Synopses & Reviews
The first three decades of the twentieth century saw the largest period of immigration in U.S. history. This immigration, however, was accompanied by legal segregation, racial exclusionism, and questions of residentsandrsquo; national loyalty and commitment to a shared set of andldquo;Americanandrdquo; beliefs and identity. The faulty premise that homogeneityandmdash;as the symbol of the andldquo;melting potandrdquo;andmdash;was the mark of a strong nation underlined nativist beliefs while undercutting the rich diversity of cultures and lifeways of the population. Though many authors of the time have been viewed through this nativist lens, several texts do indeed contain an array of pluralist themes of society and culture that contradict nativist orientations.
In The Pluralist Imagination from East to West in American Literature, Julianne Newmark brings urban northeastern, western, southwestern, and Native American literature into debates about pluralism and national belonging and thereby uncovers new concepts of American identity based on sociohistorical environments. Newmark explores themes of plurality and place as a reaction to nativism in the writings of Louis Adamic, Konrad Bercovici, Abraham Cahan, Willa Cather, Paul Laurence Dunbar, Charles Alexander Eastman, James Weldon Johnson, D. H. Lawrence, Mabel Dodge Luhan, and Zitkala-andScaron;a, among others.
This exploration of the connection between concepts of place and pluralist communities reveals how mutual experiences of place can offer more constructive forms of community than just discussions of nationalism, belonging, and borders.
and#8220;Julianne Newmark leads us back in time to multiethnic authors who thought deeply and creatively about some of the seemingly intractable racialized rhetorics that still bedevil us today. This is a timely, beautiful, and ultimately hopeful book, one that has much to say about larger public conversations surrounding American identity, how we read the past, and how we build coalitions across racial and ethnic lines.and#8221;and#8212;Siobhan Senier,and#160;editor of Dawnland Voices: An Anthology of Indigenous Writing from New England
In Art Matters, Robert Paul Lamb provides the definitive study of Ernest Hemingway's short story aesthetics. Lamb locates Hemingway's art in literary historical contexts and explains what he learned from earlier artists, including Edgar Allan Poe, Paul C zanne, Henry James, Guy de Maupassant, Anton Chekhov, Stephen Crane, Gertrude Stein, James Joyce, and Ezra Pound. Examining how Hemingway developed this inheritance, Lamb insightfully charts the evolution of the unique style and innovative techniques that would forever change the nature of short fiction.
Art Matters opens with an analysis of the authorial effacement Hemingway learned from Maupassant and Chekhov, followed by fresh perspectives on the author's famous use of concision and omission. Redefining literary impressionism and expressionism as alternative modes for depicting modern consciousness, Lamb demonstrates how Hemingway and Willa Cather learned these techniques from Crane and made them the foundation of their respective aesthetics. After examining the development of Hemingway's art of focalization, he clarifies what Hemingway really learned from Stein and delineates their different uses of repetition. Turning from techniques to formal elements, Art Matters anatomizes Hemingway's story openings and endings, analyzes how he created an entirely unprecedented role for fictional dialogue, explores his methods of characterization, and categorizes his settings in the fifty-three stories that comprise his most important work in the genre.
A major contribution to Hemingway scholarship and to the study of modernist fiction, Art Matters shows exactly how Hemingway's craft functions and argues persuasively for the importance of studies of articulated technique to any meaningful understanding of fiction and literary history. The book also develops vital new ways of understanding the short story genre as Lamb constructs a critical apparatus for analyzing the short story, introduces to a larger audience ideas taken from practicing storywriters, theorists, and critics, and coins new terms and concepts that enrich our understanding of the field.
About the Author
and#160;Julianne Newmark is an associate professor of English at New Mexico Tech.