By Peter Stoneley, Cindy Weinstein
An authoritative advisor to American literature, this spouse examines the experimental types, socio-cultural alterations, literary activities, and significant authors of the early twentieth century. This better half presents authoritative and wide-ranging information on early twentieth-century American fiction.
- Considers generally studied authors comparable to Faulkner, Fitzgerald, and Hemingway, along key texts of the interval through 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 extended our realizing in their cultural and literary importance
- Covers a vast variety of subject matters, together with the 1st and moment global Wars, literary language changes, writer famous person, the city panorama, modernism, the Jazz Age, the good melancholy, regionalism, and African-American fiction
- Gives scholars the contextual details useful 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
Hughes insatiability? Dreiser recognizes that Sister Carrie itself must compete for the attention of the public that it is trying to represent. Newspapers, though, are a different matter. Hurstwood, whose decline is juxtaposed in the novel with Carrie’s success, becomes enraptured by the newspapers, which he uses to learn about the local events that affect his search for employment. Eventually, the newspapers paralyze Hurstwood; he sits reading rather than venturing into the city itself. In contrast, the Sunday newspaper offers one of the few depictions of unalloyed pleasure in the life of Jurgis Rudkis, the protagonist of Upton Sinclair’s The Jungle (1906).
Frank Norris titled the ﬁrst part of his “Epic of the Wheat” trilogy The Octopus (1901) – a naming of the railroad as an insatiable beast whose hunger can neither be subdued nor whose will affected by human intervention. ” The locomotive is not simply these things itself, but a “symbol” of them, for the true force that Norris seeks to reckon with goes beyond any single object, but rather is elemental and universal; indeed, it extends to the land itself. ” The wheat is greater than any person who would attempt to control it, a symbol of the global, natural forces that will always prevail over the wills of even the most potent individuals.
Gandal observes the counterpoint to the meritocratic hero, in all these novels, in the ﬁgure of the “under-appreciated” Anglo whose masculine prowess is overshadowed by that of the ethnic outsider. In a complex and powerful discussion of “Modernism’s History of the Dead,” Michael Szalay tests out different ways of deﬁning the concept of “modernism” through the work of Hemingway and Eliot. He observes the idea that, in modernism, form and content become 11 Introduction indistinguishable. As Clement Greenberg noted of the Abstract Expressionist painters, the work of art is “about” the paint and canvas.
A Concise Companion to American Fiction 1900 - 1950 by Peter Stoneley, Cindy Weinstein