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Nautical fiction

An illustration from a 1902 printing of Moby Dick, one of the renowned American sea novels

Nautical fiction, frequently also naval fiction, sea fiction, naval adventure fiction or maritime fiction, is a genre of literature with a setting on or near the sea, that focuses on the human relationship to the sea and sea voyages and highlights nautical culture in these environments. The settings of nautical fiction vary greatly, including merchant ships, liners, naval ships, fishing vessels, life boats, etc., along with sea ports and fishing villages. When describing nautical fiction, scholars most frequently refer to novels, novellas, and short stories, sometimes under the name of sea novels or sea stories. These works are sometimes adapted for the theatre, film and television.

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, Scandinavia,[1] and other Western traditions. Though the treatment of themes and settings related to the sea and maritime culture is common throughout the history of western literature, nautical fiction, as a distinct genre, was first pioneered by James Fenimore Cooper (The Pilot, 1824) and Frederick Marryat (Frank Mildmay, 1829 and Mr Midshipman Easy 1836) at the beginning of the 19th century. There were 18th century and earlier precursors that have nautical settings, but few are as richly developed as subsequent works in this genre. The genre has evolved to include notable literary works like Herman Melville's Moby Dick (1851), Joseph Conrad's Lord Jim (1899–1900), popular fiction like C.S. Forester's Hornblower series (1937–67), and works by authors that straddle the divide between popular and literary fiction, like Patrick O'Brian's Aubrey-Maturin series (1970–2004).

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 masculinity and heroism, investigations of social hierarchies, and the psychological struggles of the individual in the hostile environment of the sea. Stylistically, readers of the genre expect an emphasis on adventure, accurate representation of maritime culture, and use of nautical language. Works of nautical fiction often include elements overlapping with other genres, including historical fiction, adventure fiction, war fiction, children's literature, travel narratives (such as the Robinsonade), the social problem novel and psychological fiction.


  • Definition 1
  • History 2
    • Early Sea Novels 2.1
    • Late 19th century 2.2
    • In the 20th century 2.3
  • Common themes 3
    • Masculinity and heroism 3.1
    • Women at sea 3.2
    • The working class at sea 3.3
    • Slave ships 3.4
    • Passenger ships 3.5
  • Nautical detail and language 4
  • Other notable works 5
    • Novels 5.1
    • Novellas 5.2
    • Short stories 5.3
    • Magazines 5.4
  • See also 6
  • Notes 7
  • References 8
    • Works cited 8.1
  • Other sources 9
    • Scholarly literature 9.1
  • External links 10


J. M. W. Turner, The Battle of Trafalgar (circa. 1806). Turner's seascapes reflect the Romantic movement's new attitude to the sea

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 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]

For the sake of this article, and to limit its scope this article focuses on the narrower, shared definitions of sea or maritime literature which focus on the limited sea/nautical novel and the fiction that grows out of that set of generic expectations and avoids broader definitions of "sea novels" which focus on thematic discussions of nautical topics in culture. In so doing, this article highlights what critics describe as the more conventional definition for the genre, even when they attempt to expand its scope.[2][3][5]


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,

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 Homer's epic poem the Odyssey, the Old English poem The Seafarer, The Icelandic Saga of Eric the Red (c.1220-1280), or early European travel narratives like Richard Hakluyt's (c. 1552–1616) Voyages (1589).[6] Then during the 18th century, as Bernhard Klein notes in defining "sea fiction" for his scholarly collection on sea fiction, European cultures began to gain an appreciation of the "sea" through varying thematic lenses. First because of the economic opportunities brought by the sea and then through the influence of the Romantic movement. As early as 1712 Joseph Addison identified "the sea as an archetype of the Sublime in nature: 'of all the objects that I have ever seen, there is none which affects my imagination as much as the sea or ocean' ".[7] Later in this century Samuel Taylor Coleridge's narrative poem Rime of the Ancient Mariner (1798), developed the idea of the ocean as "realm of unspoiled nature and a refuge from the perceived threats of civilization".[2] However, it is Byron "who has taken most of the credit for inventing the nineteenth-century sea, in Childe Harold's Pilgrimage (1812-16):

