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Literature > American Literature

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American Naturalism and the Jews Cover

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American Naturalism and the Jews

Garland, Norris, Dreiser, Wharton, and Cather

Donald Pizer

Otherwise known for their progressive social values, Hamlin Garland, Frank Norris, Theodore Dreiser, Edith Wharton, and Willa Cather all also expressed strong anti-Semitic prejudices throughout their fiction, essays, letters, and other writings, producing a contradiction in American literary history that has stymied scholars and, until now, gone largely unexamined. In this breakthrough study, Donald Pizer confronts this disconcerting strain of anti-Semitism pervading American letters and culture, showing how these writers' racist impulses represented more than just personal biases, but resonated with larger social and ideological movements within American culture, including such various movements as the western farmers' populist revolt and the East Coast patricians' revulsion against immigration.

The American New Woman Revisited Cover

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The American New Woman Revisited

A Reader, 1894-1930

Edited by Martha H. Patterson

In North America between 1894 and 1930, the rise of the "New Woman" sparked controversy on both sides of the Atlantic and around the world. As she demanded a public voice as well as private fulfillment through work, education, and politics, American journalists debated and defined her. Who was she and where did she come from? Was she to be celebrated as the agent of progress or reviled as a traitor to the traditional family? Over time, the dominant version of the American New Woman became typified as white, educated, and middle class: the suffragist, progressive reformer, and bloomer-wearing bicyclist. By the 1920s, the jazz-dancing flapper epitomized her. Yet she also had many other faces. Bringing together a diverse range of essays from the periodical press of the late nineteenth and early twentieth centuries, Martha H. Patterson shows how the New Woman differed according to region, class, politics, race, ethnicity, and historical circumstance. In addition to the New Woman's prevailing incarnations, she appears here as a gun-wielding heroine, imperialist symbol, assimilationist icon, entrepreneur, socialist, anarchist, thief, vamp, and eugenicist. Together, these readings redefine our understanding of the New Woman and her cultural impact.

American Night Cover

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American Night

The Literary Left in the Era of the Cold War

Alan M. Wald

American Night, the final volume of an unprecedented trilogy, brings Alan Wald's multigenerational history of Communist writers to a poignant climax. Using new research to explore the intimate lives of novelists, poets, and critics during the Cold War, Wa

American Orient Cover

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American Orient

Imagining the East from the Colonial Era through the Twentieth Century

David Weir

Surveying the American fascination with the Far East since the mid-eighteenth century, this book explains why the Orient had a fundamentally different meaning in the United States than in Europe or Great Britain. David Weir argues that unlike their European counterparts, Americans did not treat the East simply as a site of imperialist adventure; on the contrary, colonial subjugation was an experience that early Americans shared with the peoples of China and India. In eighteenth-century America, the East was, paradoxically, a means of reinforcing the enlightenment values of the West: Franklin, Jefferson, and other American writers found in Confucius a complement to their own political and philosophical beliefs. In the nineteenth century, with the shift from an agrarian to an industrial economy, the Hindu Orient emerged as a mystical alternative to American reality. During this period, Emerson, Thoreau, and other Transcendentalists viewed the “Oriental” not as an exotic other but as an image of what Americans could be, if stripped of all the commercialism and materialism that set them apart from their ideal. A similar sense of Oriental otherness informed the aesthetic discoveries of the early twentieth century, as Pound, Eliot, and other poets found in Chinese and Japanese literature an artistic purity and intensity absent from Western tradition. For all of these figures the Orient became a complex fantasy that allowed them to overcome something objectionable, either in themselves or in the culture of which they were a part, in order to attain some freer, more genuine form of philosophical, religious, or artistic expression.

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American Periodicals: A Journal of History, Criticism, and Bibliography

Vol. 13 (2003) through current issue

American Periodicals: A Journal of History, Criticism, & Bibliography an annual publication devoted exclusively to scholarship and criticism relating to American magazines and newspapers of all periods Sponsored by the Research Society for American Periodicals and founded by James T. F. Tanner, American Periodicals is now under the editorship of Karen Roggenkamp, Cynthia Patterson, and Craig Monk, and is published by The Ohio State University Press. Beginning in 2004, the journal will be published twice a year.

