This cutting-edge Companion is a comprehensive resource for the study of the modern American novel. Published at a time when literary modernism is being thoroughly reassessed, it reflects current investigations into the origins and character of the movement as a whole. Brings together 28 original essays from leading scholars Allows readers to orient individual works and authors in their principal cultural and social contexts Contributes to efforts to recover minority voices, such as those of African American novelists, and popular subgenres, such as detective fiction Directs students to major relevant scholarship for further inquiry Suggests the many ways that “modern”, “American” and “fiction” carry new meanings in the twenty-first century
An authoritative guide to American literature, this Companion examines the experimental forms, socio-cultural changes, literary movements, and major authors of the early 20th century. This Companion provides authoritative and wide-ranging guidance on early twentieth-century American fiction. Considers commonly studied authors such as Faulkner, Fitzgerald, and Hemingway, alongside key texts of the period by Richard Wright, Charles Chesnutt, Zora Neale Hurston, and Anzia Yezierska Examines how the works of these diverse writers have been interpreted in their own day and how current readings have expanded our understanding of their cultural and literary significance Covers a broad range of topics, including the First and Second World Wars, literary language differences, author celebrity, the urban landscape, modernism, the Jazz Age, the Great Depression, regionalism, and African-American fiction Gives students the contextual information necessary for formulating their own critiques of classic American fiction
Three criteria were used to determine who among the scores of British writers of fiction, flourishing during the years 1900-1950, would be represented in this research guide. Included are: (1) all generally acknowledged major novelists ; (2) all major men of letters who have made a significant contribution to modern fiction ; (3) all minor writers who have attracted a significant amount of bibliographical, biographical, or critical commentary and who have contributed significantly to the development of modern long and short fiction in Britain.
Steven Connor provides in-depth analyses of the novel and its relationship with its own form, with contemporary culture and with history. He incorporates an extensive and varied range of writers in his discussions such as * George Orwell * William Golding * Angela Carter * Doris Lessing * Timothy Mo * Hanif Kureishi * Marina Warner * Maggie Gee Written by a foremost scholar of contemporary culture and theory, The English Novel in History, 1950 to the Present offers not only a survey but also a historical and cultural context to British literature produced in the second half of this century.
When Constance Garnett's translations (1910–20) made Dostoevsky's novels accessible in England for the first time they introduced a disruptive and liberating literary force, and English novelists had to confront a new model and rival. The writers who are the focus of this study - Lawrence, Woolf, Bennett, Conrad, Forster, Galsworthy and James - either admired or feared Dostoevsky as a monster who might dissolve all literary and cultural distinctions. Though their responses differed greatly, these writers were unanimous in their inability to recognize Dostoevsky as a literary artist. They viewed him instead as a psychologist, a mystic, a prophet and, in the cases of Lawrence and Conrad, a hated rival who compelled creative response. This study constructs a map of English modernist novelists' misreadings of Dostoevsky, and in so doing it illuminates their aesthetic and cultural values and the nature of the modern English novel.
This fierce anti-war novel by Irene Rathbone (1892-1980) is told from the perspective of a cultured former suffragist and several of her friends--young women who work at rest camps just behind the lines in France and as nurses of the severely wounded in hospitals in London. When Joan loses both her brother and lover to the war, in anger at the enemy she volunteers for work in a munitions plant, but by the end, she is a confirmed pacifist.