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Book
vi, 364 pages : illustrations ; 23 cm.
Paris has always fascinated and welcomed writers. Throughout the twentieth and into the twenty-first century, writers of American, Caribbean, and African descent were no exception. Paris, Capital of the Black Atlantic considers the travels made to Paris-whether literally or imaginatively-by black writers. These collected essays explore the transatlantic circulation of ideas, texts, and objects to which such travels to Paris contributed. Editors Jeremy Braddock and Jonathan P. Eburne expand upon an acclaimed special issue of the journal Modern Fiction Studies with four new essays and a revised introduction. Beginning with W. E. B. Du Bois's trip to Paris in 1900 and ending with the contemporary state of diasporic letters in the French capital, this collection embraces theoretical close readings, materialist intellectual studies of networks, comparative essays, and writings at the intersection of literary and visual studies. Paris, Capital of the Black Atlantic is unique both in its focus on literary fiction as a formal and sociological category and in the range of examples it brings to bear on the question of Paris as an imaginary capital of diasporic consciousness.
(source: Nielsen Book Data)9781421407791 20160614
Green Library
Book
xiii, 232 pages : illustrations ; 23 cm
  • Introduction / Carl A. Wade and Louis J. Parascandola.
  • Part 1: Pioneering voices. The Writer Who Ran Away: Eric Walrond and Tropic Death / Kenneth Ramchand ; Eric Walrond: From Down Home: Origins of the Afro-American Short Story / Robert Bone.
  • Part 2: Modern critical views. "All Look Alike in Habana": Archaeologies of Blackness across Eric Walrond's Archipelago / Michelle A. Stephens ; Foreign Negro Flash Agents: Eric Walrond and the Discrepancies of Diaspora / Louis Chude-Sokei ; Genre, Gender and Eric Walrond's Equivocal Transnational Vision / Rhonda Frederick ; Eric Walrond and the Proletarian Arts Movement / Michael Niblett.
  • Part 3: Biographical sketches. Eric Walrond and the Dynamics of White Patronage during the Harlem Renaissance / Carl A. Wade, Robert Bone and Louis J. Parascandola. A Prism so Strange: The Biography of Eric Walrond / James Davis ; A West Indian Grows in Brooklyn: The Early American Experiences of Eric Walrond / Louis J. Parascandola and James Davis ; Exile on Main Street: Eric Walrond and Garveyism in Great Britain in the 1930s / Carl Pedersen.
"Eric Walrond (1898-1966), author of Tropic Death (1926), remains a seminal but elusive figure in Harlem Renaissance and Caribbean diasporic literature. Although this collection remains his only major text, Walrond was in fact quite prolific, penning several more fictions and journalistic writings. Born in British Guiana (Guyana), he endured a peripatetic existence, beleaguered at every turn by those colonial crises and conflicts that constitute the central concerns of his fiction and journalism. Despite the enduing popularity of Tropic Death, there has been little sustained critical examination of Walrond's achievement. In Eric Walrond: The critical Heritage, Louis J. Parascandola and Carl A. Wade address this deficiency, fashioning the first critical anthology on Walrond. The ten essays in this volume employ a variety of literary, cultural and sociological approaches to illuminate the art and imagination of a writer celebrated as one of the most complex authors of the Harlem Renaissance. Included in the collection are two early commentaries by noted West Indian critic Kenneth Ramchand (his article is revised for this volume) and the late American scholar Robert Bone, as well as contributions by more contemporary voices. This comprehensive dissection of Walrond's life and writings reveals an oeuvre that still has much to contribute to discussions about modern black literary and cultural studies."--P. [4] of cover.
Green Library
Book
viii, 275 pages : illustrations ; 24 cm.
  • AcknowledgmentsIntroduction: Making Modernism Big1. Willa Cather's Promiscuous Fiction2. Printing the Color Line in The Crisis3. On the Clock: Rewriting Literary Work at Time Inc.4. Our Eliot: Mass Modernism and the American Century5. Hemingway's Disappearing StyleAfterword: Working from HomeNotesBibliographyIndex.
  • (source: Nielsen Book Data)9780231177726 20161024
American novelists and poets who came of age in the early twentieth century were taught to avoid journalism "like wet sox and gin before breakfast." It dulled creativity, rewarded sensationalist content, and stole time from "serious" writing. Yet Willa Cather, W. E. B. Du Bois, Jessie Fauset, James Agee, T. S. Eliot, and Ernest Hemingway all worked in the editorial offices of groundbreaking popular magazines and helped to invent the house styles that defined McClure's, The Crisis, Time, Life, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, the sociology of literature, print culture, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism's incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris's work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other "institutions of modernism" that served narrow audiences. And for the writers, the "double life" of working for these magazines shaped modernism's literary form and created new models of authorship.
(source: Nielsen Book Data)9780231177726 20161024
Green Library
Book
xv, 297 p. : ill. ; 23 cm.
  • Introduction: A Short History of Macho Criticism-- 1. "Healthy Nerves And Sturdy Physiques": Remaking the Male Body of Literary Culture in the 1930s-- 2. Doughfaces, Eggheads, and Softies: On the Evolution of Gendered Epithets and Literary Culture in the 1940s-- 3. High-Brows and Low-Brows: Squares, Beats, Hipsters, White Negroes, New Critics, and American Literary Culture in the 1950s-- 4. Reforming the Hard Body: The Old Left, the Counter Culture, and the Masculine Kulturkampf of the 1960s-- 5. The Gender Upheavals of the Late 1960s: The Black Panther Movement, Gay Liberation, and Radical Feminism Epilogue-- Notes-- Works Cited.