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American Poetry in Performance Cover

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American Poetry in Performance

From Walt Whitman to Hip Hop

Tyler Hoffman

American Performance Poetry is the first book to trace a comprehensive history of performance poetry in America from Whitman through the rap-meets-poetry scene and to show how the performance of poetry is bound up with the performance of identity and nationality in the modern period. This book will be a meaningful contribution both to the field of American poetry studies and to the fields of cultural and performance studies, as it focuses on poetry that refuses the status of fixed aesthetic object and, in its variability, performs versions of race, class, gender, and sexuality both on and off the page. Relating the performance of poetry to shifting political and cultural ideologies in the United States, Hoffman argues that the vocal aspect of public poetry possesses (or has been imagined to possess) the ability to help construct both national and subaltern communities. In doing so, American Performance Poetry explores public poets’ confrontations with emergent sound recording and communications technologies as those confrontations shape their mythologies of the spoken word and their corresponding notions about America and Americanness.

American Socialist Triptych Cover

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American Socialist Triptych

The Literary-Political Work of Charlotte Perkins Gilman, Upton Sinclair, and W. E. B. Du Bois

Mark W. Van Wienen

"A meticulously researched, highly informed, carefully argued, and very accessible account of American socialism, socialists, and socialistic thinking, from the late nineteenth century through the 1960s . . . challenges the intellectual and political legacy of Werner Sombart's Why Is There No Socialism in the United States?, whose spirit still hovers over animated discussions about the 'failures' of socialism in the United States." ---James A. Miller, George Washington University "A valuable rethinking and reframing of the traditions of leftist literary scholarship in the U.S." ---Sylvia Cook, University of Missouri, St. Louis American Socialist Triptych: The Literary-Political Work of Charlotte Perkins Gilman, Upton Sinclair, and W. E. B. Du Bois explores the contributions of three writers to the development of American socialism over a fifty--year period and asserts the vitality of socialism in modern American literature and culture. Drawing upon a wide range of texts including archival sources, Mark W. Van Wienen demonstrates the influence of reform-oriented, democratic socialism both in the careers of these writers and in U.S. politics between 1890 and 1940. While offering unprecedented in-depth analysis of modern American socialist literature, this book charts the path by which the supposedly impossible, dangerous ideals of a cooperative commonwealth were realized, in part, by the New Deal. American Socialist Triptych provides in-depth, innovative readings of the featured writers and their engagement with socialist thought and action. Upton Sinclair represents the movement's most visible manifestation, the Socialist Party of America, founded in 1901; Charlotte Perkins Gilman reflects the socialist elements in both feminism and 1890s reform movements, and W. E. B. Du Bois illuminates social democratic aspirations within the NAACP. Van Wienen's book seeks to re-energize studies of Sinclair by treating him as a serious cultural figure whose career peaked not in the early success of The Jungle but in his nearly successful 1934 run for the California governorship. It also demonstrates as never before the centrality of socialism throughout Gilman's and Du Bois's literary and political careers. More broadly, American Socialist Triptych challenges previous scholarship on American radical literature, which has focused almost exclusively on the 1930s and Communist writers. Van Wienen argues that radical democracy was not the phenomenon of a decade or of a single group but a sustained tradition dispersed within the culture, providing a useful genealogical explanation for how socialist ideas were actually implemented through the New Deal. American Socialist Triptych also revises modern American literary history, arguing for the endurance of realist and utopian literary modes at the height of modernist literary experimentation and showing the importance of socialism not only to the three featured writers but also to their peers, including Edward Bellamy, Hamlin Garland, Jack London, Edna St. Vincent Millay, and Claude McKay. Further, by demonstrating the importance of social democratic thought to feminist and African American campaigns for equality, the book dialogues with recent theories of radical egalitarianism. Readers interested in American literature, U.S. history, political theory, and race, gender, and class studies will all find in American Socialist Triptych a valuable and provocative resource.

