The editor's preface to this volume explains that Hawthorne's private journals were never intended for publication, but were released in response to public demand for a memoir. The editor notes Hawthorne's extreme reserve and his hope that no biography would be written, and therefore presents these extracts as the most authentic self-portrait available. The excerpts show Hawthorne recording his impressions with a novelist's eye for detail, as when he describes the interior of a church where Wordsworth is buried: the 'bluish-gray flagstones,' the 'rough and massive pillars,' and the 'black skeleton of the roof.'

The Editor's Role and the Journal's Origin

The preface, signed by the editor, reveals the circumstances behind the publication. The editor states that Hawthorne 'frequently and emphatically expressed the hope that no one would attempt to write his Biography,' and that the editor felt obliged to refuse such requests. Instead, the editor chose to publish 'as much as possible of his private records, and even extracts from his private letters.' The editor acknowledges criticism for including certain passages but defends the decision as a matter of 'conscience and courtesy.' The preface also notes that many journals were destroyed, with the earliest surviving from 1835. The editor claims to have transcribed the manuscripts 'just as they were left, without making any new arrangement or altering any sequence,' merely omitting some passages. This framing positions the volume as a deliberate compromise between public demand and Hawthorne's own wishes.

Hawthorne's Descriptive Method in the Church Scene

In the excerpt describing a visit to Wordsworth's grave, Hawthorne demonstrates a meticulous, almost architectural approach to description. He notes the church's layout: 'no middle aisle; but first a row of pews next either wall, and then an aisle on each side of the pews, occupying the centre of the church.' He observes the stone arches, 'very rude and round-headed, all of rough stone, supported by rough and massive pillars, or rather square, stone blocks.' His attention extends to the roof's 'oaken beams' and 'black skeleton,' which he calls 'a very clumsy contrivance' yet acceptable due to its antiquity. He also records the position of Wordsworth's monument—'a slab of white marble fixed against the upper end of the central row of stone arches'—and notes that it is best viewed from 'the very corner seat where he used to sit.' The passage includes a brief conversation with a woman who knew Wordsworth and recited lines of his verse about a lamb, though Hawthorne admits neither he nor his companion remembered them.

Catalog Subjects vs. Actual Content

The catalog subjects classify this work under 'Geography' and 'England — Description and travel,' which accurately reflect Hawthorne's focus on English landscapes and architecture. However, the excerpts also reveal a strong biographical and literary dimension: the visit to Wordsworth's grave, the discussion of the monument, and the woman's recollection of Wordsworth's poetry. The subject 'Novelists, American — Diaries' is apt, but the editor's preface adds a layer of editorial mediation that is not captured by the subjects alone. The volume is not a straightforward travelogue but a curated selection of private reflections, chosen to illuminate Hawthorne's character. The editor explicitly states that the Notes are 'an open sesame to the artistic works,' suggesting that the journal entries are meant to be read alongside Hawthorne's fiction. Readers expecting purely geographical description will find instead a blend of personal observation, literary pilgrimage, and editorial framing.

Readers should approach this volume as a partial, edited record—not a complete diary. The editor's choices shape what we see of Hawthorne, and the preface makes those choices explicit. The journal entries reward attention to small details: the texture of stone, the arrangement of pews, the tone of a conversation. These are not polished travel essays but raw material, sometimes fragmentary, that Hawthorne might have later used in his published works.