By Peter Stoneley, Cindy Weinstein
An authoritative consultant to American literature, this spouse examines the experimental kinds, socio-cultural adjustments, literary hobbies, and significant authors of the early twentieth century. This spouse presents authoritative and wide-ranging suggestions on early twentieth-century American fiction.
- Considers often studied authors equivalent to Faulkner, Fitzgerald, and Hemingway, along key texts of the interval by means of Richard Wright, Charles Chesnutt, Zora Neale Hurston, and Anzia Yezierska
- Examines how the works of those assorted writers were interpreted of their personal day and the way present readings have increased our figuring out in their cultural and literary value
- Covers a huge variety of issues, together with the 1st and moment global Wars, literary language changes, writer big name, the city panorama, modernism, the Jazz Age, the good melancholy, regionalism, and African-American fiction
- Gives scholars the contextual info useful for formulating their very own evaluations of vintage American fiction
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Additional info for A Concise Companion to American Fiction 1900 - 1950
1936), Flannery O’Connor’s Wise Blood (1952) and “The Artiﬁcial Nigger” (1962), Dore ﬁnds that “Southern literature” is actually more closely aligned with a progressive modernist aesthetic than with the ideas of the Agrarians. Dore’s chosen authors are interested in “crossed identities,” whereby a would-be “pure” racial self is seen to dissolve into that which it deﬁnes as other to itself. A key scene for this argument is when Faulkner’s Thomas Sutpen calls at the front door of a grand plantation house.
Yes, surely! ” John’s last thoughts are of Wagner’s lyrics from the “Song of the Bride” and then of pity for white John’s father. He turns in a gesture of surrender, with his eyes closed, toward the sea, and waits listening to the mingling of remembered music and the rumble of the mob. Such operatic gestures and references confer upon John’s death an aura of aesthetic tragedy, as if to say such endings are inevitable when white cultural ideology directly confronts African American experience in one 25 Michael A.
Force,” as Adams represents it, is the source of revolutionary power, a turning from one world order (the spiritual order of the Old World epitomized by the Virgin) to another (the technological world of scientiﬁc discovery represented by the Dynamo). The “historian,” Adams’s self-nomination, can grasp the outlines of this shift, but only in the crudest of terms. The forms of historical knowledge that Adams has at his disposal no longer appear functional. He had sought a history that could produce more coherent meaning than mere sequence, that could create order out of the “chaos” of his time.
A Concise Companion to American Fiction 1900 - 1950 by Peter Stoneley, Cindy Weinstein