By James Phelan
This astute advisor to the literary achievements of yank novelists within the 20th century areas their paintings in its ancient context and provides precise analyses of landmark novels in keeping with a sincerely laid out set of instruments for examining narrative form.
- Includes a helpful evaluation of 20th- and early twenty-first century American literary heritage
- Provides analyses of diverse center texts together with The nice Gatsby, Invisible guy, The Sound and the Fury, The Crying of Lot 49 and Freedom
- Relates those person novels to the wider creative hobbies of modernism and postmodernism
- Explains and applies key rules of rhetorical reading
- Includes various cross-novel comparisons and contrasts
Chapter 1 rules of Rhetorical interpreting (pages 23–38):
Chapter 2 The Age of Innocence (1920): Bildung and the Ethics of wish (pages 39–60):
Chapter three the nice Gatsby (1925): personality Narration, Temporal Order, and Tragedy (pages 61–83):
Chapter four A Farewell to palms (1929): Bildung, Tragedy, and the Rhetoric of Voice (pages 85–104):
Chapter five The Sound and the Fury (1929): Portrait Narrative as Tragedy (pages 105–126):
Chapter 6 Their Eyes have been observing God (1937): Bildung and the Rhetoric and Politics of Voice (pages 127–147):
Chapter 7 Invisible guy (1952): Bildung, Politics, and Rhetorical layout (pages 149–169):
Chapter eight Lolita (1955): The Ethics of the Telling and the Ethics of the instructed (pages 171–192):
Chapter nine The Crying of Lot forty nine (1966): Mimetic Protagonist, Thematic–Synthetic Storyworld (pages 193–211):
Chapter 10 loved (1987): Sethe's selection and Morrison's moral problem (pages 213–235):
Chapter eleven Freedom (2010): Realism after Postmodernism (pages 237–259):
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Additional resources for Reading the American Novel 1920-2010
That ﬁnding, then, led me to revise my initial response and then to go on and ask why Ellison would be inconsistent in this way, and what consequences follow from that inconsistency. I offer my answers in Chapter 7. I use the term “authorial agency” rather than “authorial intention” for several reasons. First, I believe it better emphasizes the interdependencies among the elements of the feedback loop. “Authorial intention” typically refers to something existing above and beyond textual phenomena and readerly response, something that allegedly governs both.
206), it ends more than a decade before the outbreak of the War in 1914. Yet Edith Wharton lived in Paris during the War, and was profoundly affected by it, as she worked to support those whose lives were directly threatened by the War. In John Updike’s succinct summary, she “founded and ran hostels for refugees, workshops for women unemployed because of the war, hospitals for tubercular patients, and a rescue committee for a thousand children of Flanders” (p. 10). After the War was over, she wrote to Bernard Berenson that “before the war, you could write ﬁction without indicating the period, the present being assumed.
But each sketch gives the instabilities, complications, and resolution a different trajectory. In a valuable essay, Jennifer Rae Greeson (2002) reproduces Wharton’s three initial outlines and compares them to the ﬁnished novel. Greeson argues that “while the story as [Wharton] outlined it is a psychological study of the incompatibility of worldviews shaped by fundamentally different experiences, Wharton’s ﬁnished novel instead is an ethnography of ‘Old New York’” (p. 419). Greeson contends that in the published work, “social forces rather than psychological preferences became the driving forces of Wharton’s story” (p.