By Peter Stoneley, Cindy Weinstein
An authoritative consultant to American literature, this better half examines the experimental kinds, socio-cultural alterations, literary activities, and significant authors of the early twentieth century. This better half presents authoritative and wide-ranging counsel on early twentieth-century American fiction.
- Considers often studied authors resembling 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 varied writers were interpreted of their personal day and the way present readings have elevated our realizing in their cultural and literary value
- Covers a vast diversity of subject matters, together with the 1st and moment global Wars, literary language alterations, writer star, the city panorama, modernism, the Jazz Age, the good melancholy, regionalism, and African-American fiction
- Gives scholars the contextual info useful 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
This kind of ending is more than the failure of consensus that fractures the unifying vision of, say, Howells’s Hazard of New Fortunes. Rather, it registers a sense that modernity itself is incapable of assimilating the emotional and psychological currents that are driving Edna Pontellier into the sea. Chopin’s narrative cannot fully explicate those currents. 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.
Rather, they signify the common struggles of humanity, and Du Bois proffers them to his readership as a hopeful gift, wondering: “Our song, our toil, our cheer, and warning have been given to this nation in blood-brotherhood. ” When the title character John leaves his small town of Altamaha, Georgia, in order to be educated at Wells Institute, a ﬁctional black college, he ﬁnds that his education leaves him with a disturbing paradox: knowledge of history and his place in that history occlude his happiness, and yet he would not be content without that knowledge.
Writers of the Harlem Renaissance, such as Nella Larsen, were wary of Washington’s inﬂuence, as he seemed to undermine black progress with his appeal to the supremacist sensibilities of white supporters. Larsen’s novel Quicksand (1928) and Rudolph Fisher’s The Walls of Jericho (1928) indicate the dangers of white patronage, which is seen to present African Americans as in need of constant elevation. Jarrett observes a new radicalism – and a further objection to the motif of uplift – in the 1930s, and especially with the magazine, New Challenge.