Spanning a quarter of a century, this collection of plays demonstrates author Jeffrey Sweet’s eye for the drama of human relationships. Sweet works with sensitivity and irony to confront both personal politics and the impact of historical change. These nine works, taken together, present a playwright who extends the struggles of his small circles of characters to his audience and humanity in general.
The title work, first mounted in 1982, is a comedy-drama about the aftermath of the blacklist whose continued relevance makes it a frequently produced play today. The family drama Porch suggests larger social changes through the interaction of a small-town shopkeeper and his defiant daughter. The lauded American Enterprise, set in the Chicago of the robber barons, is a song-filled true story about a millionaire whose stubborn idealism leads to disaster. Stay Till Morning is a rueful comedy about sex and accommodation in the Florida Keys. The three plays that grew out of his fascination with the effects of World War II—Berlin ’45, Court-Martial at Fort Devens, and The Action Against Sol Schumann—dramatize the ways in which that conflict transformed private fates. Each script is accompanied by an extended introduction from the playwright as well as complete performance notes.
A broad treatment of the cultural, social, political, and literary under-pinnings of an entire period and movement in American letters
The Vast and Terrible Drama is a critical study of the context in which authors such as Oliver Wendell Holmes, Stephen Crane, Frank Norris, Theodore Dreiser, and Jack London created their most significant work. In 1896 Frank Norris wrote: "Terrible things must happen to the characters of the naturalistic tale. They must be twisted from the ordinary . . . and flung into the throes of a vast and terrible drama." There could be "no teacup tragedies here." This volume broadens our understanding of literary naturalism as a response to these and other aesthetic concerns of the 19th century.
Themes addressed include the traditionally close connection between French naturalism and American literary naturalism; relationships between the movement and the romance tradition in American literature, as well as with utopian fictions of the 19th century; narrative strategies employed by the key writers; the dominant naturalist theme of determinism; and textual readings that provide broad examples of the role of the reader. By examining these and other aspects of American literary naturalism, Link counters a century of criticism that has perhaps viewed literary naturalism too narrowly, as a subset of realism, bound by the conventions of realistic narration.
Vaudeville Humor: The Collected Jokes, Routines, and Skits of Ed Lowry contains vaudeville jokes, skits, and routines from the first three decades of the twentieth century originally compiled by comedian Ed Lowry (1896–1983). Although occasionally found in bits and pieces in anthologies and in some period dramatic comedies, vaudeville humor has never before been available in one collection—performers rarely if ever kept a record of their jokes and routines. Fortunately, Ed Lowry was an inveterate collector. He kept copious notebooks of jokes and routines that he not only commissioned but also stole from other comics, clipped from newspapers, and copied from now defunct popular magazines of the day.
Editor Paul M. Levitt has reorganized the material into categories that preserve some of the flavor of Lowry’s scrapbooks yet provide for finer distinctions. Part one, “Jokes,” is organized by subject matter and cataloged by genre, dialects, and wordplay. From “Accidents” to “Work,” this exhaustive catalog of humor features over one thousand jokes with topics that range from city slickers and country hicks through midgets and old maids to Swedes and tattoos. Part two, “MC Material: Biz, Jokes, Routines, and Skits” is germane to the job of master of ceremonies, routines, and skits. It features topics from fractured fairy tales to stuttering. Part three, an appendix, “Ed Lowry Laffter,”reproduces a privately published collection that is now a rare collector’s item.
“Although some of the jokes can undoubtedly be found in other places,” explains Levitt in his introduction, “I know of no source as rich as this one for the twenties and thirties, a period so abundant in humor that for years afterward it fueled radio, cinema, and television.”
"A most remarkable book . . . a wonderful account of an odd and unlikely place where for a brief time a small number of people pursued a romantic vision of what a life dedicated to art should be like . . . a superb story."ÐÐWilliam O'Neill, author of American High: The Years of Confidence, 1945-1960
The beatnik was born in Venice, California, in the 1950s. An imaginary figure in many respectsÐÐthe invention of both the media and the people who played the beatnik roleÐÐthe character quickly assumed nearly mythic proportions for the American public. Coffeehouses, beards, poetry, drugs, and free-wheeling sexuality were all associated with the beatnik, the quintessential rebel who, by rejecting material values, represented both a threat and an alluring alternative to the dominant middle-class culture.
