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The Critical Reception of Edith Wharton
Call Number: PS3545.H16 Z6868 2001
Publication Date: 2004
Once considered the 'last Victorian,' Edith Wharton and her fiction were at first greeted with the gentility proper to a lady of New York's social elite. Gradually, however, critics became gadflies incessantly buzzing at a Sphinx who seemed never to comment on her own work. At times, though, her impulses took control and she made remarks in letters and elsewhere that, on the one hand, appear to illuminate the fiction, but on the other, often raise more problems than they solve. Ironically, now that she is becoming recognized as a Modernist by some, and as perhaps the greatest American writer of her generation, criticism often obfuscates more than it reveals.obfuscates more than it reveals. The reasons reside in critics' loyalties to various theoretical approaches, the objectivity of which are often compromised by political hopes. This volume not only traces and analyzes the development of Whartonian literary criticism in its historical and political contexts, but also allows Edith Wharton, herself a literary critic, to respond to various concepts through the author's deductions and extrapolations from Wharton's own words. Professor Killoran's book provides a fresh reading of the best criticism on Wharton and in so doing throws new light on Wharton's works themselves.
Call Number: PS3515.E37 Z58676 1998
Publication Date: 1999
Once again Linda Wagner-Martin has selected an important collection of essays that cover some of the more interesting dimensions of Ernest Hemingway's fiction. Although the book opens with pieces from the 1920s by D.H. Lawrence and Gertrude Stein, it emphasizes criticism written during the past decade. In the 1980s and 1990s, Hemingway's fiction has sparked a renaissance of attention and critics have moved with alacrity beyond their earlier appreciation of Hemingway's style, economy, and grace.nbsp; nbsp;nbsp;nbsp;nbsp; A retrospective look at criticism that appeared soon after the author's suicide shows a collection of writing that -- from the perspective of the 1990s -- seems hesitant. If Hemingway himself seemed to fault his life's work, perhaps the previously acknowledged brilliance of his writing might be called into question. Essays of the 1960s and 1970s dealt with small issues, close readings, and limited concerns. But, as the nature of the critical enterprise changed, so too did the kind of criticism devoted to Hemingway's words. Much of this collection presents the Hemingway oeuvre as culturally provocative, especially on the questions of gender, sexuality, and race; and, for the first time in the "decades" series, a great many of the essays have been written by women scholars.
Fitzgerald, Hemingway and the Twenties
Call Number: PS3511.I9 Z55774 2001
Publication Date: 2001-01-01
"Both F. Scott Fitzgerald and Ernest Hemingway came into their own in the 1920s and did some of their best writing during that decade. In a series of interrelated essays, Ronald Berman considers an array of novels and short stories by both authors within the context of the decade's popular culture, philosophy, and intellectual history. As Berman shows, the thought of Fitzgerald and Hemingway went considerably past the limits of such labels as the Jazz Age or the Lost Generation." "Berman's essays are driven and connected by a focused line of inquiry into Fitzgerald's and Hemingway's concerns with dogma both religious and secular, with new and old ideas of selfhood, and, particularly in the case of Hemingway, with the way we understand, explain, and transmit experience."
The Great Gatsby
Call Number: PS3511.I9 G82 1984
Publication Date: 1984
A guide to reading "The Great Gatsby" with a critical and appreciative mind encouraging analysis of plot, style, form, and structure. Also includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.
Hemingway and Faulkner in Their Time
Call Number: PS3515.E37 Z61775 2005
Publication Date: 2005
Ernest Hemingway and William Faulkner are generally recognized as the most influential American novelists of the 20th century. Their careers paralleled one another in significant ways ? two of their fledgling poems coincidentally appeared in the same avant-garde little magazine, and their first important books, The Sun Also Rises and Soldier's Pay, were published in 1926; they died a year apart, almost to the day; each won the Nobel Prize. But the trajectories of these two lives and careers were also much different. Somewhat incredibly, given many of their mutual friends (and enemies), they never met. They kept their distance but also a wary eye on one another. This book is not only a valuable addition to literary scholarship, it is also a unique re-creation of an era in American culture and letters, especially of ?the charmed circle? of Parisian expatriates.
Meaning in Henry James
Call Number: PS2124 .B43 1991
Publication Date: 1991
Henry James rebelled intuitively against the tyranny and banality of plots. Believing a life to have many potential paths and a self to hold many destinies, he hung the evocative shadow of "what might have been" over much of what he wrote. Yet James also realized that no life can be lived--and no story written--except by submission to some outcome. The limiting conventions of society and literature are, he found, almost inescapable. In a major, comprehensive new study of James's work, Millicent Bell explores this oscillation between hope and fatalism, indeterminacy and form, and uncertainty and meaning. In the process Bell provides fresh insight into how we read and interpret fiction. Bell demonstrates how James's texts steadfastly, almost perversely at times, preserve a sense of alternative possibilities. James involves his characters in overlapping scenarios drawn from folklore, drama, literature, or naturalist formula. The reader engages, with the hero or heroine, in imagining many plots other than the one that finally-and often ambiguously--emerges. The story arouses expectations, proposes courses, then cancels them successively. In complicity with author and character, the reader crafts the story in an adventure of constant revision and anticipation. Literary meaning becomes an experience as well as a goal. In the end, revelations and resolutions, even if unclear or partial, assume an altered significance in light of the earlier imaginings. Not surprisingly, James's deepest sympathies lay with those characters who resisted entrapment by cultural expectations--his idealistic free spirits like Isabel, his marriage renouncers like Fleda Vetch, his largely silent and detached witnesses to life like Strether and the generous Maisie. They are frequently the victims of callous manipulators who box them into oppressive roles or who literally "plot against" them. By looking closely at James's critiques of clever" categorical mind and at his loving and complex portraits of characters of unfulfilled potentiality, Bell celebrates the paradoxes of James's story-denying fiction.
Student Companion to Willa Cather
Call Number: PS3505.A87 Z624 2006
Publication Date: 2006
Written especially for students, this critical introduction offers insightful yet accessible criticism of Cather's most widely read novels.
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