By David Seed
Via a wide-ranging sequence of essays and correct readings, A spouse to Twentieth-Century usa Fiction offers an outline of yank fiction released because the end of the 1st international War. * encompasses a wide-ranging sequence of essays via American, British, and ecu experts in various literary fields* Written in an approachable and available sort* Covers either vintage literary figures and modern novelists* offers vast feedback for additional interpreting on the finish of every essay
Read or Download A Companion to Twentieth-Century United States Fiction (Blackwell Companions to Literature and Culture) PDF
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Extra resources for A Companion to Twentieth-Century United States Fiction (Blackwell Companions to Literature and Culture)
But for others, history hardly mattered. S. entered the conflict) as beyond the struggles of the Old World. In the rising global capital of New York, as elsewhere around the world, it was possible to see America as nothing less than the home of the future: an amalgamation of races and nationalities living in a mechanized paradise of automobiles, airplanes, electricity, motion pictures, and stock ticker tape. And yet, even for writers who celebrated this sleek, mechanized America (for example, Dos Passos in Manhattan Transfer, 1925), there is also a strong critical awareness of the alienation of modern society and the degradation of modern mass culture.
Rodgers writes that the Harlem Renaissance novels, Jessie Fauset’s There is Confusion (1924), Claude McKay’s Home to Harlem (1928), Rudolph Fisher’s Walls of Jericho (1928), and Wallace Thurman’s Infants of the Spring (1932), are devoted to “bringing to life the hum and buzz of Harlem’s spirited, almost-human personality” (Rodgers: 78). Fisher’s and Thurman’s texts are amusing satires of Harlem’s emerging black bourgeoisie, and Thurman works in a subplot devoted to satirizing central figures of the Renaissance, including himself.
Important works of the period portray the perspective of a young immigrant child (Henry Roth’s Call it Sleep, 1934), a baby (William Carlos Williams’s White Mule, 1937), the insane and socially outcast (Djuna Barnes, Nightwood, 1936), and historical figures like the Viking explorer, Eric the Red (Williams, In the American Grain, 1925). William Faulkner frequently structured his narratives as composites of the perspectives of multiple characters. In As I Lay Dying (1930), the story of the death and burial of Addie Bundren is related from the limited first-person perspective of fifteen different characters.