In Tracing Southern Storytelling in Black and White , Sarah Gilbreath Ford explores how both black and white southern writers such as Joel Chandler Harris, Charles Chesnutt, Zora Neale Hurston, ...William Faulkner, Eudora Welty, Ralph Ellison, Ellen Douglas, and Ernest Gaines have employed oral storytelling in literature. Tracing Southern Storytelling in Black and White is a study of the historical use of oral storytelling by southern writers in written works. In each chapter, Sarah Gilbreath Ford pairs a white and an African American writer to highlight points of confluence in black and white southern oral traditions. She argues that the connections between white and African American southern writers run deeper than critics have yet explored, and she uses textual comparisons to examine the racial mixing of oral culture. On porches, in kitchens, and on the pages of their work, black and white southerners exchanged not just stories but strategies for telling stories. As a boy, Joel Chandler Harris listened to the stories of African American slaves, and he devised a framework to turn the oral stories into written ones. Harris’s use of the frame structure influenced how Charles Chesnutt recorded oral stories, but it led Alice Walker to complain that her heritage had been stolen. Mark Twain listened to African American storytellers as a child. His use of oral dialects then impacts how Ralph Ellison and William Faulkner employ oral storytelling and how Toni Morrison later writes in response to Faulkner. The interactions are not linear, not a chain of influence, but a network of interactions, borrowings, and revisions. Ford’s pairings lead to new readings that reveal how the writers employ similar strategies in their narratives, due in part to shared historical context. While Zora Neale Hurston and William Faulkner, for example, use oral storytelling in the 1930s to examine the fear of racial mixing, Ellen Douglas and Ernest Gaines use it in the 1970s to build bridges between the races. Exploring the cultural crossing that occurs in the use of oral storytelling, Ford offers a different view of this common strategy in southern narrative and a new perspective on how culture is shared.
Why, Timothy Melley asks, have paranoia and conspiracy theory become such prominent features of postwar American culture? InEmpire of Conspiracy, Melley explores the recent growth of anxieties about ...thought-control, assassination, political indoctrination, stalking, surveillance, and corporate and government plots. At the heart of these developments, he believes, lies a widespread sense of crisis in the way Americans think about human autonomy and individuality. Nothing reveals this crisis more than the remarkably consistent form of expression that Melley calls "agency panic"-an intense fear that individuals can be shaped or controlled by powerful external forces. Drawing on a broad range of forms that manifest this fear-including fiction, film, television, sociology, political writing, self-help literature, and cultural theory-Melley provides a new understanding of the relation between postwar American literature, popular culture, and cultural theory.
Empire of Conspiracyoffers insightful new readings of texts ranging from Joseph Heller'sCatch-22to the Unabomber Manifesto, from Vance Packard'sHidden Persuadersto recent addiction discourse, and from the "stalker" novels of Margaret Atwood and Diane Johnson to the conspiracy fictions of Thomas Pynchon, William Burroughs, Don DeLillo, and Kathy Acker. Throughout, Melley finds recurrent anxieties about the power of large organizations to control human beings. These fears, he contends, indicate the continuing appeal of a form of individualism that is no longer wholly accurate or useful, but that still underpins a national fantasy of freedom from social control.
Spiritual conversions figure heavily in such novels as Thomas Pynchon's Vineland, Toni Morrison's Paradise, and Louise Erdrich's Love Medicine. What connects such varied works is that their ...convert-characters are disenchanted with secularism yet apprehensive of dogmatic religiosity. Partial Faiths is the first study to identify a body of contemporary fiction in such terms, take the measure of its structures and strategies, and evaluate its contribution to public discourse on religion's place in postmodern life. Postsecularism is most often associated with philosophers and theorists such as Jacques Derrida, Richard Rorty, Charles Taylor, William Connolly, Jürgen Habermas, and Gianni Vattimo. But it is also being explored and invented, says John A. McClure, by many novelists: Leslie Marmon Silko, Don DeLillo, Michael Ondaatje, and N. Scott Momaday among others. These novelists, who are often regarded as belonging to different domains of contemporary fiction, are fleshing out the postsecular issues that scholars treat more abstractly. But the modes of belief elaborated in these novels and the new narrative forms synchronized with these modes are dramatically partial and open-ended. Postsecular fiction does not aspire to any full "mapping" of the reenchanted cosmos or any formal moral code, nor does it promise anything like full redemption. It is partial in another sense as well: it is emphatically dedicated to progressive ideals of social transformation and well-being, in repudiation of resurgent fundamentalist prescriptions for the same.
