{"id":616,"date":"2026-06-15T12:09:38","date_gmt":"2026-06-15T12:09:38","guid":{"rendered":"https:\/\/commercialrelocationpros.com\/?p=616"},"modified":"2026-06-15T12:09:38","modified_gmt":"2026-06-15T12:09:38","slug":"nathaniel-hawthornes-american-horror-story","status":"publish","type":"post","link":"https:\/\/commercialrelocationpros.com\/?p=616","title":{"rendered":"Nathaniel Hawthorne\u2019s American Horror Story"},"content":{"rendered":"<section><p><span>In January 1836<\/span>, Nathaniel Hawthorne moved from Salem to Boston to assume the editorship of <i>The American Magazine of Useful and Entertaining Knowledge<\/i>. It wasn\u2019t a typical editorial arrangement. Hawthorne would not manage a staff of writers, or make assignments to a network of correspondents. The lean budget required him to rely entirely on a single contributor: himself.<\/p><p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=612\">Atlantic Trivia: Marriage, That Blessed Arrangement<\/a><\/p><div><section><div><h2>Explore the July 2026 Issue<\/h2><p>Check out more from this issue and find your next story to read.<\/p><\/div>View More<\/section><\/div><p>The issues that Hawthorne produced are, in fact, full of useful and entertaining knowledge. He published essays on John C. Calhoun, \u201cModern Jewish Passover,\u201d and the history of hats. Some of these he composed; others he digested or simply aggregated from books or other magazines. Longer articles were punctuated with shorter curiosities: a new medical explanation for snoring; how to ascertain the height of a mountain using only a thermometer; the spontaneous combustion of a math professor; what the plague smelled like (\u201cmellow apples,\u201d some said; mayflowers, said others).<\/p><p>To read these issues today is to marvel at Hawthorne\u2019s ability to fill so many pages, even if some articles have aged better than others. (Snoring, it turns out, is not caused by poor circulation.) But the work was running him ragged. Desperate for help, Hawthorne pressed his sister Elizabeth into service. \u201cConcoct, concoct, concoct,\u201d he implored her in a letter. \u201cI make nothing of writing a history or biography before dinner. Do you the same.\u201d Elizabeth submitted a profile of Alexander Hamilton and sundry other items. But the job still proved too demanding. In late summer, an exhausted Hawthorne resigned his post and retreated to Salem.<\/p><p>Hawthorne was 32 and beginning to lose hope that he could make a living as a writer. (In a letter to his other sister, he pegged his net worth at \u201cprecisely 34 cents.\u201d) The problem was the wages, not the work. In an astonishing burst of creativity, he had already written and published the short fiction that, together with <i>The Scarlet Letter<\/i> (1850), would eventually establish him as the preeminent writer of the American Renaissance: dark parables such as \u201cYoung Goodman Brown,\u201d \u201cThe Minister\u2019s Black Veil,\u201d and \u201cRoger Malvin\u2019s Burial.\u201d<\/p><p>He had also published, anonymously, a story called \u201cMy Kinsman, Major Molineux.\u201d Even by Hawthorne\u2019s standards, it is an ominous, ambiguous tale. A young man named Robin leaves the countryside to seek his fortune in the city, hoping that a well-connected relative will set him up in business. It is also an allegory of the American founding. Over the course of one phantasmagoric evening, Robin witnesses events that prefigure the Revolutionary War. But far from celebrating or sanctifying the throwing off of English rule, the story\u2019s shocking ending portrays the patriots as a fiendish mob, and casts doubt on the bedrock American faith in prosperity.<\/p><p>Throughout his career, Hawthorne packaged and repackaged his short stories and sketches, hoping to earn some much-needed income. In 1837, he published <i>Twice-Told Tales<\/i>. In 1846, he published <i>Mosses From an Old Manse<\/i>, the collection that left Herman Melville in awe of his friend\u2019s \u201cgreat power of blackness.\u201d For reasons we can only guess at, Hawthorne declined to include \u201cMy Kinsman, Major Molineux\u201d in either volume. Perhaps he worried that its portrait of American history was simply <i>too<\/i> black to have anything like mass-market appeal. Only after the success of <i>The Scarlet Letter<\/i> did he finally put his name to it, selecting it as the final story in his final collection, 1851\u2019s <i>The Snow-Image<\/i>.