American Studies Commons^™

Introduction: How American Literature Understands Poverty, Clare E. Callahan, Joseph Entin, Irvin Hunt, Kinohi Nishikawa

English Faculty Publications

Together, the essays in this issue of American Literature stage what is at stake in how literature understands poverty, elucidating not only the problem of poverty but also, and especially, the problem of how we see it. To see poverty differently, they might conclude, is not only a matter of what we see. It is a matter of reflecting on how we see.

Mary Hallock Foote: Reconfiguring The Scarlet Letter, Redrawing Hester Prynne, Adam Sonstegard

English Faculty Publications

It took 28 years after Nathaniel Hawthorne published The Scarlet Letter in 1850 for Mary Hallock Foote to render drawings for one of the novel’s first illustrated editions, which was probably the first ever to be illustrated by a woman.(1) It took 130 years after the publication of Foote’s illustrated edition in 1878 for Project Gutenberg to digitize and disseminate Hawthorne’s novel with Foote’s illustrations.(2) It has taken seven years for Hawthorne scholarship to commence addressing and examining Foote’s edition, and theorize what her drawings suggest about the act of seeing, for the heroine’s audiences in the book, and for …

A Familiar Strangeness: American Fiction And The Language Of Photography, 1939–1945 By Stuart Burrows (Review), Peter Lurie

English Faculty Publications

Stuart Burrows's book makes a strangely familiar claim. Its premise traces an arc in literary history and understandings of vision and epistemology that we think we know but which, in Burrows' hands, in fact turns toward a different idea about American prose realism than one with which we're familiar (that is, that writers responded to the daguerreotype by emulating its representational fidelity). Realist writers like Hawthorne, Stephen Crane, and the early James, Burrows shows, were hardly naïve about the changes in perception wrought by a then-new technology of vision like photography. For their realism is not a version of fiction …

William Faulkner, William James, And The American Pragmatic Tradition (Review), Peter Lurie

English Faculty Publications

In his book's final sentence, David Evans is concerned that we "assure a future for Faulkner, and a Faulkner for the future" (236). Taken at a glance, this concern might imply a need to safeguard Faulkner's continuing relevance: pointing to the future and Faulkner together suggests that their mutuality is not, in fact, certain. And in light of shifting critical approaches to this canonical writer, not to mention the diminishing importance of author studies as well as scholarly genres like the monograph, Evans's caution makes a certain critical sense.

Yet the statement's fuller meaning within the context of this new …

Discreetly Depicting "An Outrage": Graphic Illustration And "Daisy Miller"'S Reputation, Adam Sonstegard

English Faculty Publications

Rendering the first illustrated edition of "Daisy Miller" in 1892, Harry Whitney McVickar had to reconcile the novella's scandalous reputation with the polite medium of graphic illustration. McVickar highlights insignificant scenery, shows solitary figures instead of social interaction or playful flirtation, and nearly omits the heroine. His depictions and omissions contain the characters' indiscretions, and ensure that aspiring flirts and would-be Winterbournes who view his images do not "get the wrong idea." Cinematic adaptations amplify Daisy's public displays and encourage Winterbourne's voyeurism, but "Daisy Miller"'s first graphic illustrations strove instead to redeem the reputation of James's "outrage on American girlhood."

Tragic No More?: The Reappearance Of The Racially Mixed Character, Suzanne W. Jones

English Faculty Publications

During the nineteenth century and early in the twentieth, the tragic mulatto/a figured prominently in American fiction, only to recede after the Harlem Renaissance when African-American writers called for "race pride" and racial solidarity and to disappear entirely in the late 1960s after the Black Power movement ushered in racially conscious concepts such as "Black Is Beautiful." Since 1990, however, the mixed black-white character has made a significant comeback in American fiction. Contemporary representations suggest that choosing one's racial identity is only slightly less difficult than it used to be because of American society's conflation of skin color and identity. …

Black Girl In Paris: Shay Youngblood's Escape From "The Last Plantation", Suzanne W. Jones

English Faculty Publications

Twentieth-century African-American writers have shared with their white American counterparts the expectation that in Paris they would find an community of writers and artists. And to varying degrees each did. Much like Edith Wharton, African-American writers viewed the French as a people who value art and creativity, the aesthete and the intellectual. And much like American writers from Hawthorne to Henry Miller, African-American expatriates viewed Paris as an "outlet for repressed sexuality," an unpuritanical place, which would allow, even encourage, people to live and love and create as the pleased. In Black Girl in Paris (2000) these are certainly the …

Holy Fools, Secular Saints, And Illiterate Saviors In American Literature And Popular Culture, Dana Heller

