Past studies have discussed antebellum and early national sentimental literature by and about women as a retreat from, or criticism of, the burgeoning market. In this landmark study, Joseph Fichtelberg examines how this literature actually helped to bring market behaviors into maturity. Between 1780 and 1870, Americans endured no fewer than seventeen economic depressions. Each one generated sentimental outpourings in which women came to personify the travails of the marketplace. In the early national period, novels like Martha Meredith Read's Margaretta and Isaac Mitchell's The Asylum depicted resolute heroines who soothed national ills with virtuous vulnerability. While men often languished in such novels, women thrived. Antebellum fictions extend the argument: bankrupt husbands dissolved in sentimental despair, while their wives used a different sensibility to understand, and adapt to, the market itself. These fictions used women characters to think through the problems of economic crisis and growth--a process completed by the Civil War, when popular fictions began to depict merchants and clerks as feminine. To master the market was to act like a woman--virtuous, immune to commercial temptation, and thus pure. This notion, Fichtelberg argues, was crucial to the onset of liberalism and the emergence of the American middle class. In addition to his discussions of popular, though noncanonical, writers such as Read and Mitchell, Fichtelberg also covers well-known authors such as Hector St. John de Crèvecoeur, Olaudah Equiano, and Walt Whitman. He brings to bear neglected sources (including the ledgers of Ralph Waldo Emerson) and interweaves best-selling novels and pamphlets with political debates and contemporary economic analyses to create rich descriptions of the era. A crucial addition to American literary criticism on sentimental literature, Critical Fictions is a groundbreaking analysis of the relations between commercial and sentimental discourses in early American literature as well as a history of early American economics. It will appeal to specialists as well as to the general reader interested in how American culture has portrayed women in ways that express its deepest needs.
In the prevailing account of English empiricism, Locke conceived of self-understanding as a matter of mere observation, bound closely to the laws of physical perception. English Romantic poets and German critical philosophers challenged Locke's conception, arguing that it failed to account adequately for the power of thought to turn upon itself—to detach itself from the laws of the physical world. Cathy Caruth reinterprets questions at the heart of empiricism by treating Locke's text not simply as philosophical doctrine but also as a narrative in which "experience" plays an unexpected and uncanny role. Rediscovering traces and transformations of this narrative in Wordsworth, Kant, and Freud, Caruth argues that these authors must not be read only as rejecting or overcoming empirical doctrine but also as reencountering in their own narratives the complex and difficult relation between language and experience. Beginning her inquiry with the moment of empirical self-reflection in Locke's Essay Concerning Human Understanding—when a mad mother mourns her dead child—Caruth asks what it means that empiricism represents itself as an act of mourning and explores why scenes of mourning reappear in later texts such as Wordsworth's Prelude, Kant's Metaphysical Foundations of Natural Science and Prolegomena to Any Future Metaphysics, and Freud's Civilization. From these readings Caruth traces a recurring narrative of radical loss and the continual displacement of the object or the agent of loss. In Locke it is the mother who mourns her dead child, while in Wordsworth it is the child who mourns the dead mother. In Kant the father murders the son, while in Freud the sons murder the father. As she traces this pattern, Caruth shows that the conceptual claims of each text to move beyond empiricism are implicit claims to move beyond reference. Yet the narrative of death in each text, she argues, leaves a referential residue that cannot be reclaimed by empirical or conceptual logic. Caruth thus reveals, in each of these authors, a tension between the abstraction of a conceptual language freed from reference and the compelling referential resistance of particular stories to abstraction.
A Village Voice Literary Supplement Best Book of the Year, this "treasure chest of essays about the relationship of writing to cultural politics" (Utne Reader) includes contributions from Chinua Achebe, James Baldwin, Nadine Gordimer, Maxine Hong Kingston, Walter Mosley, and Alice Walker, among others. Discussions in Contemporary Culture is an award-winning series copublished with the Dia Center for the Arts in New York City. These volumes offer rich and timely discourses on a broad range of cultural issues and critical theory. The collection covers topics from urban planning to popular culture and literature, and continually attracts a wide and dedicated readership.
Selected by Choice as an Outstanding Academic Book of the Year. This innovative cultural critique offers valuable insights into science fiction, thus enlarging our understanding of critical theory. Carl Freedman traces the fundamental and mostly unexamined relationships between the discourses of science fiction and critical theory, arguing that science fiction is (or ought to be) a privileged genre for critical theory. He asserts that it is no accident that the upsurge of academic interest in science fiction since the 1970s coincides with the heyday of literary theory, and that likewise science fiction is one of the most theoretically informed areas of the literary profession. Extended readings of novels by five of the most important modern science fiction authors illustrate the affinity between science fiction and critical theory, in each case concentrating on one major novel that resonates with concerns proper to critical theory. Freedman's five readings are: Solaris: Stanislaw Lem and the Structure of Cognition; The Dispossessed: Ursula LeGuin and the Ambiguities of Utopia; The Two of Them: Joanna Russ and the Violence of Gender; Stars in My Pocket Like Grains of Sand: Samuel Delany and the Dialectics of Difference; The Man in the High Castle: Philip K. Dick and the Construction of Realities.
This is the first study devoted to Sylvia Plath's fiction. Plath wrote fiction throughout her life, in a wide variety of genres, including women's magazine romances, New Yorker stories, comedy, social criticism, autobiography, teenage fiction and science fiction. She wrote novels before and after The Bell Jar. Discussing all these novels and stories, and based on research in the three major archives of her work, this book is the complete study of Plath's fiction. The author analyses her influences as a fiction writer, the relationships between her poetry and fiction, the political views she expresses in her fiction, and devotes two chapters to the central concern of her novels and stories, the roles of women in contemporary society.
By reading key Carter texts alongside their Decadent intertexts, Tonkin interrogates the claim that Carter was in thrall to a fetishistic aesthetic antithetical to her feminism. Through historical contextualization of the woman-as-doll, muse and femme fatale, Tonkin tests Carter's own description of her fiction as a form of literary criticism.
Despite the prejudices of critics, popular romance fiction remains a complex, dynamic genre. It consistently maintains the largest market share in the American publishing industry, even as it welcomes new subgenres like queer and BDSM romance. Digital publishing originated in erotic romance, and savvy online communities have exploded myths about the genre's readership. Romance scholarship now reflects this diversity, transformed by interdisciplinary scrutiny, new critical approaches, and an unprecedented international dialogue between authors, scholars, and fans. These eighteen essays investigate individual romance novels, authors, and websites, rethink the genre's history, and explore its interplay of convention and originality. By offering new twists in enduring debates, this collection inspires further inquiry into the emerging field of popular romance studies.
From wondrous fairy-lands to nightmarish hellscapes, the elements that make fantasy worlds come alive also invite their exploration. This first book-length study of critically acclaimed novelist Patricia A. McKillip's lyrical other-worlds analyzes her characters, environments and legends and their interplay with genre expectations. The author gives long overdue critical attention to McKillip's work and demonstrates how a broader understanding of world-building enables a deeper appreciation of her fantasies.