In this fascinating book, John Arthur Maynard tells the story of the poets and promoters who invented the Beat Generation and who, in many cases, destroyed themselves in the process. In this look at the least remembered (but in its time, most publicized) beat enclave, Maynard focuses on two of Venice's most newsworthy residentsÐÐLawrence Lipton and Stuart Z. Perkoff. Lipton began as a writer of popular detective stories and screenplays, but was determined to be recognized as a poet and social critic. He eventually published The Holy Barbarians, which helped to create the enduring public image of the beatnik. Stuart Perkoff was a more gifted poet; with fascination and horror, we follow his failed attempts to support his family, his heroin addiction, his first wive's courage and mental fragility, his sexual entanglements, his imprisonment, and the development of his own writing. Other characters who move in and out of the story are Kenneth Rexroth, Jack Kerouac, and Allen Ginsberg, as well as lesser-known poets, artists, hangers-on, and the many women who were rarely treated as full members of the community.
For most of the 1950s, the Venice beatniks were able to live and work in isolation. Once the media decided that beats made good copy, however, their peace was shattered. Reporters, drug dealers, violent criminals, and would-be beatniks invaded Venice in such force that many "square" residents began an unrelenting campaign to purge their community of bohemianism. This campaign persisted long after the beats, who tended to ignore politics, had yielded the stage to a new generation of political activists. In this collective biography, based largely on unpublished sources, Maynard tells us how these events affected public perceptions and the beats' own perceptions of themselves.
Herbert Blau (1926–2013) was the most influential theater theorist, practitioner, and educator of his generation. He was the leading American interpreter of the works of Samuel Beckett and as a director was instrumental in introducing works of the European avant-garde to American audiences. He was also one of the most far-reaching and thoughtful American theorists of theater and performance, and author of influential books such as The Dubious Spectacle, The Audience, and Take Up the Bodies: Theater at the Vanishing Point.
In The Very Thought of Herbert Blau, distinguished artists and scholars offer reflections on what made Blau's contributions so visionary, transformative, and unforgettable, and why his ideas endure in both seminar rooms and studios. The contributors, including Lee Breuer, Sue-Ellen Case, Gautam Dasgupta, Elin Diamond, S. E. Gontarski, Linda Gregerson, Martin Harries, Bill Irwin, Julia Jarcho, Anthony Kubiak, Daniel Listoe, Clark Lunberry, Bonnie Marranca, Peggy Phelan, Joseph Roach, Richard Schechner, Morton Subotnick, Julie Taymor, and Gregory Whitehead, respond to Blau's fierce and polymorphous intellect, his relentless drive and determination, and his audacity, his authority, to think, as he frequently insisted, "at the very nerve ends of thought."
At the heart of human existence lie fundamental questions that are pondered by philosophers, theologians, poets and thoughtful people from all walks of life. What is the meaning of life? Who or what is a divine being? How can a benevolent deity justify human suffering? Such questions are especially relevant to our lives in the current climate of American society. In Vespers: American Poems of Religion and Spirituality, editors Virgil Suárez and Ryan G. Van Cleave offer the reading world a timely anthology of powerful and passionate poems that cut to the heart of our contemporary theological and spiritual underpinnings.
Featuring fifty of today's most respected American poets, including Pulitzer Prize winners Stephen Dunn and Carolyn Kizer, Vespers allows us to witness and understand the challenging ideas and philosophies surrounding religion and spirituality. Through these poems, we can come to a better understanding of who, what, and why we are.
From deathbed spirituals to initiation songs, transformative ballads to transcendent sonnets, poets of myriad backgrounds—Native American, African American, Asian American, Latino, Protestant, Buddhist, Catholic, Jewish—echo the thoughts, concerns, and fears that linger in our souls. Their poems help us realize that we are not alone, that we're never truly alone, that even in the face of darkness the world is vibrant, beautiful, joyous.