English Faculty Publications

In her article, "Holy Fools, Secular Saints, and Illiterate Saviors in American Literature and Popular Culture," Dana Heller identifies and analyzes characteristics of the holy fool figure in American literature and culture. Heller defines the holy fool, or divine idiot, as a figure central to U.S. myths of nation. One encounters such figures in American literature as well as in American folklore, popular culture, and mass media. In American culture, the Divine Idiot is a hybrid form which grows out of the crossings of numerous literary and historical currents, both secular and non-secular. This unwieldy hybridity -- the fact that …

Why Are Those Women So Angry? (Alienating People Of Good Will), Janet Bing

English Faculty Publications

(First paragraph) Until quite recently, I dismissed criticisms of "angry feminists" as a sexist stereotype. I was tired of hearing people say, "I believe in equal pay for equal work, but I dislike those bra-burning feminists!" Perhaps I'm too young, but almost all of my friends are feminists, and I have yet to meet anyone who has burned her bra, so this comment always strikes me as bizarre. However, recently I have begun to think seriously about the power of stereotypes and the ability of people to disregard messages they do not want to hear. I now realize that feminists …

The Psychology Of Uncertainty: (Re)Inscribing Indeterminacy In Rudolph Fisher's The Conjure-Man Dies, Adrienne Gosselin

English Faculty Publications

No abstract provided.

Refighting Old Wars: Race Relations And Masculine Conventions In Fiction By Larry Brown And Madison Smartt Bell, Suzanne W. Jones

English Faculty Publications

Since the Civil War white male writers of the American South have created fond fictions about childhood friendships that crossed the color line. For example, much of the poignancy of Faulkner's The Unvanquished (1938) comes from Bayard Sartoris's description of the close relationship he had with a black servant boy Ringo in the Mississippi small town that will separate them as they grow older and that from the beginning marked them as different, based on race. After their boyhood games and real Civil War adventures together, Bayard and Ringo grow up to be, not close friends, but master and faithful …

Edith Wharton's "Secret Sensitiveness" The Decoration Of Houses, And Her Fiction, Suzanne W. Jones

English Faculty Publications

Surely one of the reasons that Edith Wharton lived most of her life in France was that she greatly admired the way the French "instinctively applies to living the same rules that they applies to artistic creation." Wharton believed that the French had an eye for beauty, or what she called "the seeing eye," in contrast to Americans whose sight had been dimmed by the puritanism of their Anglo-Saxon heritage. However, in her last and unfinished novel, The Buccaneers (1938), Wharton suggests through her American protagonist's relationship with her European governess, Laura Testvalley, that the art of seeing can be …

Reading The Endings In Katherine Anne Porter's "Old Mortality", Suzanne W. Jones

English Faculty Publications

With these final sentences of "Old Mortality" (1937), Katherine Anne Porter qualifies the progress eighteen-year-old Miranda has made toward self-knowledge and sophisticated reading strategies. This long story is a bildungsroman of sorts, tracing Miranda's development from childhood to young adulthood, but focusing particularly on her apprenticeship as a reader. Porter links Miranda's quest for self-discovery with her attempts to determine fact from fiction in the stories her family tells about the love affairs, brief marriage, and early death of her beautiful Aunt Amy. By dismissing both her father's romantic legend and her Cousin Eva's feminist critique as untrue--by focusing on …

You Can't Go Home Again: James Baldwin And The South, Daryl Cumber Dance

English Faculty Publications

James Baldwin, like innumerable other Black artists, has found that in his efforts to express the plight of the Black man in America, he has been forced to deal over and over again with that inescapable dilemma of the Black American - the lack of sense of a positive self-identity. Time after time in his writings he has shown an awareness of the fact that identity contains, as Erik Erikson so accurately indicates, "a complementarity of past and future both in the individual and in society." Baldwin wrote in "Many Thousands Gone," "We cannot escape our origins, however hard we …

Zora Neale Hurston, Daryl Cumber Dance

English Faculty Publications

Some new information is occasionally being ferreted out that may help to cast additional light on some of these issues, but quite clearly Zora Neale Hurston will remain something of an enigma - too complex a figure to reach any easy conclusions about, except perhaps that she defies simple characterization. People responded to her (and still do) very emotionally: her detractors despise her bitterly; her defenders love her passionately. All agree that she was eccentric, colorful, entertaining, humorous, and unforgettable.

Perhaps the most crucial question to pose about her is why one of the most important figures in the Harlem …

Sentimentalism In Dreiser's Heroines, Carrie And Jennie, Daryl Cumber Dance

English Faculty Publications

Theodore Dreiser is usually hailed as a pioneer of American realism who freed American literature from Victorian restraints, from nineteenth century idealism and optimism, and from the ever-present moralizing of domestic sentimentalism. It is interesting to note, however, that this shockingly modern trailblazer not only stands at the dawn of a new era in literature, but also at the twilight of the old, for in Dreiser is a mixture of both the new realism and naturalism and the old sentimentalism that had dominated American literature from its inception.