Download The Rise of David Levinsky (Penguin Classics) by Abraham Cahan PDF

By Abraham Cahan

The upward push of David Levinsky, written through the mythical founder and editor of the Jewish day-by-day Forward, is an early Jewish-American vintage. based on the student Sam B. Girgus, "The novel is greater than an immense literary paintings and cultural record. It types a part of the conventional ritual of renewal of the yankee Way."

First released in 1917, Abraham Cahan's sensible novel tells the tale of a tender talmudic student who emigrates from a small city in Russia to the melting pot of turn-of-the-century ny urban. because the Jewish "greenhorn" rises from the depths of poverty to turn into a millionaire garment service provider, he discovers the unbearably excessive cost of assimilation.

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Circulating as such, Tara enacts the catachrestic logic of the objet a as, in Krips’s words, “a substitute for an object constituted retrospectively through the act of substitution” that, in turn, “creates the false impression that there was something . . ”6 To be sure, Gone with the Wind is not the first text to conjure an Old South as nostalgic compensation for present deprivations. But no cultural text has ever done it better or more completely. Tara is the sim-plantation that all real plantations of the tourist industry strive to reproduce, an ineffable space toward which actual spaces of all kinds are mobilized, a platonic ideal that quotidian objects of all sorts, from wedding cake toppers to Barbie dolls, strive to represent.

4 Apter is not, however, speaking of Tara per se, but of the fetish, and in reading the former through the analytical lens of the latter, I hope to account for what I regard as the narrative’s fundamental rearrangement of (southern) culture from a default condition coding and regulating desire to an object in itself desirable, if never fully attainable. ” Within this economy, the fetish acquires two analogues central to my project: the commodity and the simulacrum. ” Just so, I argue, with Tara: no one ever fully buys into it, which is not to say that no one buys it.

42 But a world so connected is an affront to narrative, and, as it turns out, an affront to Todd and Anna as well: however capriciously, the episode recuperates disarray as a form of order. ”) Critically, we would judge Anna’s conclusion of a southern way of life as having a tacked-on quality. But whatever its aesthetic shortcomings, Anna uses the South to tell a story about her weekend, just as she uses her weekend to fabricate a location of culture. In its broad contours, as I hope to show in the chapters that follow, this logic informs as well more substantive and compelling narratives of cultural reproduction.

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