More than a creative exploration of theological concerns—Vespers is a roadmap of where we've been, where we are, and where we are heading in terms of our spiritual and religious existence. It will keep you company, good company, whatever your religious or spiritual background.
The subject of Victorian Domesticity is family life in America. The life and works of Louisa May Alcott served as the vehicle for exploring and analyzing this subject. Although Alcott was deeply influenced by popular currents of sentimentality, her own experience exposed her to the confusions and contradictions generated when sentiment confronted the reality of life in 19th-century America.
In the first chapter Strickland outlines the ways in which sentimentality colored the perception of 19th-century Americans about such issues as courtship, marriage, the relationship between the sexes, generational relationships, and the relationship between the nuclear family and the community outside the family. Chapters two and three trace Alcott’s childhood and adolescent experiences, exploring the tensions that developed between Louisa and her father, and detailing the ways in which she carried the double burden of being both poor and female as she sought her identity as a writer.
The following six chapters treat the varieties of family life that appear in Alcott’s stories, the impact of feminism on her life, and her emphasis on the importance of child nurture. In the final two chapters the author treats the relationships that Alcott perceived between the family and the world around it and assesses the legacy of the Victorian family idea.
Through careful analysis of Jack Kerouac’s On the Road, Omar Swartz argues that Kerouac’s influence on American society is largely rhetorical. Kerouac’s significance as a cultural icon can be best understood, Swartz asserts, in terms of traditional rhetorical practices and principles.
To Swartz, Kerouac is a rhetor who symbolically reconstructs his world and offers arguments and encouragements for others to follow. Swartz proposes that On the Road constitutes a “rhetorical vision,” a reality-defining discourse suggesting alternative possibilities for growth and change. Swartz asserts that the reader of Kerouac’s On theRoadbecomes capable of responding to the larger, confusing culture in a strategic manner. Kerouac's rhetorical vision of an alternative social and cultural reality contributes to the identity of localized cultures within the United States.
Looking at the narrative accounts of mob violence produced by vigilantes and their advocates as “official” histories, Lisa Arellano shows how these nonfiction narratives conformed to a common formula whose purpose was to legitimate frontier justice and lynching.
In Vigilantes and Lynch Mobs, Arellano closely examines such narratives as well as the work of Western historian and archivist Hubert Howe Bancroft, who was sympathetic to them, and that of Ida B. Wells, who wrote in fierce opposition to lynching. Tracing the creation, maintenance, and circulation of dominant, alternative, and oppositional vigilante stories from the nineteenth-century frontier through the Jim Crow South, she casts new light on the role of narrative in creating a knowable past.
Demonstrating how these histories ennobled the actions of mobs and rendered their leaders and members as heroes, Arellano presents a persuasive account of lynching’s power to create the conditions favorable to its own existence.
After spending three years in The National Theatre of the Deaf performing plays by hearing authors featuring hearing characters, Willy Conley realized that he wanted to write plays with deaf, hard-of- hearing, and hearing characters created from the Deaf perspective. Vignettes of the Deaf Character and Other Plays presents the result of his desire in twelve masterful plays.
“I write for the eye, always searching for live, mobile, provocative images that would fill and illuminate the entire stage space with the complexities, the pathos, and the humor involved when deaf and hearing cultures merge or collide,” writes Conley in his introduction. His plays depict a wide range of Deaf characters, including two brothers locked in a tragic rivalry familiar to families of all backgrounds; the broadly comedic Deaf Guide and hearing Techie interspersing laughs with cultural lessons in their Museum of Signs for People with Communication Disorders; Everyone searching for her Good Deeds as she faces imminent Death in an updating of the classic morality play, plus many others. These works explore a broad palette of circumstances with and without hearing characters, allowing Deaf characters to interact minus the direct influence that the dominant culture might exert. Vignettes of the Deaf Character and Other Plays presents the drama and passion of a master playwright who, through his perceptions, reveals facets of the Deaf character in all of us.