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. Jonathan Raban suggests that it was the Romantic movement, and especially Byron, which made "the sea the proper habit for aspiring authors", including the two most prominent early sea fiction writers James Fenimore Cooper and Captain Frederick Marryat,[9] both of whose maritime adventure novels began to define generic expectations about such fiction.[2][5] Critic Margaret Cohen describes Cooper's The Pilot as the first sea novel and Marryat's adaptation of that style, as continuing to "pioneer" the genre.[10] Critic Luis Iglesias says that novels and fiction that involved the sea before these two authors "tend 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 individuals not familiar with nautical life; by example Iglesias points to how Jane Austen's novels don't represent the genre, because, though the sea plays a prominent part in their plots, it keeps actual sea-culture at a "peripheral presence"; similarly, Iglesias describes earlier English novels like Robinson Crusoe (1719), Moll Flanders (1722), or Roderick Random (1748) as populating the naval world with characters unfamiliar with the sea to better understand land-bound society, not fulfilling the immersive generic expectations of nautical fiction.[5] From the development of the genre's motifs and characteristics in works like Cooper's and Marryat's, a number of notable European novelists, such as Eugène Sue, Edouard Corbière, Frederick Chamier and William Glasgock, innovated and explored the genre subsequently.[10]

The original cover of Cooper's The Pilot, printed in 1823.

James Fenimore Cooper wrote, what is often described as the first sea novel,[note 1] The Pilot (1824), in response to Walter Scott's The Pirate (1821).[11][12] Cooper was frustrated with the inaccuracy of the nautical culture represented in that work.[11][12] Though critical of The Pirate, Cooper borrowed many of the stylistic and thematic elements of the historical fiction genre developed by Walter Scott, such as a desire "to map the boundaries and identity of the nation."[10] In both The Pilot and the subsequent The Red Rover (1827) Cooper explores the development of an American national identity, and in his later Afloat and Ashore (1844) he again examines the subject of national identity. as well as offering a critique of American politics.[11] Cooper's novels created an interest in sea novels in the United States, and led both Edgar Allan Poe in The Narrative of Arthur Gordon Pym (1838) as well as mass-market novelists like Lieutenant Murray Ballou to write novels in the genre.[10][11] The prominence of the genre also influenced non-fiction. Critic John Peck describe's Richard Henry Dana's Two Years Before the Mast (1840) as utilizing a similar style and addressing the same thematic issues of national and masculine identity as nautical fiction developing after Cooper's pioneering works.[11]

Fenimore Cooper greatly influenced the French novelist Eugène Sue (1804 –1857), whose own his naval experiences supplied much of the materials 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.[13] 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.[14] Another French novelist who had a seafarer background was Edouard Corbière (1793 – 1875), the author of numerous maritime novels, including Les Pilotes de l'Iroise (1832), and Le Négrier, aventures de mer, (1834).

In Britain, the genesis of a nautical fiction tradition is often attributed to Frederick Marryat. Frederick Marryat's career as a novelist stretched from 1829 until his death in 1848, with many set at sea, including Mr Midshipman Easy.[15] Adapting Cooper's approach to fiction, Marryat's sea novels also reflected his own experience in the Royal Navy during the Napoleonic wars, in part under the command of Thomas Cochrane—who would also later inspire Patrick O'Brian's character Jack Aubrey.[15] Thematically Marryat focuses on ideas of heroism, proper action of officers, and reforms within the culture of the navy. Marryat's literary works participate in a larger British cultural examination of maritime service during the early part of the 19th century, where subjects such as naval discipline and naval funding were in widespread public debate.[15] Peck describes Marryat's novels as consistent in their core thematic focuses on masculinity and the contemporary naval culture, and in doing so, he suggests, they provide a complex reflection on "a complex historical moment in which author, in his clumsy way, engages with rapid change in Britain."[16] Marryat's novels encouraged the writing of other novels from veterans of the Napoleonic wars during the 1830s, like M.H. Baker, Captain Chamier, Captain Glascock, Edward Howard, and William J. Neale; these authors frequently both reflect on and defend the public image of the navy.[16] Novels by these authors highlight a more conservative, and supportive view of the navy, unlike texts from those interested in reforming the navy, like Nautical Economy; or forecastle recollections of events during the last war, which were critical of naval disciplinary practices, during a period when public debates ensued around various social and political reform movements.[16] Marryat's novels tend to be treated as unique in comparison to these other works however; Peck argues that Marryat's novels, though in part supportive of the navy, also highlight a "disturbing dimension" of the navy.[16]

