March 7, 2017

A Concise Companion to American Fiction 1900 - 1950 by Peter Stoneley, Cindy Weinstein

By Peter Stoneley, Cindy Weinstein

An authoritative advisor to American literature, this significant other examines the experimental varieties, socio-cultural alterations, literary pursuits, and significant authors of the early twentieth century. This spouse offers authoritative and wide-ranging assistance on early twentieth-century American fiction.

  • Considers as a rule studied authors akin to 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 various writers were interpreted of their personal day and the way present readings have elevated our knowing in their cultural and literary importance
  • Covers a huge variety of subject matters, together with the 1st and moment international Wars, literary language ameliorations, writer big name, the city panorama, modernism, the Jazz Age, the nice melancholy, regionalism, and African-American fiction
  • Gives scholars the contextual details valuable for formulating their very own reviews of vintage American fiction

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Extra info for A Concise Companion to American Fiction 1900 - 1950

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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. Paul Simpson and Don Hardy, in their chapter on “American Sentences,” explore a vocabulary drawn from the field of stylistics. They consider linguistic and literary devices as used by the writers of the period – dialect, labels, lexis, and syntax – before moving to a more developed analysis of the “hard-boiled” style.

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.

The education of Carrie Meeber therefore shapes her into a font of longing for the material things that will enable her to succeed in this spectacular economy. “She did not grow in knowledge so much as she awakened in the matter of desire,” Dreiser writes – and what Carrie learns to desire are those things that will make her more desirable to others. As Priscilla Wald has argued, Carrie is not seduced by the men she meets, but by the city itself. Dreiser figures this economy of desire most evocatively in Carrie’s achievements as an actress.

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