For more than half a century, Virginia E. Walker Broughton (1856–1934) worked tirelessly to uplift black communities, and especially black women, throughout Tennessee. Born into an elite African American family in Nashville, she began her professional career as a teacher and later became one of the most prominent domestic missionaries in the National Baptist Convention, U.S.A., as well as an accomplished speaker and writer. This annotated collection is the first scholarly work devoted entirely to Broughton’s life and writings.
The book for which Broughton is best known, Twenty Year’s [sic] Experience of a Missionary, was an autobiography first published in 1907 and reprinted in 1988 as part of a scholarly edition of spiritual narratives by black women. Recently, in the archives of Fisk University, Broughton’s alma mater, Tomeiko Ashford Carter discovered an earlier autobiographical work, A Brief Sketch of the Life and Labors of Mrs. V. W. Broughton, Bible Band Missionary, for Middle and West Tennessee, which was distributed at the famous Atlanta Cotton States and International Exposition of 1895. While both autobiographies portray Broughton as an important religious figure for whom missionary work became a saving grace, Life and Labors is more revealing of key facts about Broughton and her family, and it situates them more clearly among the nation’s black elite. This volume not only brings Life and Labors back into print but also collects various other pieces Broughton produced during her long career.
Among those other writings is a 1904 booklet titled Woman’s Work: As Gleaned from the Women of the Bible, and the Bible Women of Modern Times, which recognizes the prominence of the female in Christian theology and shows how Broughton anticipated the work of present-day feminist and womanist theologians. Several “training course” articles that Broughton wrote for a National Baptist newspaper, covering such topics as the Christian deportment of women and the need for black spiritual literature, are also gathered here, as are a program she devised for systematic Bible study and a brief article, published just a few years before her death, in which she describes some of her missionary field work. Complementing these primary materials are an extensive critical introduction and notes by Carter, a Walker-Broughton family tree, and a chronology of Broughton’s life.
As this collection makes clear, Virginia Broughton was strongly committed to making the work of black religious women an ongoing intellectual enterprise. In these pages, she emerges as both a dedicated missionary and a formidable religious scholar.
Throughout Virtual Americas Giles focuses on specific examples of transatlantic cultural interactions such as Frederick Douglass’s experiences and reputation in England; Herman Melville’s satirizing fictions of U.S. and British nationalism; and Vladimir Nabokov’s critique of European high culture and American popular culture in Lolita. He also reverses his perspective, looking at the representation of San Francisco in the work of British-born poet Thom Gunn and Sylvia Plath’s poetic responses to England. Giles develops his theory about the need to defamiliarize the study of American literature by considering the cultural legacy of Surrealism as an alternative genealogy for American Studies and by examining the transatlantic dimensions of writers such as Henry James and Robert Frost in the context of Surrealism.
As Mallapragada shows, ideologies around family and citizenship shift to fit the transnational contexts of the online world and immigration. At the same time, the tactical use of the home page to make gender, racial, and class struggles visible and create new modes for belonging implicates the web within complex political and cultural terrain. On e-commerce, community, and activist sites, the recasting of home and homeland online points to intrusion by public agents such as the state, the law, and immigration systems in the domestic, the private, and the familial. Mallapragada reveals that the home page may mobilize to reproduce conservative narratives of Indian immigrants' familial and citizenship cultures, but the reach of a website extends beyond the textual and discursive to encompass the institutions shaping it, as the web unmakes and remakes ideas of "India" and "America."
In Virtual Modernism, Katherine Biers offers a fresh view of the emergence of American literary modernism from the eruption of popular culture in the early twentieth century. Employing dynamic readings of the works of Stephen Crane, Henry James, James Weldon Johnson, Djuna Barnes, and Gertrude Stein, she argues that American modernist writers developed a “poetics of the virtual” in response to the rise of mass communications technologies before World War I. These authors’ modernist formal experimentation was provoked by the immediate, individualistic pleasures and thrills of mass culture. But they also retained a faith in the representational power of language—and the worth of common experience—more characteristic of realism and naturalism. In competition with new media experiences such as movies and recorded music, they simultaneously rejected and embraced modernity.