Late 19th century

The Polish cover to Joseph Conrad's 1904 novel Lord Jim

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 Melville's Moby-Dick, Victor Hugo's Toilers of the Sea and Joseph Conrad's Heart of Darkness and Lord Jim.[10] John Peck describes Herman Mellville and Joseph Conrad as the "two great English-language writers of sea stories": better novelists than predecessors Cooper and Marryat, both flourished writing in the "adventure novel" genre.[17] Moreover, unlike the earlier novels, which were written during a thriving nautical economic boom, full of opportunities and affirmation of national identity, novels by these authors were written "at a point where a maritime based economic order [was] disintegrating."[17] The genre also inspired a number of popular mass-market authors, like American Ned Buntline, Britain Charles Kingsley and Frenchman Jules Verne.[10]

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) ).[17] However, 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[18] In this work, the hunting of a whale by Captain Ahab, immerses the narrator Ishmael in a spiritual journey, a theme which is developed again in Conrad's much later Heart of Darkness.[17]

The importance of naval power in maintaining Britains' vast world-wide empire led to numerous novels with nautical themes.[19] Some of these just touch on the sea, as with Sylvia's Lovers (1863) by Elizabeth Gaskell, where the nautical world is a foil to the social life ashore.[19] However, British novelists increasingly focused on the sea in the 19th century, particular when they focus on the upper classes. In such works sea voyages became a place for strong social commentary, as, for example Trollope's John Caldigate (1877), in which Trollope depicts a character travelling to Australia to make his fortune, and Wilkie Collins's Armadale (1866), which follows gentlemen yachting. Likewise William Clark Russell's novels, especially the first two, John Holdsworth, Chief Mate (1875) and The Wreck of the Grosvenor (1877), both of which highlight the social anxieties of Victorian Britain.[19]

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.[20] Critic John Peck emphasises this subgenre's impact on boys' books. In these novels young male characters go through—often morally whitewashed—experiences of adventure, romantic entanglement, and "domestic commitment".[20] Charles Kingsley is the most definitive writers of this genre, writing over one hundred boys' books, "many with a maritime theme", including Westward Ho!.[20] Other authors include R. M. Ballantyne, The Coral Island (1858), G.A. Henty, Under Drake's Flag (1882), Robert Louis Stevenson, Treasure Island (1883), and Rudyard Kipling, Captains Courageous (1897), all of which were also read by adults, and helped expand the potential of naval adventure fiction.[20]

In the 20th century

The first edition cover of Jack London's The Sea Wolf (1904)

Twentieth century novelists expand on the earlier traditions. The modernist Joseph Conrad drew inspiration from a range of earlier nautical works like Victor Hugo's Toilers of the Sea (1866), and Leopold McClintock's book about his 1857–59 expeditions in search of Sir John Franklin's lost ships, as well as works by James Fenimore Cooper and Frederick Marryat.[21] Most of Conrad's works draw directly from this seafaring career: Conrad had a career in both the French and British merchant-marine, climbing to the rank of captain's. His most famous novel, Heart of Darkness (1899), is based on a three-year employment with a Belgian trading company. His other nautical fiction includes An Outcast of the Islands (1896) The Nigger of the 'Narcissus' (1897), Lord Jim (1900), Typhoon (1902), Chance (1913), The Rescue (1920), The Rover (1923).[3]

A number of other novelists started writing nautical fiction early in the century. Jack London's The Sea Wolf (1904), was influenced by Kipling's recently published Captains Courageous (1897).[20] Welsh novelist Richard Hughes (1900 – 1976) wrote only four novels, the most famous of which is the pirate adventure, A High Wind in Jamaica. He also wrote In Hazard (1938) about a merchant ship caught in an hurricane.[22]

