By Gail McDonald
This creation to American literature and tradition from 1900 to 1960 is geared up round 4 significant principles approximately the US: that's it “big”, “new”, “rich”, and “free”.
- Illustrates the inventive and social weather within the united states in this period.
- Juxtaposes dialogue of heritage, pop culture, literature and different artwork types in ways in which foster dialogue, wondering, and persevered examine.
- An appendix lists appropriate basic and secondary works, together with websites.
- An excellent complement to basic texts taught in American literature courses.
Chapter 1 great (pages 6–59):
Chapter 2 wealthy (pages 60–109):
Chapter three New (pages 110–164):
Chapter four unfastened (pages 165–210):
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Extra resources for American Literature and Culture 1900-1960
Until the continental United States had stretched, as the anthem “America the Beautiful” has it, “from sea to shining sea,” mainstream discourse about settling the land was optimistic and energetic. Two influential concepts that illustrate this phenomenon are Manifest Destiny and the Frontier Thesis. In 1845, writing in The Democratic Review on the question of territorial expansion, journalist John L. O’Sullivan declared: The far-reaching, the boundless future will be the era of American greatness.
Proximity resulting from the crowding of urban spaces, then, has context-specific effects. The same may be said of anonymity, another response to crowding, but with the paradoxical effect of isolation. A sampling of walkers in the city will indicate some of the emotions anonymity provokes. The poet Wallace Stevens found himself disgusted by the people he saw on city sidewalks, describing them in a letter to his father: “Everybody . . ”10 No flâneur or man about town here, sauntering and taking in the view.
A sampling of walkers in the city will indicate some of the emotions anonymity provokes. The poet Wallace Stevens found himself disgusted by the people he saw on city sidewalks, describing them in a letter to his father: “Everybody . . ”10 No flâneur or man about town here, sauntering and taking in the view. Like the speaker of T. S. Eliot’s “Love Song of J. Alfred Prufrock,” for whom the streets are like “a tedious argument of insidious intent,” the primary response is one of revulsion. For the cultural theorist Walter Benjamin (and for Charles Baudelaire before him), the flâneur is a central character of modernity.
American Literature and Culture 1900-1960 by Gail McDonald