Biers establishes the virtual poetics of these five writers as part of a larger “virtual turn” in the United States, when a fascination with the writings of Henri Bergson, William James, and vitalist philosophy—and the idea of virtual experience—swept the nation. Virtual Modernism contends that a turn to the virtual experience of language was a way for each of these authors to carve out a value for the literary, both with and against the growth of mass entertainments. This technologically inspired reengagement with experience was formative for American modernism.
Situated at the crossing points of literary criticism, philosophy, media studies, and history, Virtual Modernism provides an examination of Progressive Era preoccupations with the cognitive and corporeal effects of new media technologies that traces an important genealogy of present-day concerns with virtuality.
2023 Outstanding Book Award, National Association for Ethnic Studies
A thorough examination of the political and economic exploitation of Latinx subjects, migrants, and workers through the lens of Latinx literature, photography, and film.
Globalization in the United States can seem paradoxical: free trade coincides with fortification of the southern border, while immigration is reimagined as a national-security threat. US politics turn aggressively against Latinx migrants and subjects even as post-NAFTA markets become thoroughly reliant on migrant and racialized workers. But in fact, there is no incongruity here. Rather, anti-immigrant politics reflect a strategy whereby capital uses specialized forms of violence to create a reserve army of the living, laboring dead.
Visible Borders, Invisible Economies turns to Latinx literature, photography, and films that render this unseen scheme shockingly vivid. Works such as Valeria Luiselli’s Tell Me How It Ends and Alex Rivera’s Sleep Dealer crystallize the experience of Latinx subjects and migrants subjugated to social death, their political existence erased by disenfranchisement and racist violence while their bodies still toil in behalf of corporate profits. In Kristy L. Ulibarri’s telling, art clarifies what power obscures: the national-security state performs anti-immigrant and xenophobic politics that substitute cathartic nationalism for protections from the free market while ensuring maximal corporate profits through the manufacture of disposable migrant labor.
The Vital Lie is the first book to examine the reality-illusion conflict in modern drama from Ibsen to present-day playwrights. The book questions why vital lies, lies necessary for life itself, are such an obsessive concern for playwrights of the last hundred years. Using the work of fifteen playwrights, Abbott seeks to discover if modern playwrights treat illusions as helpful or necessary to life, or as signals of sicknesses from which human beings need to be cured. What happens to characters when they are forced to face the truth about themselves and their worlds without the protection of their illusions? The author develops a three-part historical analysis of the use of the reality-illusion theme, from its origins as a metaphysical search to its current elaborations as a theatrical game.
Hailing from the small river town of Moundsville, West Virginia, Davis Grubb (1919–1980) became a key figure in the canon of Appalachian literature. The author of ten novels and dozens of short stories and radio plays, Grubb’s writings, as Tom Douglass observes, “catalogued his life”—and a turbulent life it was, marked by the traumatic loss of both the family home and his father during the Great Depression, the overbearing affections of his mother, the fear of failure, painful struggles with alcohol and drug abuse, profligate spending, and a conflicted sexuality.
Grubb originally aspired to be a visual artist but, thwarted by color blindness, turned to writing instead, honing his skills in the advertising industry. Today he is best remembered for his first novel, The Night of the Hunter (1953), a gripping story of a Depression-era serial killer and his pursuit of two young children along the Ohio River. This book spent twenty-eight weeks on The New York Times best-seller list and became the basis for a classic film directed by Charles Laughton, starring Robert Mitchum, Shelley Winters, and Lillian Gish. While his subsequent work never achieved that same level of popularity, the fierce thematic oppositions he set forth in his debut novel—between love and hate, good and evil, the corrupt and the pure, the rich and the poor—would inform his entire oeuvre. Although Grubb’s career took him to the great cities of New York, Philadelphia, and Los Angeles, his work was always rooted in key emblems of his Appalachian childhood—the river, the state penitentiary, and the largest Indian mound east of the Mississippi, all in his native Moundsville.
In his works, Douglass asserts, Grubb was “an avenging angel, righting the wrongs of the past in his own life, in his own country, and putting trust in his own vision of divine love.” Off the page, he was riven by personal demons, “more than once in danger of losing his life to self-annihilation and to the self-accusation that he was a fallen angel.” This biography, the first ever written of Grubb, captures his life and work in all their intriguing complexity.