The novels of two other prominent British sea novelists, C.S. Forester (1899–1966) and Patrick O'Brian (1914–2000), define the conventional boundaries of contemporary naval fiction.[15] A number of later authors draw on Forester's and O'Brian's models of representing individual officers or sailors as they progress through their careers in the British navy, including Alexander Kent and Dudley Pope.[23] Patrick O'Brian's Aubrey-Maturin series straddles the divide between popular and literary fiction. One reviewer comments "The books have long escaped the usual confines of naval adventure [. . .] they continue to attract new readers who wouldn’t touch Horatio Hornblower with a bargepole."[24] Another is fulsome in his praise: "A mesmerizing performance on many levels - as history, as story, as literature - this novel [The Commodore] transcends two genres in one stroke, the domestic romance and the seafaring hero's tale. In doing so, O'Brian bids to be considered the rightful heir not just of C.S. Forester, but of Jane Austen herself",[25] though another reviewer dissents: "yet not quite up to the mark set by Austen and Trollope."[26]

Several other notable authors, wrote contemporary to O'Brian and Forester, but expanded the boundaries of the genre. Nicholas Monsarrat's novel The Cruel Sea (1951) follows a young naval officer Keith Lockhart during World War II service abourd "small ships". Monsarrat's short-story collections H.M.S. Marlborough Will Enter Harbour (1949), and The Ship That Died of Shame (1959) previously made into a film of the same name, mined the same literary vein, and gained popularity by association with The Cruel Sea.[27] Another important British novelist who wrote about life at sea was William Golding (1911–1993). His novel Pincher Martin (1956) records the delusions experienced by a drowning sailor in his last moments.[28] Golding's postmodernist trilogy To the Ends of the Earth is about sea voyages to Australia in the early nineteenth century, and draws extensively on the traditions of Jane Austen, Joseph Conrad and Herman Melville, and is Golding's most extensive piece of historiographic metafiction.[29][30]

Common themes

Masculinity and heroism

A portrait of Lord Cochrane in 1807 by Peter Edward Stroehling. Cochrane is frequently a historical model for the kinds of heroism depicted in fiction set during the Napoleonic wars and Age of Sail.

Those nautical novels dealing with life on naval and merchant ships set in the past are 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.[31] This creates a generic expectation, and Jerome de Groot identifies naval historical fiction like Forester's and O'Brian's as epitomizing works marketed to men, and nautical fiction being one of the subgenre's most frequently marketed towards men.[15][23] 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.[11]

The painting The Action and Capture of the Spanish Xebeque Frigate El Gamo by Clarkson Frederick Stanfield illustrates one of the most famous battles by Lord Cochrane,[note 2] which has been fictionalized by several nautical fiction authors; most famously Patrick O'Brian's first Aubrey-Maturin novel Master and Commander is based largely on Cochranes exploits in the action, and the character Jack Aubrey's heroic character is established through his similarities to Cochrane.[32]

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 Thomas Cochrane (nicknamed the "Sea Wolf"),[33] whose heroic exploits have been adapted by Marryat, Forestor, and O'Brian, among others.[34] Susan Bassnet maps a particular development in the major popular nautical works. On the one hand Marryat's heroes focus on gentlemanliness modelled on idealized ideas of actual captains such as Thomas Cochrane and Horatio Nelson. On the other hand, Forester's Hornblower is a model hero, presenting bravery, but inadequate at life ashore and beyond the navy and with limited emotional complexity. More recently O'Brian has explored complex ideas about masculinities through his characters Jack Aubrey and Stephen Maturin's friendship, along with the tension between naval life and shore life, and these men's complex passions and character flaws.[15] Bassnett argues, these models of manliness frequently reflect the historical contexts in which authors write. Marryat's model is a direct political response to the reforms of the Navy and the Napoleonic Wars, while Forrestor is writing about post-World War II Britain, and O'Brian is exploring the social and scholarly complexities of the later part of the 20th century.[15] Like O'Brian's novels, the treatment of the subject of masculinity by other late 20th century authors often becomes a complex plurality, full of questions about the idea of maleness. For example, William Golding's To the Ends of the Earth trilogy, explores the complexities of what constitutes a stable and acceptable male role as the civilian main character is thrust into the militaristic world of the navy, and is forced to work out afresh his own ideas of manhood.[35]

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;[31] 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."[31] 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

An illustration from Dick Sand, A Captain at Fifteen by Jules Verne painted by Henri Meyer. Mrs Weldon (pictured here) is the only woman aboard the main ship during the novel.

