By David Seed (ed.)
Via a wide-ranging sequence of essays and suitable readings, A significant other to Twentieth-Century usa Fiction provides an summary of yank fiction released because the end of the 1st global War.
- Features a wide-ranging sequence of essays through American, British, and ecu experts in quite a few literary fields
- Written in an approachable and obtainable kind
- Covers either vintage literary figures and modern novelists
- Provides wide feedback for additional analyzing on the finish of every essay
Chapter 1 U.S. Modernism (pages 9–23): Susan Hegeman
Chapter 2 the town Novel (pages 24–35): James R. Giles
Chapter three The Western (pages 36–47): Neil Campbell
Chapter four Postmodern U.S. Fiction (pages 48–59): Hans Bertens
Chapter five smooth Gothic (pages 60–71): Marilyn Michaud
Chapter 6 the fast tale (pages 72–83): Mark Whalan
Chapter 7 Southern Fiction (pages 84–95): Sharon Monteith
Chapter eight Jewish American Fiction (pages 96–108): David Brauner
Chapter nine “Do not anything until eventually You listen from Me”: sleek African American Fiction (pages 109–121): A. Robert Lee
Chapter 10 U.S. Detective Fiction (pages 122–134): Cynthia S. Hamilton
Chapter eleven Hard?Boiled/Noir Fiction (pages 135–146): Lee Horsley
Chapter 12 Chicano Fiction (pages 147–158): Helen Oakley
Chapter thirteen Black Humor Fiction (pages 159–170): David Seed
Chapter 14 Fiction at the Vietnam conflict (pages 171–182): Philip Melling and Subarno Chattarji
Chapter 15 The Rediscovery of the local American (pages 183–194): pleasure Porter
Chapter sixteen Trash Fiction (pages 195–206): Stacey Olster
Chapter 17 Edith Wharton (pages 207–218): Pamela Knights
Chapter 18 Willa Cather's Entropology: Permanence and Transmission (pages 219–228): man J. Reynolds
Chapter 19 Gertrude Stein and Seriality (pages 229–239): Ulla Haselstein
Chapter 20 Ernest Hemingway (pages 240–250): Peter Messent
Chapter 21 John Dos Passos (pages 251–260): Andrew Hook and David Seed
Chapter 22 Thomas Wolfe (pages 261–270): Anne Ricketson Zahlan
Chapter 23 F. Scott Fitzgerald (pages 271–281): William Blazek
Chapter 24 Zora Neale Hurston (pages 282–291): Lovalerie King
Chapter 25 Theodore Dreiser (pages 292–301): Clare Virginia Eby
Chapter 26 William Faulkner's Yoknapatawpha (pages 302–312): Charles A. Peek
Chapter 27 H.D.'s Visionary Prose (pages 313–321): Rachel Connor
Chapter 28 John Steinbeck (pages 322–331): Brian Railsback
Chapter 29 Raymond Chandler (pages 332–341): Sean McCann
Chapter 30 Richard Wright (pages 342–351): Tara T. Green
Chapter 31 Ralph Ellison (pages 352–360): Rachel Farebrother
Chapter 32 James Baldwin (pages 361–368): D. Quentin Miller
Chapter 33 Vladimir Nabokov (pages 369–376): Barbara Wyllie
Chapter 34 Norman Mailer (pages 377–385): Michael okay. Glenday
Chapter 35 William S. Burroughs (pages 386–394): Davis Schneiderman
Chapter 36 Saul Bellow (pages 395–402): Michael Austin
Chapter 37 Gore Vidal (pages 403–410): Heather Neilson
Chapter 38 Joseph Heller (pages 411–419): David M. Craig
Chapter 39 Kurt Vonnegut (pages 420–427): Jerome Klinkowitz
Chapter forty Thomas Pynchon (pages 428–435): Ian Copestake
Chapter forty-one Ishmael Reed: American Iconoclast (pages 436–444): Darryl Dickson?Carr
Chapter forty two Joyce Carol Oates (pages 445–453): Gavin Cologne?Brookes
Chapter forty three Philip Roth (pages 454–461): Timothy Parrish
Chapter forty four The Fiction of John Updike: well timed and undying (pages 462–470): Brian Keener
Chapter forty five Maxine Hong Kingston (pages 471–479): Helena Grice
Chapter forty six Toni Morrison (pages 480–488): Jennifer Terry
Chapter forty seven Alice Walker (pages 489–496): Maria Lauret
Chapter forty eight Don DeLillo (pages 497–504): Mark Osteen
Chapter forty nine Gerald Vizenor: Postindian Gamester (pages 505–513): A. Robert Lee
Chapter 50 Bret Easton Ellis (pages 514–521): James Annesley
Chapter fifty one Amy Tan: “American conditions and chinese language personality” (pages 522–529): Heidi Slettedahl Macpherson
Chapter fifty two Paul Auster: Poet of Solitude (pages 530–538): Mark Brown
Chapter fifty three Bharati Mukherjee (pages 539–546): Judie Newman
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Extra info for A Companion to Twentieth-Century United States Fiction
The second concerned the persistence of essentially pre-modern ways of life in the context of American hypermodernity. In some ways, these issues were related as two elements of a new cosmopolitan vision of America. For the bohemians of Greenwich Village, America was a rich amalgam of immigrant and indigenous cultures. Polemicists including Van Wyck Brooks and Randolph Bourne asserted that Americans had for too long viewed themselves as England’s cultural inferiors; with the increasing financial and industrial power of the United States, it was time to assert a distinctively American cultural identity.
In constant retreat from the “phonies” who he believes surround him everywhere, Holden, after a painful arrival in Grand Central Station, visits Manhattan tourist attractions including Central Park, Radio City Music Hall, and the Empire Theatre. Salinger’s novel repeats the dual responses that have characterized the New York City novel from the first; in it, Manhattan exudes a surface glamour and excitement that hides a pervasive spiritual emptiness. In 1964, Hubert Selby, Jr. published Last Exit to Brooklyn, a New York novel that was dramatically, even shockingly, different from those that had preceded it.
Modernism 19 Thus we see that, even in the case of these fragmented narratives, there remains a strong desire for something like a totality. This helps account for the fact that, in the moment of the short, sketchy narrative, monumentally long works were also characteristic of modernist fiction. Notable examples of this are Stein’s thousand-page long family epic, The Making of Americans (1925) and the linked autobiographical fictions of Thomas Wolfe (Look Homeward, Angel, 1929; Of Time and the River, 1935; The Web and the Rock, 1939; You Can’t Go Home Again, 1940).