<\/p><section><div>\n<figure class=\"wp-block-image size-full\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" alt=\"\" class=\"wp-image-615\" height=\"240\" src=\"https:\/\/commercialrelocationpros.com\/wp-content\/uploads\/2026\/06\/d5496a9c8c53ce908af1bac19917267c.avif\" width=\"160\"\/><\/figure>\n<\/figure>\n<div><div>The Snow-Image and Other Twice-Told Tales<\/div><div>By <!-- -->Nathaniel Hawthorne<\/div><\/div><div><div><button>Buy Book<\/button><\/div><\/div><\/div><\/section><p>Unlike Melville\u2019s, Hawthorne\u2019s genius was appreciated in his lifetime. Yet \u201cMy Kinsman, Major Molineux\u201d languished for a century before being discovered by scholars. Its great early champion was the British critic Q. D. Leavis. In an influential 1951 essay, she wrote that Hawthorne had never surpassed the story \u201cin dramatic power, in control of tone, pace, and tension, and in something more wonderful, the creation of a suspension between the fullest consciousness of meaning and the emotional incoherence of dreaming.\u201d Another critic, remarking on the tale\u2019s long road to recognition, wrote, \u201cFor one hundred years the story lay dormant, the sleeping beauty of the American canon, until kissed by an English queen.\u201d<\/p><p>Literary scholars have been working overtime to interpret the story ever since, yet outside the academy, it remains undeservedly obscure. This semiquincentennial summer is a good time to get to know it. Hawthorne may have been inspired to write it by the 1826 celebration of the American jubilee, which was marked by veneration of the Founding Fathers and rosy mythmaking about the Revolution. Hawthorne was more inclined to be haunted by history. The descendant of a hanging judge in the Salem witch trials, he was suspicious of certitude and wary of hysteria. His allegory of the conflict does not turn away from its violence or its darker implications; it offers no certainties.<\/p><p><span>The story <\/span>is set on a midsummer night sometime around 1730. Robin, our hero, is the son of a country clergyman. He has come to the city\u2014though never named, it\u2019s clearly Boston\u2014to find Major Molineux, his father\u2019s cousin. Molineux, a man of wealth and status in the colonial government and without a son of his own, has hinted that he is willing to set Robin up in business.<\/p><p>First, though, this aspiring nepo baby needs to find him: Robin doesn\u2019t have his kinsman\u2019s address. Each denizen Robin stops to ask for help claims no knowledge of the major\u2014and responds with disdain or worse. An old man nursing a \u201csepulchral\u201d cough threatens to put Robin in the stocks for having accosted him on the street. An obsequious innkeeper, upon hearing the Molineux name, turns inhospitable, darkly noting Robin\u2019s resemblance to a runaway indentured servant. Only a young woman in a scarlet petticoat proves more obliging. But when the night watchman interrupts their conversation, her motive is revealed: She intended to turn young Robin into a john.<\/p><p>With each encounter, the mystery of Molineux\u2019s whereabouts mounts, though the sense of foreboding is cut by the comedy of our hero\u2019s haplessness. Robin is a country mouse unaccustomed to the manners of the city, yet the narrator repeatedly describes him as a \u201cshrewd youth\u201d\u2014typically right before Robin does something entirely lacking in shrewdness. When the fellow with the cough refuses to help him, Robin decides it is the old man, not himself, who is the Yankee bumpkin: \u201c\u200a\u2018This is some country representative,\u2019 was his conclusion, \u2018who has never seen the inside of my kinsman\u2019s door, and lacks the breeding to answer a stranger civilly.\u2019\u200a\u201d<\/p><p>As the night wears on, Robin begins to doubt that he will ever find Molineux, and the reader starts to wonder as well. Robin now stops \u201ca bulky stranger muffled in a cloak\u201d and demands to know where he can find his kinsman. The man removes his muffler to reveal a face painted half in red, and half in black. \u201cThe effect was as if two individual devils, a fiend of fire and a fiend of darkness, had united themselves to form this infernal visage.\u201d It is this demonic figure who at last offers Robin an answer to his question, though a cryptic one: \u201cWatch here an hour, and Major Molineux will pass by.\u201d<\/p><p>As he waits, Robin slips into disorienting reverie, imagining his family at home on the farm. \u201cAm I here, or there?