Until recently the crews of sea going vessels were almost entirely male, and women generally only have a role in maritime fiction on passenger ships, as wives of warrant officers, and where the action 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".[36] 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.[37]

Early in the nineteenth century Captain Marryat's Frank Mildhay (1829) explores an important part of sailor's life ashore, their sexual encounters. John Peck, in Maritime Fiction comments that Frank's "encounters with prostitutes and a relationship with an actress resulting in a child are not what might be expected", that is he is not "the kind of honest lad', the kind of midshipmen portrayed by Jane Austen or "who well be at the centre of Marryat's Mr Midshipman Easy ".[38] Peck further suggests that in "Marryat's navy there is" both "contempt for" and "fear of women".[39]

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".[40] However, historically, the bulk of people aboard nautical voyages are common sailors, drawn from the working classes. An early, somewhat disapproving, portrait of ordinary seamen is found in Herman Melville's fourth novel Redburn: His First Voyage: Being the Sailor-boy Confessions and Reminiscences of the Son-of-a-Gentleman, in the Merchant Service, published in 1849,[41] Melville's semi-autobiographical account of the adventures of a refined youth among coarse and brutal sailors and the seedier areas of Liverpool. In June 1839 Melville had signed aboard the merchant ship St. Lawrence as a "boy"[42] (a green hand) for a cruise from New York to Liverpool. He returned on the same ship on the first of October, after five weeks in England

However, it was not until the twentieth century that sea stories "of men for'ard of the bridge" really developed,[43] starting with American playwright

  • Historic Naval Fiction - a website devoted to cataloging historical fiction within the Naval fiction genre

External links

  • 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, c2007).
  • Leys, Simon. La mer dans la littérature française. [Paris: Plon, c2003).
  • 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.  
  • Keefer, Janice Kulyk (1986-06-06). "Recent Maritime Fiction: Women and Words". Studies in Canadian Literature / Études en littérature canadienne 11 (2).  
  • 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. 
  • Davis ll, James. "The Red Rover and Looking at the Nautical Machine for Naturalist Tendencies". Retrieved 2015-01-27. 
  • Davis, James T. (2012). "Mixed Technological Language in Jack London's THE SEA-WOLF". The Explicator 70 (4): 322–325. Retrieved 2015-01-27. 
  • Blaszak, M. (2006). "Some Remarks on the Sailors' Language Terminology and Related Issues in British and American Nautical fiction". Stylistyka 15: 331–350. 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. Retrieved 2015-01-27. 
  • Cohen, Margaret. The novel and the sea. (Princeton, N.J. : Princeton University Press, c2010).
  • Cooksey, Philip Neil (1977). "A thematic study of James Fenimore Cooper's nautical fiction". Louisiana State University, Baton Rouge. 
  • Bayley, John (1994). "In Which We Serve". In AE Cunningham. Patrick O'Brian: Critical Essays and a Bibliography. New York: WW Norton. pp. 33–42. 

Scholarly literature

Other sources

  • Klein, Bernhard, ed. (2002). Fictions of the Sea. Critical Perspectives on the Ocean in British Literature and Culture. Aldershot: Ashgate.  
  • Peck, John (2001). Maritime fiction: sailors and the sea in British and American novels, 1719-1917. New York: Palgrave. 

