By Peter Stoneley, Cindy Weinstein
An authoritative consultant to American literature, this spouse examines the experimental varieties, socio-cultural adjustments, literary hobbies, and significant authors of the early twentieth century. This significant other offers authoritative and wide-ranging counsel on early twentieth-century American fiction.
- Considers more often than not studied authors resembling Faulkner, Fitzgerald, and Hemingway, along key texts of the interval by means of Richard Wright, Charles Chesnutt, Zora Neale Hurston, and Anzia Yezierska
- Examines how the works of those diversified writers were interpreted of their personal day and the way present readings have multiplied our realizing in their cultural and literary value
- Covers a extensive diversity of issues, together with the 1st and moment international Wars, literary language transformations, writer big name, the city panorama, modernism, the Jazz Age, the nice melancholy, regionalism, and African-American fiction
- Gives scholars the contextual details helpful for formulating their very own evaluations of vintage American fiction
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Additional info for A concise companion to American fiction, 1900-1950
The Clansman, which Dixon adapted into the ﬁlm The Birth of a Nation in 1915 with the help of D. W. ” Although reading Dixon brings insight into the high tension of white anxieties over black citizenship and enfranchisement during this era, modern readers will ﬁnd Dixon’s sensational storylines ridiculous in their blatant white supremacist agenda. For example, in The Clansman, the impetus for the formation of the Ku Klux Klan is the rape of a young white woman named Marion (whose only dream was to marry young and “to ﬁll the world with ﬂowers, laughter, and music”) by a black man, Augustus “Gus” Caesar.
Hopkins decidedly claims validity for her work through the values of realism – “such things are” – but the terrible necessity of testimony against outrage replaces realism’s naïve enthusiasm for pure variety. In the sensational, melodramatic Of One Blood – serialized in 1903 – Hopkins pushed even harder against the conventions of 20 Turning the Century mimetic ﬁction. Seances, the animation of the dead, and the search for a hidden Egyptian civilization are just a few of the fantastic plot elements of Hopkins’ occult novel.
Suggesting them evocatively, rather than articulating them in detail, is part of the dilemma of the novel. The literary imagination of the turn of the twentieth century simply has no space in which a heroine like this can live. Nor is her demise an isolated example. Although written in a style much more fully conversant with the idiom of American realism, Edith Wharton’s House of Mirth (1905) also ends with its protagonist’s death, another possible suicide, this time the result of a complicated matrix of upperclass social mores and economics.
A concise companion to American fiction, 1900-1950 by Peter Stoneley, Cindy Weinstein