Richard Jean So draws on big data, computational methods, literary history, and close readings to offer an unprecedented analysis of racial inequality in American publishing that reveals the ...persistence of an extreme bias toward white authors.
The first book in many years to take in the full sweep of national fiction, The Dream of the Great American Novel explains why this supposedly antiquated idea continues to thrive. It shows that four ...G.A.N. "scripts" are keys to the dynamics of American literature and identity--and to the myth of a nation perpetually under construction.
How to Read African American Literatureoffers a series of provocations to unsettle the predominant assumptions readers make when encountering post-Civil Rights black fiction. Foregrounding the large ...body of literature and criticism that grapples with legacies of the slave past, Aida Levy-Hussen's argument develops on two levels: as a textual analysis of black historical fiction, and as a critical examination of the reading practices that characterize the scholarship of our time.
Drawing on psychoanalysis, memory studies, and feminist and queer theory, Levy-Hussen examines how works by Toni Morrison, David Bradley, Octavia Butler, Charles Johnson, and others represent and mediate social injury and collective grief. In the criticism that surrounds these novels, she identifies two major interpretive approaches: "therapeutic reading" (premised on the assurance that literary confrontations with historical trauma will enable psychic healing in the present), and "prohibitive reading" (anchored in the belief that fictions of returning to the past are dangerous and to be avoided). Levy-Hussen argues that these norms have become overly restrictive, standing in the way of a more supple method of interpretation that recognizes and attends to the indirect, unexpected, inconsistent, and opaque workings of historical fantasy and desire. Moving beyond the question of whether literature must heal or abandon historical wounds, Levy-Hussen proposes new ways to read African American literature now.
In this innovative study,Positive Pollutions and Cultural Toxins, John Blair Gamber examines urbanity and the results of urban living-traffic, garbage, sewage, waste, and pollution-arguing for a new ...recognition of all forms of human detritus as part of the natural world and thus for a broadening of our understanding of environmental literature.
While much of the discourse surrounding the United States' idealistic and nostalgic views of itself privileges "clean" living (primarily in rural, small-town, and suburban settings), representations of rurality and urbanity by Chicanas/Chicanos, African Americans, Asian Americans, and Native Americans, on the other hand, complicate such generalization. Gamber widens our understanding of current ecocritical debates by examining texts by such authors as Octavia Butler, Louise Erdrich, Alejandro Morales, Gerald Vizenor, and Karen Tei Yamashita that draw on the physical signs of human corporeality to refigure cities and urbanity as natural. He demonstrates how ethnic American literature reclaims waste objects and waste spaces-likening pollution to miscegenation-as a method to revalue cast-off and marginalized individuals and communities.Positive Pollutions and Cultural Toxinsexplores the conjunction of, and the frictions between, twentieth-century U.S. postcolonial studies, race studies, urban studies, and ecocriticism, and works to refigure this portrayal of urban spaces.
Winner of the 2015 Irish Association for American Studies Peggy O'Brien Book PrizeExamines the representation of trauma in contemporary American fiction and non-fiction
This book looks at the way ...writers present the effects of trauma in their work. It explores narrative devices, such as 'metafiction', as well as events in contemporary America, including 9/11, the Iraq War, and reactions to the Bush administration. Contemporary American authors who are discussed in depth include Joseph Heller, Kurt Vonnegut, Toni Morrison, Tim O'Brien, Lorrie Moore, Mark Danielewski, Art Spiegelman, Jonathan Safran Foer, Anthony Swofford, Evan Wright, Paul Auster, Philip Roth and Michael Chabon.Contemporary American Trauma Narrativesoffers a timely and dissenting intervention into debates about American writers' depiction of trauma and its after-effects.
While American literary history has long acknowledged the profound influence of journalism on canonical male writers, Sari Edelstein argues that American women writers were also influenced by a ...dynamic relationship with the mainstream press. From the early republic through the turn of the twentieth century, she offers a comprehensive reassessment of writers such as Catharine Maria Sedgwick, Harriet Jacobs, and Charlotte Perkins Gilman. Drawing on slave narratives, sentimental novels, and realist fiction, Edelstein examines how advances in journalism-including the emergence of the penny press, the rise of the story-paper, and the birth of eyewitness reportage-shaped not only a female literary tradition but also gender conventions themselves.
Excluded from formal politics and lacking the vote, women writers were deft analysts of the prevalent tropes and aesthetic gestures of journalism, which they alternately relied upon and resisted in their efforts to influence public opinion and to intervene in political debates. Ultimately,Between the Novel and the Newsis a project of recovery that transforms our understanding of the genesis and the development of American women's writing.
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