The Color Of Democracy In Womens Regional Writing
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| Author | : Jean Carol Griffith |
| Publisher | : University of Alabama Press |
| Total Pages | : 231 |
| Release | : 2009-08-17 |
| Genre | : Literary Criticism |
| ISBN | : 0817316612 |
An exciting addition to the ongoing debate about the place of regionalism in American literary history. American regionalism has become a contested subject in literary studies alongside the ubiquitous triad of race, class, and gender. The Color of Democracy in Women's Regional Writing enters into the heart of an ongoing debate in the field about the significance of regional fiction at the end of the 19th century. Jean Griffith presents the innovative view that regional writing provided Edith Wharton, Ellen Glasgow, and Willa Cather with the means to explore social transformation in a form of fiction already closely associated with women readers and writers. Griffith provides new readings of texts by these authors; she places them alongside the works of their contemporaries, including William Faulkner and Langston Hughes, to show regionalism's responses to the debate over who was capable of democratic participation and reading regionalism's changing mediations between natives and strangers as reflections of the changing face of democracy. This insightful work enriches the current debate about whether regionalism critiques hierarchies or participates in nationalist and racist agendas and will be of great interest to those invested in regional writing or the works of these significant authors.
| Author | : Monika Elbert |
| Publisher | : Springer Nature |
| Total Pages | : 370 |
| Release | : 2021-01-04 |
| Genre | : Fiction |
| ISBN | : 3030555526 |
American Women’s Regionalist Fiction: Mapping the Gothic seeks to redress the monolithic vision of American Gothic by analyzing the various sectional or regional attempts to Gothicize what is most claustrophobic or peculiar about local history. Since women writers were often relegated to inferior status, it is especially compelling to look at women from the Gothic perspective. The regionalist Gothic develops along the line of difference and not unity—thus emphasizing regional peculiarities or a sense of superiority in terms of regional history, natural landscapes, immigrant customs, folk tales, or idiosyncratic ways. The essays study the uncanny or the haunting quality of “the commonplace,” as Hawthorne would have it in his introduction to The House of the Seven Gables, in regionalist Gothic fiction by a wide range of women writers between ca. 1850 and 1930. This collection seeks to examine how/if the regionalist perspective is small, limited, and stultifying and leads to Gothic moments, or whether the intersection between local and national leads to a clash that is jarring and Gothic in nature.
| Author | : Janis P. Stout |
| Publisher | : University Alabama Press |
| Total Pages | : 281 |
| Release | : 2019-03-19 |
| Genre | : Literary Criticism |
| ISBN | : 0817320148 |
A masterful study by a preeminent scholar that situates Cather as a visionary practitioner of literary modernism Willa Cather is often pegged as a regionalist, a feminine and domestic writer, or a social realist. In Cather Among the Moderns, Janis P. Stout firmly situates Cather as a visionary practitioner of literary modernism, something other scholars have hinted at but rarely affirmed. Stout presents Cather on a large, dramatic stage among a sizable cast of characters and against a brightly lit social and historical backdrop, invoking numerous figures and instances from the broad movement in the arts and culture that we call modernism. Early on, Stout addresses the matter of gender. The term “cross-dresser” has often been applied to Cather, but Stout sees Cather’s identity as fractured or ambiguous, a reading that links her firmly to early twentieth-century modernity. Later chapters take up topics of significance both to Cather and to twentieth-century American modernists, including shifting gender roles, World War I’s devastation of social and artistic norms, and strains in racial relations. She explores Cather’s links to a small group of modernists who, after the war, embraced life in New Mexico, a destination of choice for many artists, and which led to two of Cather’s most fully realized modernist novels, The Professor’s House and Death Comes for the Archbishop. The last chapter addresses Cather’s place within modernism. Stout first places her in relation to Ezra Pound and T. S. Eliot with their shared ties to tradition even while making, sometimes startling, innovations in literary form, then showing parallels with William Faulkner with respect to economic disparity and social injustice.
