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“Sharon Talley draws on psychoanalytic theory to illuminate the connections between Bierce’s life and works, without ever losing sight of the historical contexts—especially his experience in the Civil War—that also shaped his creativity. This judicious and comprehensive book will give a major boost to the reassessment of Bierce’s place in American letters.”
—Peter L. Rudnytsky, author of Reading Psychoanalysis: Freud, Rank, Ferenczi, Groddeck
Ambrose Bierce and the Dance of Death uses psychoanalytic theory in combination with historical, cultural, and literary contexts to examine the complex motif of death in a full range of Bierce’s writings. Scholarly interest in Bierce, whose work has long been undervalued, has grown significantly in recent years. This new book contributes to the ongoing reassessment by providing new contexts for joining the texts in his canon in meaningful ways.
Previous attempts to consider Bierce from a psychological perspective have been superficial, often reductive Freudian readings of individual stories such as “An Occurrence at Owl Creek Bridge” and “The Death of Halpin Frayser.” This new volume not only updates these interpretations with insights from post-Freudian theorists but uses contemporary death theory as a framework to analyze the sources and expressions of Bierce’s attitudes about death and dying. This approach makes it possible to discern links among texts that resolve some of the still puzzling ambiguities that have—until now—precluded a fuller understanding of both the man and his writings.
Lively and engaging, Ambrose Bierce and the Dance of Death adds valuable new insights not only to the study of Bierce but to that of nineteenth-century American literature in general.
Sharon Talley is the author of the Student Companion to Herman Melville. Her articles have been published in Nineteenth-Century Prose, American Imago, and the Journal of Men’s Studies. She is associate professor of English at Texas A&M University–Corpus Christi.
Literary Essays North and South
One of the foremost critics in contemporary American letters, Christopher Benfey has long been known for his brilliant and incisive essays. Appearing in such publications as the New York Review of Books, the New Republic, and the Times Literary Supplement, Benfey's writings have helped us reimagine the American literary canon. In American Audacity, Benfey gathers his finest writings on eminent American authors (including Emerson, Dickinson, Whitman, Millay, Faulkner, Frost, and Welty), bringing to his subjects---as the New York Times Book Review has said of his earlier work---"a scholar's thoroughness, a critic's astuteness and a storyteller's sense of drama." Although Benfey's interests range from art to literature to social history, this collection focuses on particular American writers and the various ways in which an American identity and culture inform their work. Broken into three sections, "Northerners,""Southerners," and "The Union Reconsidered," American Audacity explores a variety of canonical works, old (Emerson, Dickinson, Millay, Whitman), modern (Faulkner, Dos Passos), and more contemporary (Gary Snyder, E. L. Doctorow). Christopher Benfey is the author of numerous highly regarded books, including Emily Dickinson: Lives of a Poet; The Double Life of Stephen Crane; Degas in New Orleans: Encounters in the Creole World of Kate Chopin and George Washington Cable; and, most recently, The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Old Japan. Benfey's poems have appeared in the Paris Review, Pequod, and Ploughshares. He has held fellowships from the Guggenheim Foundation, the National Endowment for the Humanities, and the American Council of Learned Societies. Currently he is Mellon Professor of English at Mount Holyoke College. "In its vigorous and original criticism of American writers, Christopher Benfey's American Audacity displays its own audacities on every page." ---William H. Pritchard
Walt Whitman and Other Unlikely Candidates for National Poet
In this ms Whitley works to defamiliarize and so explore in a fresh way the literary landscape of the mid-19th century into which Whitman emerged. He explores how the idea of a national poet resonated at that time as well as how Whitman stepped into that role. To accomplish this, Whitley traces the histories and literary achievements of three other antebellum poets whose names are not nearly so well-known but whose work paralleled Whitman’s in unexpected ways: James M. Whitfield, Eliza Snow, and John Rollin Ridge. He puts their work in dialogue with Whitman’s poetry--both as it functions now and as it reflected and affected the literary landscape of 19th-c. America. Each of these American poets adopted a posture similar to that of Whitman’s antebellum persona of a social outsider who audaciously claims to be a representative national bard. Rereading Whitman’s place in the nationalist literary milieu of the 1850s through Whitfield, Snow, and Ridge suggests cultural alternatives to the nation-centered discourse that has come to characterize received notions of the antebellum period.
Vol. 27 (2005) through current issue
Founded in 1977, the American Book Review is a nonprofit, internationally distributed publication that appears six times a year. ABR specializes in reviews of frequently neglected published works of fiction, poetry, and literary and cultural criticism from small, regional, university, ethnic, avant-garde, and women's presses. ABR as a literary journal aims to project the sense of engagement that writers themselves feel about what is being published. It is edited and produced by writers for writers and the general public.
Authenticity and Identity in American Literature and Culture
Fakery, authenticity, and identity in American literature and culture at the turn of the 20th century
Focusing on texts written between 1880 and 1930, Mary McAleer Balkun explores the concept of the “counterfeit,” both in terms of material goods and invented identities, and the ways that the acquisition of objects came to define individuals in American culture and literature. Counterfeiting is, in one sense, about the creation of something that appears authentic—an invented self, a museum display, a forged work of art. But the counterfeit can also be a means by which the authentic is measured, thereby creating our conception of the true or real.
An Annotated Edition
Economy and Environment in American Literature, 1580-1864
In classical terms the georgic celebrates the working landscape, cultivated to become fruitful and prosperous, in contrast to the idealized or fanciful landscapes of the pastoral. Arguing that economic considerations must become central to any understanding of the human community's engagement with the natural environment, Timothy Sweet identifies a distinct literary mode he calls the American georgic.
Offering a fresh approach to ecocritical and environmentally-oriented literary studies, Sweet traces the history of the American georgic from its origins in late sixteenth-century English literature promoting the colonization of the Americas through the mid-nineteenth century, ending with George Perkins Marsh's Man and Nature (1864), the foundational text in the conservationist movement.
New Interventions in a National Narrative