American Superrealism Cover

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American Superrealism

Nathanael West and the Politics of Representation in the 1930s

Jonathan Veitch

Nathanael West has been hailed as “an apocalyptic writer,” “a writer on the left,” and “a precursor to postmodernism.” But until now no critic has succeeded in fully engaging West’s distinctive method of negation. In American Superrealism, Jonathan Veitch examines West’s letters, short stories, screenplays and novels—some of which are discussed here for the first time—as well as West’s collaboration with William Carlos Williams during their tenure as the editors of Contact. Locating West in a lively, American avant-garde tradition that stretches from Marcel Duchamp to Andy Warhol, Veitch explores the possibilities and limitations of dada and surrealism—the use of readymades, scatalogical humor, human machines, “exquisite corpses”—as modes of social criticism. American Superrealism offers what is surely the definitive study of West, as well as a provocative analysis that reveals the issue of representation as the central concern of Depression-era America.

American Theater in the Culture of the Cold War Cover

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American Theater in the Culture of the Cold War

Producing and Contesting Containment, 1947-1962

Bruce A. Mcconachie

In this groundbreaking study, Bruce McConachie uses the primary metaphor of containment—what happens when we categorize a play, a television show, or anything we view as having an inside, an outside, and a boundary between the two—as the dominant metaphor of cold war theatergoing. Drawing on the cognitive psychology and linguistics of George Lakoff and Mark Johnson, he provides unusual access to the ways in which spectators in the cold war years projected themselves into stage figures that gave them pleasure.

McConachie reconstructs these cognitive processes by relying on scripts, set designs, reviews, memoirs, and other evidence. After establishing his theoretical framework, he focuses on three archtypal figures of containment significant in Cold War culture, Empty Boys, Family Circles, and Fragmented Heroes. McConachie uses a range of plays, musicals, and modern dances from the dominant culture of the Cold War to discuss these figures, including The Seven Year Itch, Cat on a Hot Tin Roof; The King and I,A Raisin in the Sun, Night Journey, and The Crucible. In an epilogue, he discusses the legacy of Cold War theater from 1962 to 1992.

American Unexceptionalism Cover

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American Unexceptionalism

The Everyman and the Suburban Novel after 9/11

Kathy Knapp

American Unexceptionalism examines a constellation of post-9/11 novels that revolve around white middle-class male suburbanites, thus following a tradition established by writers such as John Updike and John Cheever. Focusing closely on recent works by Richard Ford, Chang-Rae Lee, Jonathan Franzen, Philip Roth, Anne Tyler, Gish Jen, A. M. Homes, and others, Kathy Knapp demonstrates that these authors revisit this well-trod turf and revive the familiar everyman character in order to reconsider and reshape American middle-class experience in the wake of the 9/11 attacks and their ongoing aftermath.

The novels in question all take place in the sprawling terrain that stretches out beyond the Twin Towers—the postwar suburbs that since the end of World War II have served, like the Twin Towers themselves, as a powerful advertisement of dominance to people around the globe, by projecting an image of prosperity and family values. These suburban tales and their everyman protagonists grapple, however indirectly, with the implications of the apparent decline of the economic, geopolitical, and moral authority of the United States. In the context of perceived decay and diminishing influence, these novels actively counteract the narrative of American exceptionalism frequently peddled in the wake of 9/11.

If suburban fiction has historically been faulted for its limited vision, this newest iteration has developed a depth of field that self-consciously folds the personal into the political, encompasses the have-nots along with the haves, and takes in the past when it imagines the future, all in order to forge a community of readers who are now accountable to the larger world. American Unexceptionalism traces the trajectory by which recent suburban fiction overturns the values of individualism, private property ownership, and competition that originally provided its foundation. In doing so, the novels examined here offer readers new and flexible ways to imagine being and belonging in a setting no longer characterized by stasis, but by flux.

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