| Author | : Heather A. Fox |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 155 |
| Release | : 2022-07-27 |
| Genre | : Literary Criticism |
| ISBN | : 1496840496 |
Between the 1880s and the 1940s, opportunities for southern white women writers increased dramatically, bolstered by readers’ demands for southern stories in northern periodicals. Confined by magazine requirements and social expectations, writers often relied on regional settings and tropes to attract publishers and readers before publishing work in a collection. Selecting and ordering magazine stories for these collections was not arbitrary or dictated by editors, despite a male-dominated publishing industry. Instead, it allowed writers to privilege stories, or to contextualize a story by its proximity to other tales, as a form of social commentary. For Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter—the authors featured in this book—publishing a volume of stories enabled them to construct a narrative framework of their own. Arranging Stories: Framing Social Commentary in Short Story Collections by Southern Women Writers is as much about how stories are constructed as how they are told. The book examines correspondence, manuscripts, periodicals, and first editions of collections. Each collection’s textual history serves as a case study for changes in the periodical marketplace and demonstrates how writers negotiated this marketplace to publish stories and garner readership. The book also includes four tables, featuring collected stories’ arrangements and publication histories, and twenty-five illustrations, featuring periodical publications, unpublished letters, and manuscript fragments obtained from nine on-site and digital archives. Short story collections guide readers through a spatial experience, in which both individual stories and the ordering of those stories become a framework for interpreting meaning. Arranging Stories invites readings that complicate how we engage collected works.
| Author | : Jennifer Haytock |
| Publisher | : Cambridge University Press |
| Total Pages | : 277 |
| Release | : 2020 |
| Genre | : Literary Collections |
| ISBN | : 1108422691 |
Uncovers new evidence and presents new ideas that invite us to reconsider our understanding Edith Wharton's life and career.
| Author | : Harriet Pollack |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 242 |
| Release | : 2019-11-29 |
| Genre | : Literary Criticism |
| ISBN | : 1496826167 |
Contributions by Jacob Agner, Susan V. Donaldson, Sarah Gilbreath Ford, Stephen M. Fuller, Jean C. Griffith, Ebony Lumumba, Rebecca Mark, Donnie McMahand, Kevin Murphy, Harriet Pollack, Christin Marie Taylor, Annette Trefzer, and Adrienne Akins Warfield The year 2013 saw the publication of Eudora Welty, Whiteness, and Race, a collection in which twelve critics changed the conversation on Welty’s fiction and photography by mining and deciphering the complexity of her responses to the Jim Crow South. The thirteen diverse voices in New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s uses of African American signifying in her short stories and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. Contributors discuss her adaptations of gothic plots, haunted houses, Civil War stories, and film noir. And they frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in America, and standup comedy. They compare her handling of whiteness and race to other works by such contemporary writers as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Discussions of race and class here also bring her masterwork The Golden Apples and her novel Losing Battles, underrepresented in earlier conversations, into new focus. Moreover, as a group these essays provide insight into Welty as an innovative craftswoman and modernist technician, busily altering literary form with her frequent, pointed makeovers of familiar story patterns, plots, and genres.
| Author | : Julie Olin-Ammentorp |
| Publisher | : U of Nebraska Press |
| Total Pages | : 402 |
| Release | : 2019-10-01 |
| Genre | : Literary Criticism |
| ISBN | : 1496203240 |
Edith Wharton and Willa Cather wrote many of the most enduring American novels from the first half of the twentieth century, including Wharton’s The House of Mirth, Ethan Frome, and The Age of Innocence, and Cather’s O Pioneers!, My Ántonia, and Death Comes for the Archbishop. Yet despite their perennial popularity and their status as major American novelists, Wharton (1862–1937) and Cather (1873–1947) have rarely been studied together. Indeed, critics and scholars seem to have conspired to keep them at a distance: Wharton is seen as “our literary aristocrat,” an author who chronicles the lives of the East Coast, Europe-bound elite, while Cather is considered a prairie populist who describes the lives of rugged western pioneers. These depictions, though partially valid, nonetheless rely on oversimplifications and neglect the striking and important ways the works of these two authors intersect. The first comparative study of Edith Wharton and Willa Cather in thirty years, this book combines biographical, historical, and literary analyses with a focus on place and aesthetics to reveal Wharton’s and Cather’s parallel experiences of dislocation, their relationship to each other as writers, and the profound similarities in their theories of fiction. Julie Olin-Ammentorp provides a new assessment of the affinities between Wharton and Cather by exploring the importance of literary and geographic place in their lives and works, including the role of New York City, the American West, France, and travel. In doing so she reveals the two authors’ shared concern about the culture of place and the place of culture in the United States.