\u201d he wonders. But he is soon brought back to reality. The same \u201cparti-colored\u201d man has returned at the head of a howling mob parading through the streets a member of the colonial government\u2014Major Molineux. He has been tarred and feathered, an antique torture that may sound cartoonish to contemporary ears, but that Hawthorne describes in all of its horror:<\/p><div><blockquote>His face was pale as death, and far more ghastly; the broad forehead was contracted in his agony, so that his eyebrows formed one grizzled line; his eyes were red and wild, and the foam hung white upon his quivering lip. His whole frame was agitated by a quick and continual tremor, which his pride strove to quell, even in those circumstances of overwhelming humiliation.<\/blockquote><\/div><p>This image of a broken man would have made for a terrifying denouement. But Hawthorne conjures another unnerving transformation. As Molineux passes by, Robin recognizes his kinsman and hears the cruel laughter of the mob. Rather than shrink from it, he joins the frenzy: \u201cThe contagion was spreading among the multitude, when all at once, it seized upon Robin, and he sent forth a shout of laughter that echoed through the street,\u2014every man shook his sides, every man emptied his lungs, but Robin\u2019s shout was the loudest there.\u201d<\/p><p><span>A few <\/span>years after departing <i>The<\/i> <i>American Magazine of Useful and Entertaining Knowledge<\/i>, still struggling to make a career of writing, Hawthorne tried his hand at a different kind of project: a children\u2019s book. In <i>Grandfather\u2019s Chair<\/i>, an old man recounts stories from American history through the experiences of his trusty oaken chair, which has seen it all. Hawthorne mostly succeeds at keeping the blackness in check in this foray into YA. But after Grandfather describes the Boston Massacre, one of the boys who has been listening to the tale speaks up:<\/p><div><blockquote>\u201cThe Revolution,\u201d observed Laurence, who had said little during the evening, \u201cwas not such a calm, majestic movement as I supposed. I do not love to hear of mobs and broils in the street. These things were unworthy of the people when they had such a great object to accomplish.\u201d<\/blockquote><\/div><p>The reader of \u201cMy Kinsman, Major Molineux\u201d can be forgiven for having a similar response. We are accustomed to viewing the Sons of Liberty as defiant and resourceful and their rebellion against English tyranny as virtuous. Here, the stand-ins for the patriots are presented as ghouls, and the Tory is granted poignant nobility: \u201cOn they went, like fiends that throng in mockery around some dead potentate, mighty no more, but majestic still in his agony. On they went, in counterfeited pomp, in senseless uproar, in frenzied merriment, trampling all on an old man\u2019s heart.\u201d<\/p><p>Consider as well that Hawthorne has set his allegory not at the Old North Bridge or on Bunker Hill, but decades before the war for independence. As Michael J. Colacurcio writes in <i>The Province of Piety<\/i>, the definitive account of Hawthorne\u2019s early tales, \u201cHawthorne is studying the majestic Revolution in terms of a minor outbreak of provincial unruliness, a mob scene.\u201d Its victim is also a substitute: a man of rank, but a mere representative of the colonial government, seemingly made to suffer for the sins\u2014a new tax on molasses? on sugar?\u2014of the King or the Crown governor.<\/p><p>Hawthorne wasn\u2019t a monarchist. He was a lifelong Democrat who was rewarded for his loyalty to the party with patronage positions in the customhouses of Boston and Salem, jobs that supported him when his writing could not. Later, he wrote a campaign biography for the feckless Franklin Pierce, a friend from Bowdoin College. When Pierce took office, Hawthorne was given a posting as consul to Liverpool. His notebooks from the years that he and his wife, Sophia, spent in that damp industrial port suggest a man who was at best ambivalent about the English way of life.<\/p><p>But the author of \u201cMy Kinsman, Major Molineux\u201d is clearly suspicious of the mythology that has hardened around the Revolution by the year of jubilee. He seems to worry that a political philosophy intended to empower the people might inadvertently unleash the populist energies of the mob. Once unleashed, as a native of Salem would surely understand, that contagion can be hard to contain. Good Robin, exposed to the furor, looks upon his kinsman\u2019s torture and betrays him with a laugh.