
BY TRACY HOFFMAN
Tuesday, September 25, 2018
In 1832, after being abroad for seventeen years, Irving embarked on a buffalo hunting trip through Oklahoma Territory.
He kept a journal during the adventure, and even though he claimed a book was not his intent, Irving nevertheless published A Tour on the Prairies (1835) based on the journey.
My thoughts today take me to Irving’s sketches about Native-Americans in The Sketch Book (1819-1820). I’m also reminded of his travels with the Hoffman family into Canada among natives there, where he was evidently given an Indian name–“Good to All.”
In recent class discussions, my students and I have compared Irving’s romanticized views of natives with perspectives from earlier writers such as Mary Rowlandson, particularly with regard to King Philip.
Some scholars have dismissed Irving as a racist simply based on his stereotypical handling of an African-American servant in “The Legend of Sleepy Hollow.” I’m thinking of the decades-old article by Kenneth T. Reed.
When you consider other types in “Sleepy Hollow” such as the coquette and the Connecticut Yankee, and also understand what a huge impact the theater had on Irving’s writing, it’s unfair to say he’s only singling out a race or gender or culture. He presented men, women, all races and cultures in unflattering ways, depending on the stock character and/or scene he was explaining.
Irving’s sympathy and perhaps empathy for the plight of natives can also be translated into his views about other people groups, too, it seems to me.
Stories and descriptions about Native-Americans in The Sketch Book, A Tour on the Prairies, and his next two histories/biographies, Astoria and Captain Bonneville, give us a better assessment of Irving’s picture of the American landscape and contribute to the rich texture of Irving studies.