| Author | : Jolie A. Sheffer |
| Publisher | : Rutgers University Press |
| Total Pages | : 248 |
| Release | : 2013-01-02 |
| Genre | : Literary Criticism |
| ISBN | : 0813554640 |
In the United States miscegenation is not merely a subject of literature and popular culture. It is in many ways the foundation of contemporary imaginary community. The Romance of Race examines the role of minority women writers and reformers in the creation of our modern American multiculturalism. The national identity of the United States was transformed between 1880 and 1930 due to mass immigration, imperial expansion, the rise of Jim Crow, and the beginning of the suffrage movement. A generation of women writers and reformers—particularly women of color—contributed to these debates by imagining new national narratives that put minorities at the center of American identity. Jane Addams, Pauline Hopkins, Onoto Watanna (Winnifred Eaton), María Cristina Mena, and Mourning Dove (Christine Quintasket) embraced the images of the United States—and increasingly the world—as an interracial nuclear family. They also reframed public debates through narratives depicting interracial encounters as longstanding, unacknowledged liaisons between white men and racialized women that produced an incestuous, mixed-race nation. By mobilizing the sexual taboos of incest and miscegenation, these women writers created political allegories of kinship and community. Through their criticisms of the nation’s history of exploitation and colonization, they also imagined a more inclusive future. As Jolie A. Sheffer identifies the contemporary template for American multiculturalism in the works of turn-of-the century minority writers, she uncovers a much more radical history than has previously been considered.
| Author | : Harriet Pollack |
| Publisher | : University of Georgia Press |
| Total Pages | : 287 |
| Release | : 2013-01-01 |
| Genre | : Literary Criticism |
| ISBN | : 082034432X |
Faced with Eudora Welty's preference for the oblique in literary performances, some have assumed that Welty was not concerned with issues of race, or even that she was perhaps ambivalent toward racism. This collection counters those assumptions as it examines Welty's handling of race, the color line, and Jim Crow segregation and sheds new light on her views about the patterns, insensitivities, blindness, and atrocities of whiteness. Contributors to this volume show that Welty addressed whiteness and race in her earliest stories, her photography, and her first novel, Delta Wedding. In subsequent work, including The Golden Apples, The Optimist's Daughter, and her memoir, One Writer's Beginnings, she made the color line and white privilege visible, revealing the gaping distances between lives lived in shared space but separated by social hierarchy and segregation. Even when black characters hover in the margins of her fiction, they point readers toward complex lives, and the black body is itself full of meaning in her work. Several essays suggest that Welty represented race, like gender and power, as a performance scripted by whiteness. Her black characters in particular recognize whiteface and blackface as performances, especially comical when white characters are unaware of their role play. Eudora Welty, Whiteness, and Race also makes clear that Welty recognized white material advantage and black economic deprivation as part of a cycle of race and poverty in America and that she connected this history to lives on either side of the color line, to relationships across it, and to an uneasy hierarchy of white classes within the presumed monolith of whiteness. Contributors: Mae Miller Claxton, Susan V. Donaldson, Julia Eichelberger, Sarah Ford, Jean C. Griffith, Rebecca Mark, Suzanne Marrs, Donnie McMahand, David McWhirter, Harriet Pollack, Keri Watson, Patricia Yaeger.
| Author | : Stephanie Foote |
| Publisher | : Univ of Wisconsin Press |
| Total Pages | : 225 |
| Release | : 2001-03-29 |
| Genre | : Literary Criticism |
| ISBN | : 0299171132 |
Out of many, one—e pluribus unum—is the motto of the American nation, and it sums up neatly the paradox that Stephanie Foote so deftly identifies in Regional Fictions. Regionalism, the genre that ostensibly challenges or offers an alternative to nationalism, in fact characterizes and perhaps even defines the American sense of nationhood. In particular, Foote argues that the colorful local characters, dialects, and accents that marked regionalist novels and short stories of the late nineteenth century were key to the genre’s conversion of seemingly dangerous political differences—such as those posed by disaffected Midwestern farmers or recalcitrant foreign nationals—into appealing cultural differences. She asserts that many of the most treasured beliefs about the value of local identities still held in the United States today are traceable to the discourses of this regional fiction, and she illustrates her contentions with insightful examinations of the work of Sarah Orne Jewett, Hamlin Garland, Gertrude Atherton, George Washington Cable, Jacob Riis, and others. Broadening the definitions of regional writing and its imaginative territory, Regional Fictions moves beyond literary criticism to comment on the ideology of national, local, ethnic, and racial identity.