  • (source: Nielsen Book Data)9780253355478 20160603
Masculinity was both a subtext and an explicit concern in the literary and political debates of the mid-20th century. In Pinks, Pansies, and Punks, James Penner charts the construction of masculinity within American literary culture from the 1930s to the 1970s. He examines the macho criticism that originated in the 1930s within the high modernist New York intellectual circle and tracks the issues of class struggle, anti-communism, and the clash between the Old and New Left in the 1960s. By extending literary culture to include not just novels, plays, and poetry, but diaries, journals, manifestos, essays, literary criticism, journalism, non-fiction, essays on psychology and sociology, and screenplays, Penner foregrounds the multiplicity of gender attitudes available in each of the historical moments he addresses.
(source: Nielsen Book Data)9780253355478 20160603
Pinks, Pansies, and Punks charts the construction of masculinity within American literary culture from the 1930s to the 1970s. Penner documents the emergence of "macho criticism, " and explores how debates about "hard" and "soft" masculinity influenced the class struggles of the 1930s, anti-communism in the 1940s and 1950s, and the clash between the Old Left and the New Left in the 1960s. By extending literary culture to include not just novels, plays, and poetry, but diaries, journals, manifestos, screenplays, and essays on psychology and sociology, Penner unveils the multiplicity of gender attitudes that emerge in each of the decades he addresses.
(source: Nielsen Book Data)9780253222510 20160603
Green Library
Book
xxi, 335 p. ; 23 cm.
The early settlers in America had a special relationship to the theatre. Though largely without a theatre of their own, they developed an ideology of theatre that expressed their sense of history, as well as their version of life in the New World. "Theater Enough" provides an innovative analysis of early American culture by examining the rhetorical shaping of the experience of settlement in the new land through the metaphor of the theatre. The rhetoric, or discourse, of early American theatre emerged out of the figures of speech that permeated the colonists' lives and literary productions. Jeffrey H.Richards examines a variety of texts - histories, diaries, letters, journals, poems, sermons, political tracts, trial transcripts, orations, and plays - and looks at the writings of such authors as John Winthrop and Mercy Oris Warren. Richards places the American usage of theatrum mundi - the world depicted as stage - in the context of classical and Renaissance traditions, but shows how the trope functions in American rhetoric as a register for religious, political and historical attitudes. Richards' interdisciplinary study is grounded in literary history, but also draws on scholarship in political history, sociology, anthropology, theory, and religion to show how the pervasive metaphor of the theatre provides a wide, revealing window on the politics and culture of the early Americans.
(source: Nielsen Book Data)9780822311072 20160528
Green Library
Book
541 p.
  • Part 1 American modernism, race and national culture: pragmatism and Americanism-- the Americanization of "race" and "culture"-- cultural pluralism and national identity-- cultural nationalism and the lyrical Left. Part 2 The transformation of literary institutions: "The Crisis" and the nation's conscience-- toward a new negro aesthetic-- reading these United States - "The Nation" and "The New Republic"-- the native arts of radicalism and/or race-- V.F. Calverton, "The Modern Quarterly" and an anthology-- mediating race and nation - the cultural politics of "The Messenger"-- "Superior Intellectual Vaudeville" - "American Mercury"-- black writing and modernist American publishing. Part III Producing "The New Negro": staging a Renaissance-- "The New Negro" - an interpretation.
  • (source: Nielsen Book Data)9780674372634 20160527
By restoring interracial dimensions left out of accounts of the Harlem Renaissance - or blamed for corrupting it - this book aims to transform our understanding of black and white literary modernism, interracial literary relations, and 20th century cultural nationalism in the United States.
(source: Nielsen Book Data)9780674372634 20160527
By restoring interracial dimensions left out of accounts of the Harlem Renaissance - or blamed for corrupting it - George Hutchinson provides his understanding of black (and white) literary modernism, interracial literary relations, and 20th-century cultural nationalism in the United States. He proposes that what has been missing from literary histories of the time is a broader sense of the intellectual context of the Harlem Renaissance, and Hutchinson supplies that here: Boas's anthropology, Park's sociology, various strands of pragmatism and cultural nationalism - ideas that shaped the New Negro movement and the literary field, where the movement flourished. Hutchinson tracks the resulting transformation of literary institutions and organizations in the 1920s, offering a detailed account of the journals and presses, black and white, that published the work of the "New Negroes". This cultural excavation discredits bedrock assumptions about the motives of white interest in the renaissance, and about black relationships to white intellectuals of the period. It also gives a careful investigation of the tensions among black intellectuals of the 1920s. Hutchinson's analysis shows that the general expansion of literature and the vogue of writing cannot be divorced from the explosion of black literature often attributed to the vogue of the New Negro - any more than the growing sense of "Negro" national consciousness can be divorced from expanding articulations and permutations of American nationality. The book concludes with a full-scale interpretation of the landmark anthology "The New Negro". A work that exposes the oversimplifications and misrepresentations of popular readings of the Harlem Renaissance, this book reveals the composite nature of American literary culture.
(source: Nielsen Book Data)9780674372627 20160528
Green Library

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