<\/p><p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=610\">What AI\u2019s Style Tells Us About It<\/a><\/p><p><span>Hawthorne\u2019s tale <\/span>is not just an allegory of the Revolution. It is also one of early American literature\u2019s great coming-of-age stories, and its account of Robin\u2019s initiation into the complexities of adult life carries its own ambiguities, and its own critique of a dearly held myth.<\/p><p>One frigid afternoon this spring, I walked past blocks of storefronts filled with witch kitsch to the stately home of the Salem Athenaeum. Hawthorne was a member, and the library has preserved the records of the books he checked out. On display in a vitrine was a volume of <i>General Zoology or Systematic Natural History<\/i>, opened to a colorplate depicting a coiled \u201cFasciated Boa\u201d\u2014the 1802 book makes a cameo in his story \u201cEgotism; or, the Bosom Serpent,\u201d in which a man is possessed by a snake.<\/p><p>A librarian had pulled for me <i>Memoirs of the Life and Writings of Benjamin Franklin, Written by Himself<\/i>. Hawthorne consulted it in 1828, when he would have been composing \u201cMy Kinsman, Major Molineux.\u201d I half-hoped that he had defaced the Athenaeum copy with some margin notes\u2014no such luck. But the text itself was proof enough that Hawthorne had Franklin\u2019s own famous coming-of-age story in mind as he wrote.<\/p><p>The scholar Julian Smith was the first to list the many parallels between Robin\u2019s arrival in Boston and Franklin\u2019s in Philadelphia: \u201cEach leaves his father\u2019s house to go to a strange city in search of advancement; each arrives in this strange city by boat; each is embarrassed about his lack of money.\u201d Robin is all but accused of being a runaway servant; Franklin had indeed broken his indenture to his older brother. He, too, seeks the assistance of a well-placed benefactor: The governor of Pennsylvania has offered letters of introduction and credit, establishing him in the printing business. But the promises prove empty.<\/p><p>Instead, Franklin will rise by virtue of hard work and (actual) shrewdness. In his <i>Memoirs<\/i>, he stresses his \u201cmost awkward ridiculous Appearance\u201d upon landing in Philadelphia\u2014like Robin, he arrives in shabby attire, his meager possessions stuffed into his pockets\u2014in order that the reader might \u201ccompare such unlikely Beginnings with the Figure I have since made there.\u201d<\/p><p>Franklin\u2019s account of his rise from poverty to prominence is the foundational text in the American myth of the self-made man, which holds that wealth and status are the products of diligence, not advantages inherited from a rich relative. Ostensibly, Robin learns the Franklin lesson. At the story\u2019s conclusion, he asks a city dweller who has stood by him during the awful procession\u2014the first man to show him kindness all evening\u2014to direct him back to the ferry. Deprived of his meal ticket, Robin sees no reason to remain in the city. But the man won\u2019t permit him to leave:<\/p><div><blockquote>\u201cNo, my good friend Robin,\u2014not to-night, at least,\u201d said the gentleman. \u201cSome few days hence, if you wish it, I will speed you on your journey. Or, if you prefer to remain with us, perhaps, as you are a shrewd youth, you may rise in the world without the help of your kinsman, Major Molineux.\u201d<\/blockquote><\/div><p>The Robin of the story\u2019s end is shrewder than the boy who arrived in the city hours before. The mob he met in the moonlit street included, notably, all of the characters Robin had encountered earlier in the evening: the man with the sepulchral cough, the innkeeper, the whore, even the parti-colored man, first glimpsed at a tavern \u201cholding whispered conversation with a group of ill-dressed associates.\u201d Out in the wider world, Robin has learned that adults can conspire and deceive\u2014that they can wear two faces.<\/p><p>Yet Robin\u2019s story has a grimmer aspect than Franklin\u2019s. In place of an optimistic fable, we get a psychologically astute account of a young man\u2019s loss of innocence, complete with a startling act of oedipal violence\u2014Robin\u2019s participation in the ruin of the man who was to be his surrogate father. By the end of the ordeal, Robin looks more defeated than wise: \u201cHis cheek was somewhat pale, and his eye not quite as lively as in the earlier part of the evening.\u201d<\/p><p>The good gentleman has told Robin that he can \u201crise in the world\u201d without the help of his kinsman. But the tale ends there, his future far from assured. Young Hawthorne may have had his doubts that hard work will necessarily be rewarded.