Hailing from the small river town of Moundsville, West Virginia, Davis Grubb (1919–1980) became a key figure in the canon of Appalachian literature. The author of ten novels and dozens of short stories and radio plays, Grubb’s writings, as Tom Douglass observes, “catalogued his life”—and a turbulent life it was, marked by the traumatic loss of both the family home and his father during the Great Depression, the overbearing affections of his mother, the fear of failure, painful struggles with alcohol and drug abuse, profligate spending, and a conflicted sexuality.
Grubb originally aspired to be a visual artist but, thwarted by color blindness, turned to writing instead, honing his skills in the advertising industry. Today he is best remembered for his first novel, The Night of the Hunter (1953), a gripping story of a Depression-era serial killer and his pursuit of two young children along the Ohio River. This book spent twenty-eight weeks on The New York Times best-seller list and became the basis for a classic film directed by Charles Laughton, starring Robert Mitchum, Shelley Winters, and Lillian Gish. While his subsequent work never achieved that same level of popularity, the fierce thematic oppositions he set forth in his debut novel—between love and hate, good and evil, the corrupt and the pure, the rich and the poor—would inform his entire oeuvre. Although Grubb’s career took him to the great cities of New York, Philadelphia, and Los Angeles, his work was always rooted in key emblems of his Appalachian childhood—the river, the state penitentiary, and the largest Indian mound east of the Mississippi, all in his native Moundsville.
In his works, Douglass asserts, Grubb was “an avenging angel, righting the wrongs of the past in his own life, in his own country, and putting trust in his own vision of divine love.” Off the page, he was riven by personal demons, “more than once in danger of losing his life to self-annihilation and to the self-accusation that he was a fallen angel.” This biography, the first ever written of Grubb, captures his life and work in all their intriguing complexity.
“This book will serve as a valuable resource for other scholars in their attempts to better understand how Latino newcomers are transforming their new homes in this country.” —Melvin Delgado, author of Social Work with Latinos: A Cultural Assets Paradigm
The Dalton-Whit?eld County area of Georgia has one of the highest concentrations of Latino residents in the southeastern United States. In 2006, a Washington Post article referred to the carpet-manufacturing city of Dalton as a “U.S. border town,” even though the community lies more than twelve hundred miles from Mexico. Voices from the Nueva Frontera explores this phenomenon, providing an in-depth picture of Latino immigration and dispersal in rural America along with a framework for understanding the economic integration of the South with Latin America.
Voices from the Nueva Frontera sheds new light on the often invisible changes that have transformed this north Georgia town over the last thirty years. The book's contributors explore the changes to labor markets and educational, religious, and social organizations and show that Dalton provides a largely successful example of a community that has provided a home to a newly arriving immigrant work force. While debates about immigration have raged in the public spotlight in recent years, some of the most important voices-those of the immigrants themselves-have been nearly unheard. In this pathbreaking book, therefore, each chapter opens with an interview of a worker, student, teacher, or other professional involved in the immigrant experience. These narratives add human faces to the realities of dramatic change occurring in rural industrial towns.
Sure to spark lively discussion in the classroom and beyond, Voices from the Nueva Frontera gives readers a look at individual human stories and provides much-needed documentation for what might be the most important social change in recent southern history.
Donald E. Davis, Thomas M. Deaton, and David Boyle are on the faculty at Dalton State College. Jo-Anne Schick is the former director of the Georgia Project.
In this debut collection, Voodoo Inverso, Mark Wagenaar composes a startling mystical imagism and sets it to music, using self-portraits to explore differing physical and spiritual landscapes. He uses a variety of personae—a victim of sex trafficking in Amsterdam, a fichera dancer, a portrait haunted by Dante, a carillonneur of starlight, an elephant in pink slippers remembering its beloved—to silhouette the intricacies and frailties of the body and the world. In a series of “gospels” and “histories”—such as the poems “History of Ecstasy” and “Moth Hour Gospel”—he shines a light on the possibilities of transcendence and transfiguration, weaving together memory and loss with desire and hope.
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