By Peter Stoneley, Cindy Weinstein
An authoritative consultant to American literature, this spouse examines the experimental kinds, socio-cultural alterations, literary events, and significant authors of the early twentieth century. This better half presents authoritative and wide-ranging advice on early twentieth-century American fiction.
- Considers regularly studied authors resembling Faulkner, Fitzgerald, and Hemingway, along key texts of the interval via Richard Wright, Charles Chesnutt, Zora Neale Hurston, and Anzia Yezierska
- Examines how the works of those different writers were interpreted of their personal day and the way present readings have extended our realizing in their cultural and literary value
- Covers a large diversity of subject matters, together with the 1st and moment global Wars, literary language modifications, writer famous person, the city panorama, modernism, the Jazz Age, the nice melancholy, regionalism, and African-American fiction
- Gives scholars the contextual details worthwhile for formulating their very own opinions of vintage American fiction
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Extra info for A concise companion to American fiction, 1900-1950
Toughness is itself seen as a “forced reaction” rather than a “willed choice,” and while the tough hero must cultivate an emotional distance in order to function, he is a hero precisely because, in a brutal and callous society, he retains a true, deep, and immediate ability to feel. Schmid’s crime ﬁction hero is tough, but he is also, crucially, vulnerable and even sentimental. ” Schmid’s analysis of hard-boiled ﬁction is followed by a chapter on styles in modernism. Style is often invoked as a key concept for deﬁning, organizing, and evaluating literature, but critics nowadays seldom give any sustained attention to the topic.
Drawing on the work of Walter Benn Michaels, Esteve is keen to show that, in the cosmpolis, ﬁctional protagonists arrive at an identity that is a creative reiteration of beliefs and practices. This is opposed to the defensive nativism that seeks to insist that one “derives one’s beliefs and practices from one’s cultural identity” (Michaels 1995: 16). The volume concludes with an analysis of creative “beliefs and practices” not normally discussed in the same breath as Eliot, Faulkner, and other high modernists.
Jarrett focuses in particular on how writers negotiated the formidable cultural presence of Booker T. Washington, and the inﬂuential paradigm that Washington established in Up from Slavery (1901). Jarrett ﬁnds that, if turn-of-the-century writers found uplift a useful concept, later generations did not. Some either revised and critiqued uplift, as with the writers of the Harlem Renaissance, or they rejected it as a polite submission to white sensibilities, as was the case with writers from W.