By Peter Stoneley, Cindy Weinstein
An authoritative consultant to American literature, this spouse examines the experimental kinds, socio-cultural adjustments, literary routine, and significant authors of the early twentieth century. This significant other offers authoritative and wide-ranging assistance on early twentieth-century American fiction.
- Considers usually studied authors comparable to Faulkner, Fitzgerald, and Hemingway, along key texts of the interval through Richard Wright, Charles Chesnutt, Zora Neale Hurston, and Anzia Yezierska
- Examines how the works of those various writers were interpreted of their personal day and the way present readings have accelerated our figuring out in their cultural and literary value
- Covers a huge diversity of subject matters, together with the 1st and moment global Wars, literary language alterations, writer megastar, the city panorama, modernism, the Jazz Age, the good melancholy, regionalism, and African-American fiction
- Gives scholars the contextual info helpful for formulating their very own opinions of vintage American fiction
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Additional resources for A Concise Companion to American Fiction 1900 - 1950
The forms of historical knowledge that Adams has at his disposal no longer appear functional. He had sought a history that could produce more coherent meaning than mere sequence, that could create order out of the “chaos” of his time. The turn of the century, however, unleashed forces that rendered this project impossible and instead made Adams acutely aware of his own inadequacy 17 Michael A. Elliott and Jennifer A. Hughes to compass the turn of the century. The historian of the nineteenth century put himself at bodily risk in attempting to confront the twentieth.
However, Hopkins was not just working against a dearth of representation, but against an abundance of misrepresentation. Much literature, as well as the popular stage and the press, continued to propagate insidious antebellum stereotypes of African Americans as lazy, ignorant, conniving, degenerative, ridiculous, or childlike. In Contending Forces Hopkins disabuses her readership of the speciousness of these types, while interrogating narratives of moral and social progress in the years after emancipation.
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. Born from the horrors of slavery, songs such as “Nobody Knows the Trouble I’ve Seen” and “Swing Low, Sweet Chariot” represent to Du Bois the unﬂagging will of black folk to produce art and perform their humanity.