<\/p><p><span>Hawthorne\u2019s contrarian <\/span>streak didn\u2019t always serve him well. In May 1862, he submitted to James T. Fields, the editor of this magazine, a Civil War dispatch, reported from Washington, Harpers Ferry, and the Tidewater. Hawthorne was an unlikely war correspondent. His reflexive suspicion of causes left him more dismayed than energized by the nascent conflict. Although he was an old friend of Henry Wadsworth Longfellow\u2019s, and well acquainted with other founders of <i>The Atlantic<\/i>, he did not share their passion for abolition.<\/p><p>Hawthorne\u2019s sardonic essay described the war not as a divinely sanctioned liberation\u2014as it had been deemed in \u201cBattle Hymn of the Republic,\u201d published in <i>The Atlantic<\/i> that February\u2014but as a grand folly. He writes witheringly of John Brown (\u201cNobody was ever more justly hanged\u201d) and sympathetically of Confederate prisoners of war, and likens the Monitor, the Union\u2019s mighty ironclad, to a \u201cgigantic rat-trap.\u201d His condescending description of \u201ccontrabands\u201d\u2014fugitive slaves seeking emancipation behind Union lines\u2014suggests another reason for his lack of abolitionist zeal: He clearly views Black people as an inferior race.<\/p><p>Fields asked Hawthorne to excise some of the more offending passages, including an irreverent account of his meeting with \u201cUncle Abe.\u201d (The author acquiesced, though grudgingly: \u201cWhat a terrible thing it is to try to let off a little bit of truth into this miserable humbug of a world!\u201d) The article, \u201cChiefly About War-Matters,\u201d nevertheless scandalized <i>Atlantic<\/i> readers. In this instance, the Hawthorne biographer Edwin Haviland Miller writes, \u201chis familiar ambivalence afforded him a kind of cowardly protection and freedom from commitment, his seesawing and evasiveness pleasing no one.\u201d<\/p><p>Hawthorne\u2019s unsentimental view of the Revolutionary War, as expressed in \u201cMy Kinsman, Major Molineux,\u201d has aged better. Lately, historians have come around to the story\u2019s portrait of the conflict as marked by internecine mayhem. \u201cNothing done since by historian or novelist so concisely conveys the internal essence of the revolution,\u201d Alan Taylor writes in <i>American Revolutions<\/i>. \u201cHawthorne recognized that the struggle was our first civil war, rife with divisions, violence and destruction.\u201d<\/p><p>This is not a perspective likely to be on display in any official 250th celebrations. The current administration is engaged in an effort to bowdlerize American history, stripping away complexity in favor of easy myth and hagiography, not to mention the attempt to whitewash more recent events. The president insists that the insurrectionists who stormed the Capitol on January 6, 2021\u2014including one man, the notorious QAnon Shaman, in parti-colored face paint\u2014were \u201cpatriots.\u201d<\/p><p>The point of picking up Hawthorne\u2019s confounding story isn\u2019t to recast the American Revolution as little more than a provincial riot. It is to heed Hawthorne\u2019s warning about political passion giving way to hysteria and to recall the hard lesson that shrewd Robin learns: The adult world can be deceptive, disorienting, disturbing.<\/p><p>Melville left only a single notation in the margins of his copy of \u201cMy Kinsman, Major Molineux,\u201d a check mark beside a line I\u2019d read past too quickly. It compares moonlight to the human imagination in its power to invest \u201ca beautiful strangeness in familiar objects.\u201d This, perhaps, is the best reason to wander the crooked streets of Hawthorne\u2019s Boston: to see America\u2019s too-familiar origin story in a strange new light.<\/p><p><small><i>This article appears in the <\/i><i>July 2026<\/i><i> print edition with the headline \u201cNathaniel Hawthorne\u2019s American Horror Story.\u201d <\/i><\/small>\u200b<em><small>When you buy a book using a link on this page, we receive a commission. Thank you for supporting <\/small><\/em><small>The Atlantic<\/small><em><small>.<\/small><\/em><\/p><div><p>\u200bWhen you buy a book using a link on this page, we receive a commission. Thank you for supporting<!-- --> <span>The Atlantic.<\/span><\/p><p>Read more <a href=\"https:\/\/commercialrelocationpros.com\/?p=608\">My Descent Into Mah-Jongg<\/a><\/p><\/div><\/section>","protected":false},"excerpt":{"rendered":"<p>The author wrote a tale that challenged the nation\u2019s founding myths. 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