By Roger Lathbury
A entire reference consultant to the modernist circulation in American literature, this quantity presents a wealth of knowledge on American modernism, the misplaced new release, modernism within the American novel, the Harlem Renaissance, modernism in poetry and drama, and the literary tradition of the Moderns. Writers lined comprise: Countee Cullen, E. E. Cummings, John Dos Passos, T. S. Eliot, William Faulkner, F. Scott Fitzgerald, Sigmund Freud, Robert Frost, Ernest Hemingway, Langston Hughes, Zora Neale Hurston, Sinclair Lewis, Eugene O'Neill, Ezra Pound, Gertrude Stein, and extra.
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Extra info for American Modernism: (1910-1945) (Background to American Literature)
Sample text
J e a n To o m e r ( 1 8 9 4 – 1 9 6 7 ) : Cane (1923) Jean Toomer, 28, from rural Georgia, wrote one book. It burst on the Harlem scene with grand success when it appeared in 1923 from the mainstream publisher Liveright. Toomer had come to the attention of writers and critics when his sketches, poems, and stories appeared in literary magazines of the 1920s, such as The Double Dealer, Dial, and Little Review, where many famous writers—Sherwood Anderson, Hemingway, even Joyce—first appeared. Waldo Frank, Allen Tate, as well as black critics (Lola Rodge, William Stanley Braithwaite) hailed Cane as the work of a soon-to-be-major writer.
Behind Frost’s public persona, however, lay a calculating, difficult, highly intelligent, sometimes generous, sometimes selfish, manipulative man, clever, shrewd, and complex. His air suggested that he was a simple rustic, a fellow who liked nature walks. Reading the poetry dispels this image and replaces it with one wilier and more hard nosed. Frost read the modernists but never felt he had to be one of them. Early and late Frost is skeptical, reserved, ironic, dubious, and playful. Perhaps Frost’s humorously unhelpful notes to the original 1947 edition of his collection Steeple Bush were a parody of Eliot’s notes to The Waste Land.
Thinking, as does an obsession with virginity, in particular that of his sister, In Otis E. Wheeler ’s “Some Uses Caddy, the mother of a daughter also of Folk Humor in Faulkner,” in named Quentin. Like Benjy, Quentin F. W. , William Faulkmoves back and forth in time, but the ner, Four Decades of Criticism. events in his section slide into each other in a way that points to the disintegration of his personality. ) Quentin is highly verbal and subtle, but he is unable to order his life successfully.