Works cited

  1. ^ Ray Taras, "A Conversation with Carsten Jensen", World Literature Today, May 2011: [2]
  2. ^ a b c d e Klein, Bernhard, "Introduction:Britain in the Sea" in Klein, Fictions of the Sea. p 1-10.
  3. ^ a b c Peck, "Joseph Conrad", 165-185.
  4. ^ Peck, "Introduction" 1-9.
  5. ^ 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: The Cooper Society): 1–7. Retrieved 2015-01-27. 
  6. ^ Robert Foulke, The Sea Voyage Narrative (New York: Routledge, 2002).
  7. ^ 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.
  8. ^ Jonathan Raban, "Introduction" to The Oxford Book of the Sea, p. 14.
  9. ^ The Oxford Book of the Sea.(Oxford: Oxford University Press, 1992), p. 16.
  10. ^ a b c d e f Cohen, Margaret (2003). "Traveling Genres". New Literary History 34 (3): 481–499.  
  11. ^ a b c d e f Peck, "American Sea Fiction", in Maritime Fiction, 98-106.
  12. ^ 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 (Romantic Circles). 
  13. ^ Margaret Cohen, The Novel and the Sea. (Princeton, NJ: Princeton University Press,2010), p. 170.
  14. ^ Margaret Cohen, The Novel and the Sea, p. 177.
  15. ^ 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
  16. ^ a b c d John Peck "Captain Marryat's Navy" in Maritime Fiction 50-69.
  17. ^ a b c d Peck, "Herman Mellville" in Maritime Fiction, 107-126.
  18. ^ Lawrence, D.H. (1923). Studies in Classic American Literature. London: Penguin Books.  
  19. ^ a b c Peck, "Mid-Victorian Maritime Fiction", 127-148.
  20. ^ a b c d e Peck, "Adventures at Sea" 149–164.
  21. ^ Najder, Z. (2007) Joseph Conrad: A Life. Camden House, pp. 41–42
  22. ^ New York Review of Books
  23. ^ a b Groot, Jerome de (2009-09-23). The Historical Novel. Routledge.  
  24. ^ McNally, Frank (12 December 2014). "The Life of O'Brian". The Irish Times. Retrieved 20 February 2015. 
  25. ^ "The Commodore" (15 February 1995 ed.). Kirkus Reviews. 20 May 2010. Retrieved 20 January 2015. 
  26. ^ Teachout, Terry (3 November 1998). "Don't Give Up the Ship". New York Times. Retrieved 9 February 2015. 
  27. ^ Christine L. Krueger Encyclopedia of British Writers, 19th and 20th Centuries. Infobase Publishing, 2009, p.257
  28. ^ Crawford, Paul (2002). Politics and History in William Golding: The World Turned Upside Down. University of Missouri Press. p. 88.  
  29. ^ NADAL, Marita (1994). "William Golding's Rites of Passage: A Case of Transtextuality". Miscelánea: A Journal of English and American Studies 15. 
  30. ^ Crawford, Paul (2002). Politics and History in William Golding: The World Turned Upside Down. University of Missouri Press. pp. 187–221.  
  31. ^ a b c Harthorn, Steven. "The Two AdmiralsI Loved Him Like a Brother": Male Bonds in "". James Fenimore Cooper Society Website.  orig. presented at the 2000 Central New York Conference on Language and Literature, Cortland, N.Y
  32. ^ David Cordingly (2007). Cochrane: The Real Master and Commander. New York: Bloomsbury. pp. 3–4.  
  33. ^ "BBC - Radio 4 Making History - Thomas Cochrane, sea-captain". Retrieved 2015-05-11. 
  34. ^ Cordingly, David. "The Real Master and Commander". The Telegraph. Retrieved April 23, 2015. 
  35. ^ Stephenson, William (1998-01-01). "Sex, Drugs and the Economics of Masculinity in William Golding's Rite of Passage". In Rowland, Antony. Signs of Masculinity: Men in Literature, 1700 to the Present. Rodopi.  
  36. ^ 'James Hanley: Modernism and the Working Class (Cardiff: University of Wales Press, 2002), p. 47.
  37. ^ John Fordham, James Hanley: Modernism and the Working Class, p. 47-8.
  38. ^ John Peck, pp. 53-59.
  39. ^ John Peck, p. 57.
  40. ^ a b 'Maritime Fiction, p. 172
  41. ^ See the Library of America edition edited by George Thomas Tanselle. ISBN 0-940450-09-7
  42. ^ See Redburn, pg. 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."
  43. ^ James Hanley, "Sugi–Mugi" review of B. Traven's Death Ship", Spectator 26 January 1934, p. 131.
  44. ^ Murfin, Patrick (16 October 2012). """The Sailor Who Became "America’s Shakespere. Heretic, Rebel, a Thing to Flout. 
  45. ^ Ken Worpole, Dockers and Detectives. London: Verso editions, 1983, p. 80.
  46. ^ Margerie Lowry, "Introductory Note" to Malcolm Lowry, Ultramarine. London: Jonathan Cape, 1963, p. 7.
  47. ^ Margerie Lowry, "Introductory Note" to Malcolm Lowry, Ultramarine, pp. 7-8.
  48. ^ James Hanley, "Sugi–Mugi" review of B. Traven's Death Ship".
  49. ^ Hanley>James Hanley, "Sugi–Mugi" review of B. Traven's Death Ship". Spectator, 26 January 1934, p.131
  50. ^ Ken Worpole, Dockers and Detectives, p. 82.
  51. ^ a b Ken Worpole, Dockers and Detectives, p. 83.
  52. ^ a b Ross, Alan (1997). "Introduction". James Hanley The Last Voyage and Other Stories (London: Harvill Press). p. xv. 
  53. ^ John Fordham, James Hanley: Modernism and the Working Class", p.19.
  54. ^ London Books
  55. ^ John Peck,Maritime Fiction, pp. 6-7.
  56. ^ 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
  57. ^ "Fred D'Aguiar". British Council Writers Profiles.  
  58. ^ a b Frias, Maria (2002). "Building Bridges Back to the Past: An Interview with Fred D'Aguiar". Callaloo 25 (2): 418–425 [421].  
  59. ^ John Peck, Maritime Fiction, p. 140.
  60. ^ Indu Kulkarni, The Novels of William Golding. Atlantic Publishers, 2003. p. 100.
  61. ^ Crawford, Paul, Politics and History in William Golding: The World Turned Upside Down. University of Missouri Press, 2002>p. 194.
  62. ^ W. H. Auden, The Enchafed Flood or The Romantic Iconography of the Sea. London: Faber, 1951, p. 61.
  63. ^ New RepublicReview in
  64. ^ New RepublicReview in
  65. ^ 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)
  66. ^ Jones, Robert Kenneth. The Lure of Adventure. Starmont House,1989 ISBN 1-55742-143-9 (p.40)
  67. ^ Horace Vondys, Best Sea Stories from Bluebook, introduced by Donald Kennicott. New York: The McBride Company, 1954.
  68. ^ "Lost at Sea: The Story of The Ocean," introduction to The Ocean: 100th Anniversary Collection (Off-Trail Publications, 2008).


