A Companion to Twentieth-Century United States Fiction by David Seed

By David Seed

Via a wide-ranging sequence of essays and proper readings, A spouse to Twentieth-Century usa Fiction provides an summary of yankee fiction released because the end of the 1st international War.  * incorporates a wide-ranging sequence of essays via American, British, and ecu experts in numerous literary fields* Written in an approachable and obtainable kind* Covers either vintage literary figures and modern novelists* offers vast feedback for extra examining on the finish of every essay

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Extra resources for A Companion to Twentieth-Century United States Fiction (Blackwell Companions to Literature and Culture)

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For many modernists, what proved most interesting was the intersection of these various regions and modes of life, and the way this translated into the complexity of American modernity. Willa Cather’s work is exemplary for addressing the relationship between such peripheral areas as the Nebraska prairie or highland New Mexico and the more sophisticated and industrially developed urban centers (see, for example, My Ántonia, 1918; The Professor’s House, 1925; and Death Comes for the Archbishop, 1927).

The dividing line between genre and pulp fiction and “high” modernism is frequently blurred by such writers as Dashiell Hammett, Raymond Chandler, Kenneth Fearing, and Horace McCoy, on the one hand, and by Faulkner (especially his “pot-boiler,” Sanctuary, 1931) and Hemingway, on the other. Though modernist fiction was largely excluded from the book-of-themonth club selections, readers of publications such as Vanity Fair could sample the work of Stein, Anderson, and Djuna Barnes (see Leick; Rubin: 147).

While he is at times the very prototype of the social protest writer, James T. Farrell is primarily interested in broader and more abstract matters in his 1935 trilogy, Studs Lonigan. Farrell’s trilogy is finally a study of the failure of the American “melting pot” ideal, a favorite concept of the University of Chicago school of sociology. The three novels depict a Chicago Irish American working-class neighborhood from which any redemptive spirituality has been banished. The Catholic Church in Studs Lonigan is an institution of meaningless ritual and cruel judgment as signaled in the title of the third volume of the trilogy, “Judgment Day,” and a spirit of xenophobic exclusion and misogyny permeates the Irish American neighborhood in which the Lonigan family resides.

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