By Peter Stoneley, Cindy Weinstein
An authoritative consultant 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 offers authoritative and wide-ranging advice on early twentieth-century American fiction.
- Considers as a rule studied authors comparable to 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 different writers were interpreted of their personal day and the way present readings have increased our figuring out in their cultural and literary importance
- Covers a large diversity of subject matters, together with the 1st and moment global Wars, literary language transformations, writer superstar, the city panorama, modernism, the Jazz Age, the good melancholy, regionalism, and African-American fiction
- Gives scholars the contextual details worthy for formulating their very own opinions of vintage American fiction
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Extra resources for A Concise Companion to American Fiction 1900 - 1950
Harper’s Iola Leroy: Or, Shadows Uplifted (1899) through Charles Chesnutt’s The Marrow of Tradition (1901), arguing that while uplift is sometimes used to assert equal status with whites, it is also used at times to assert a higher status in relation to other, supposedly inferior blacks. 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.
One ever feels his two-ness – an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. Henry Adams describes forces that destroy intellectual coherence; Du Bois describes forces that may ultimately engender creativity through courageous endurance. For Du Bois, the “two-ness” of African American experience enables a new, authentically American art exempliﬁed by the sorrow songs. He opens each chapter of Souls with an excerpt of a piece of canonical Western literature and a line of music from these songs, using this juxtaposition to both validate and differentiate the artistry of the music.
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. While parts of this chapter may seem “technical,” Simpson and Hardy demonstrate that a stylistic focus can reveal aspects of a text that might seem “mere details” but which have far-reaching implications.