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Mennonite Writing in North America
For decades, the field of Mennonite literature has been dominated by the question of Mennonite identity. After Identity interrogates this prolonged preoccupation and explores the potential to move beyond it to a truly post-identity Mennonite literature.
The twelve essays collected here view Mennonite writing as transitioning beyond a tradition concerned primarily with defining itself and its cultural milieu. What this means for the future of Mennonite literature and its attendant criticism is the question at the heart of this volume. Contributors explore the histories and contexts—as well as the gaps—that have informed and diverted the perennial focus on identity in Mennonite literature, even as that identity is reread, reframed, and expanded.
After Identity is a timely reappraisal of the Mennonite literature of Canada and the United States at the very moment when that literature seems ready to progress into a new era.
In addition to the editor, the contributors are Ervin Beck, Di Brandt, Daniel Shank Cruz, Jeff Gundy, Ann Hostetler, Julia Spicher Kasdorf, Royden Loewen, Jesse Nathan, Magdalene Redekop, Hildi Froese Tiessen, and Paul Tiessen.
Fiction of the Contemporary South
A provocative reckoning of the challenging new direction southern literature has taken in the works of nine authors
The literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history.
This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- -- Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors.
This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "poor white" author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "southern" and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundations from which the Southern Renascence arose.
Challenging the conventional conceptions of the southern canon, this is a provocative and innovative contribution to the region's literary study.
Matthew Guinn, formerly an instructor of English at the University of Mississippi, has published articles on southern literature in Southern Quarterly, South Atlantic Review, and Resources for American Literary Study.
American Fiction in the 1990s
The Transfer and Circulation of Modern Poetics Across the Atlantic
Translation--from both a theoretical and practical point of view--articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American "modernism" based on the transnational, interlingual and transhistorical features of the work of key modern poets writing at both sides of the Atlantic--namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico García Lorca; the San Francisco-based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.
The Rise of Critical Space in Twentieth-Century American Fiction
Spencer focuses on distinct moments in the rise of critical space during the past century and relates them to the writing of Georg Lukács, Ernst Bloch, Antonio Gramsci, Hannah Arendt, Henri Lefebvre, Gilles Deleuze and Félix Guattari, and Paul Virilio. The systematic and genealogical encounter between critical theory and American fiction reveals close parallels between and original analyses of these two areas of twentieth-century cultural discourse.
The hit Broadway show of 1912; the lost film of 1919; Katharine Hepburn, as Jo, sliding down a banister in George Cukor’s 1933 movie; Mark English’s shimmering 1967 illustrations; Jo—this time played by Sutton Foster—belting “I'll be / astonishing” in the 2004 Broadway musical flop: these are only some of the markers of the afterlife of Little Women. Then there’s the nineteenth-century child who wrote, “If you do not . . . make Laurie marry Beth, I will never read another of your books as long as I live.” Not to mention Miss Manners, a Little Women devotee, who announced that the book taught her an important life lesson: “Although it’s very nice to have two clean gloves, it’s even more important to have a little ink on your fingers.” In The Afterlife of “Little Women,” Beverly Lyon Clark, a leading authority on children’s literature, explores these and other after-tremors, both popular and academic, as she maps the reception of Louisa May Alcott’s timeless novel, first published in 1868. Clark divides her discussion into four historical periods. The first covers the novel’s publication and massive popularity in the late nineteenth century. In the second era—the first three decades of the twentieth century—the novel becomes a nostalgic icon of the domesticity of a previous century, while losing status among the literary and scholarly elite. In its mid-century afterlife (1930–1960), Little Women reaches a low in terms of its critical reputation but remains a well-known piece of Americana within popular culture. The book concludes with a long chapter on Little Women’s afterlife from the 1960s to the present—a period in which the reading of the book seems to decline, while scholarly attention expands dramatically and popular echoes continue to proliferate. Drawing on letters and library records as well as reviews, plays, operas, film and television adaptations, spinoff novels, translations, Alcott biographies, and illustrations, Clark demonstrates how the novel resonates with both conservative family values and progressive feminist ones. She grounds her story in criticism of children’s literature, book history, cultural studies, feminist criticism, and adaptation studies. Written in an accessible narrative style, The Afterlife of “Little Women” speaks to scholars, librarians, and devoted Alcott fans.
Literary Experience in the Era of Emancipations
This book argues that we can no longer envision a political system that might practically displace democracy or, more accurately, global democratic state capitalism. Democracy has become fundamental: It extends deeper and deeper into everyday life; it grounds and limits our political thought and values. That is the sense in which we do indeed live at history's end. But this end is not a happy one, because the system that we now have does not satisfy tests that we can legitimately put to it. In this situation, it is important to come to new terms with the fact that literature, at least until about 1945, was predominantly hostile to political democracy. Literature's deep-seated conservative, counterdemocratic tendencies, along with its capacity to make important distinctions among political, cultural, and experiential democracies and its capacity to uncover hidden, nonpolitical democracies in everyday life, is now a resource not just for cultural conservatives but for all those who take a critical attitude toward the current political, cultural, and economic structures. Literature, and certain novelists in particular, helps us not so much to imagine social possibilities beyond democracy as to understand how life might be lived both in and outside democratic state capitalism. Drawing on political theory, intellectual history, and the techniques of close reading, Against Democracy offers new accounts of the ethos of refusing democracy, of literary criticism's contribution to that ethos, and of the history of conservatism, as well as innovative interpretations of a range of writers, including Tocqueville, Disraeli, George Eliot, E. M. Forster, and Saul Bellow.
Antebellum American Writers and the Movement to Abolish Capital Punishment
In Against the Gallows, Paul Christian Jones explores the intriguing cooperation of America’s writers—including major figures such as Walt Whitman, John Greenleaf Whittier, E. D. E. N. Southworth, and Herman Melville—with reformers, politicians, clergymen, and periodical editors who attempted to end the practice of capital punishment in the United States during the 1840s and 1850s. In an age of passionate reform efforts, the antigallows movement enjoyed broad popularity, waging its campaign in legislatures, pulpits, newspapers, and literary journals.