This book defines the American Gothic and places it both within the context of the major movements of intellectual history in the last 300 years, and also within the context of the critical issues of American culture. From Poe to Faulkner to Toni Morrison and Cormac McCarthy, many of the best and most critically acclaimed works of American literature have been Gothic. The book will demonstrate how the Gothic provides a forum for discussing key issues of American culture, for exploring forbidden subjects, and for providing a voice for the repressed and silenced.
This book is a comparative study of British and American literature and culture in the 1790s and 1950s. It explores the republican tradition of the British Enlightenment and the effect of its translation and migration to the American colonies. Specifically, it examines in detail the transatlantic influence of seventeenth- and eighteenth-century libertarian and anti-authoritarian thought on British and American Revolutionary culture.
Defining the American gothic tradition both within the context of the major movements of intellectual history over the past three-hundred years, as well as within the issues critical to American culture, this comprehensive volume covers a diverse terrain of well-known American writers, from Poe to Faulkner to Toni Morrison and Cormac McCarthy. Charles L. Crow demonstrates how the gothic provides a forum for discussing key issues of changing American culture, explores forbidden subjects, and provides a voice for the repressed and silenced.
In Rousseau's Republican Romance, Elizabeth Wingrove combines political theory and narrative analysis to argue that Rousseau's stories of sex and sexuality offer important insights into the paradoxes of democratic consent. She suggests that despite Rousseau's own protestations, "man" and "citizen" are not rival or contradictory ideals. Instead, they are deeply interdependent. Her provocative reconfiguration of republicanism introduces the concept of consensual nonconsensuality--a condition in which one wills the circumstances of one's own domination. This apparently paradoxical possibility appears at the center of Rousseau's republican polity and his romantic dyad: in both instances, the expression and satisfaction of desire entail a twin experience of domination and submission. Drawing on a wide variety of Rousseau's political and literary writings, Wingrove shows how consensual nonconsensuality organizes his representations of desire and identity. She demonstrates the inseparability of republicanism and accounts of heterosexuality in an analysis that emphasizes the sentimental and somatic aspects of citizenship. In Rousseau's texts, a politics of consent coincides with a performative politics of desire and of emotion. Wingrove concludes that understanding his strategies of democratic governance requires attending to his strategies of symbolization. Further, she suggests that any understanding of political practice requires attending to bodily practices.
Often described as a "gothic novel," this is a classic American tale of mystery and murder with exciting and dramatic plot twists. Charles Brockden Brown is the most frequently studied and republished practitioner of the "early American novel," or the US novel between 1789 and roughly 1820. This volume contains a critical edition of Charles Brockden Brown's Edgar Huntly, the third of his novels to be published in 1799 and the first to deal with the American wilderness. The basis of the text is the first edition, printed and published by Hugh Maxwell in Philadelphia late in the year, but the "Fragment" printed independently in Brown's Monthly Magazine earlier in 1799 supplies some readings in Chapters 17-20. The Historical Essay, which follows the text, covers matters of composition, publication, historical background, and literary evaluation, and the Textual Essay discusses the transmission of the text, choice of copy-text, and editorial policy. A general textual statement for the entire edition appears in Volume I of the series.
A veteran political analyst and a renowned New Yorker illustrator celebrate Barack Obama’s achievements in a compendium that takes his critics head-on. Barack Obama’s election in 2008 was a watershed moment in American history that inspired supporters on the Left—and fired up enemies on the Right. Elected in the midst of multiple crises—a Wall Street meltdown that imperiled the global economy and American troops entangled in two foreign wars—Obama’s presidency promised to be one of the most consequential in modern American history. Although he stabilized the economy and restored America’s prestige on the global stage, President Obama has been denied the credit he deserves, receiving instead acidic commentary from political opponents such as former Vice President Dick Cheney, who declared that Obama was “the worst president in [his] lifetime.” In The Best “Worst President”, Mark Hannah and New Yorker illustrator Bob Staake swiftly and systematically debunk conservative lies and disinformation meant to negate the president’s accomplishments and damage his reputation—baseless charges too often left unchallenged by the national media. Hannah and Staake not only defend the president but showcase his administration’s most surprising and underappreciated triumphs—making clear he truly is the best “worst president” our nation has ever known.
Taking as its point of departure recent insights about the performative nature of genre, The Poetics and Politics of the American Gothic challenges the critical tendency to accept at face value that gothic literature is mainly about fear. Instead, Agnieszka Soltysik Monnet argues that the American Gothic, and gothic literature in general, is also about judgment: how to judge and what happens when judgment is confronted with situations that defy its limits. Poe, Hawthorne, Melville, Gilman, and James all shared a concern with the political and ideological debates of their time, but tended to approach these debates indirectly. Thus, Monnet suggests, while slavery and race are not the explicit subject matter of antebellum works by Poe and Hawthorne, they nevertheless permeate it through suggestive analogies and tacit references. Similarly, Melville, Gilman, and James use the gothic to explore the categories of gender and sexuality that were being renegotiated during the latter half of the century. Focusing on "The Fall of the House of Usher," The Marble Faun, Pierre, The Turn of the Screw, and "The Yellow Wallpaper," Monnet brings to bear minor texts by the same authors that further enrich her innovative readings of these canonical works. At the same time, her study persuasively argues that the Gothic's endurance and ubiquity are in large part related to its being uniquely adapted to rehearse questions about judgment and justice that continue to fascinate and disturb.
