined to become the girls-night-out anthem of 2006.