  1. ^ 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: Prineton University Press, 2010, p. 133.
  2. ^ The British brig-sloop Speedy's defeat of the Spanish xebec-frigate El Gamo on 6 May 1801, generally regarded as one of the most remarkable 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).
  3. ^ This list includes some of the notable authors covered by WorldHeritage. For a more expansive list of notable authors and works, see the WorldHeritage Category: Category:Nautical historical novelists. Others not included in WorldHeritage 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,


See also

  • The Ocean, one of the first specialized pulp magazines (March 1907 to January 1908)[68]
  • Sea Stories, a Street & Smith pulp (February 1922 to June 1930)
  • Sea Novel Magazine, a Frank A. Munsey pulp (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)

More specialized magazines include:

  • 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,

In the twentieth century, sea stories were popular subjects for the pulp magazines. Adventure [66] and Blue Book [67] often ran sea stories by writers such as J. Allan Dunn and H. Bedford-Jones as part of their selection of fiction. Other works that included sea stories:


  • Stephen Crane (1871 – 1900): "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"

Short stories

Notable novellas include:


Notable exponents of the sea novel not discussed above.[note 3]


Other notable works

One of the distinctions often placed on the difference between the characteristics often expected of nautical fiction and other fiction that uses 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]

Nautical detail and language

Sometimes, as with Katherine Anne Porter's Ship of Fools (1962), a ship can be a symbol: "if thought of as isolated in the midst of the ocean, a ship can stand for mankind and human society moving through time and struggling with its destiny."[62] Set in 1931 Ship of Fools is an allegory that traces the rise of Nazism and looks metaphorically at the progress of the world on its "voyage to eternity" in the years leading to World War II.[63] The novel tells the tale of a group of disparate characters sailing from Mexico to Europe aboard a German passenger ship. The large cast of characters includes Germans, a Swiss family, Mexicans, Americans, Spaniards, a group of Cuban medical students, and a Swede. In steerage there are 876 Spanish workers being returned from Cuba.[64] Porter's title alludes to Ship of Fools (1494) by Sebastian Brant, which is an allegory, originating from Plato,[65] The allegory depicts a vessel without a pilot, populated by human inhabitants who are deranged, frivolous, or oblivious, and seemingly ignorant of their course. The concept makes up the framework of the 15th century book which served as the inspiration for Hieronymous Bosch's famous painting, Ship of Fools: a ship—an entire fleet at first—sets off from Basel, bound for the Paradise of Fools.

While William Golding's novel Rites of Passage (1980) is set on board a warship the ship is also carrying a number of passengers on their way to Australia, who encompass a motley yet representative collection of early 19th century English society. Class division, or the assumption of a higher status than is warranted, is a running theme of the book.[60] This theme focuses upon that major theme of maritime fiction, the proper conduct of a gentleman; however, it also deals with his often-stormy friendship between the protagonist Talbot and one of the officers, Lieutenant Summers, who sometimes feels slighted by Talbot's ill-thought-out comments and advice. Like many of Golding’s books, it also looks at man’s reversion to savagery in the wake of isolation.[61] This novel forms the trilogy To the Ends of the Earth, with Close Quarters (1987) and Fire Down Below (1989).

The importance of "the idea of the gentleman" can also be a theme of novels set on passenger ships,[40] 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".[59]

Passenger ships

Greed and man's inhumanity to his fellows is also the subject of Fred D'Aguiar's third novel, Feeding the Ghosts (1997), which was inspired by the true story of the Zong massacre in which 132 slaves were thrown from a slave ship into the Atlantic for insurance purposes.[57][58] According to historical accounts, one slave survived and climbed back onto the ship; and in D'Aguiar's narrative this slave - about whom there is next to no historical information - is developed as the fictional character Mintah.[58]

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".[55] Sacred Hunger (1992) is a historical novel by Barry Unsworth (1930 – 2012), which is set in the mid 18th century in the English sea port of Liverpool and aboard the Liverpool Merchant a slave ship. The novel's central theme is greed, with the subject of slavery being a primary medium for exploring the issue. The story line has a very extensive cast of characters, and the narrative interweaves elements of appalling cruelty and horror with extended comic interludes.[56] It shared, in 1992, the Booker Prize that year with Michael Ondaatje's The English Patient. A sequel, The Quality of Mercy, Unsworth's last book, was published in 2011.

Slave ships

Kanikōsen (1929) is a short novel by Takiji Kobayashi, translated into English as The Cannery Boat (1933), The Factory Ship (1973) and The Crab Cannery Ship (2013), which depicts the lives of Japanese crab fishermen. Told from a left-wing point of view, it is concerned with the hardships that the crew face and how they are exploited by the owners. The book has been made into a film and as manga. Yukio Mishima on the other hand was a right-wing novelist and his novel Gogo no Eikō (1963), in English The Sailor Who Fell from Grace with the Sea (1965), chronicles the story of Ryuji, a sailor with vague notions of a special honor awaiting him at sea.

British novelist and left-wing activist John Sommerfield (1908-1991) was born in Notting Hill, West London, and despite being considered highly-intelligent he left school at the age of fifteen to work as a newspaper-runner, carpenter and merchant seaman. His first novel, They Die Young, was published in 1930, and drew on his time at sea.[54]

The unheroic side of life at sea for the working class is also depicted by the Irish writer Liam O'Flaherty, who went to sea as a young man, in his short story "The Fireman's Death", where "an elderly and ill-used stoker works himself to death."[53]

James Hanley describes Traven’s Death Ship (1934), as "the first real book about the lives for'ard of the bridge".[48] The novel portrays what Hanley calls the "real, horrible, fantastic, but disgustingly true".[49] Hanley's own early novel Boy has been described as "truly disturbing novel".[50] Its protagonist, Fearon, is a young boy of thirteen, who stows away on a ship. When a sailor discovers the young boy in a distressed state, he takes him to his cabin, puts him in bed and then rapes him.[51] Further sexual assaults occur and the novel's horrific climax involves the ship's captain smothering the boy to end his terrible suffering.[51] This is an entirely different world than that found in the novels of earlier writers, like Fenimore Cooper, Melville (even Redburn) and Joseph Conrad.[52] Critic Alan Ross notes, "Hanley does not have much in common with Conrad, whose sea-captains were mostly men of a certain standing, able to trade for their own benefit in romantic parts of the world"; Hanley's men are generally "found covered in grease below decks".[52]

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 John Sommerfield and B. Traven.


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