Contributors. Jonathan Arac, Paul A. Bové, Terry Cochran, Barbara Harlow, Kojin Karatani, Rashid I. Khalidi, Sabu Kohsu, Ralph Locke, Mustapha Marrouchi, Jim Merod, W. J. T. Mitchell, Aamir R. Mufti, Jacqueline Rose, Edward W. Said, Gayatri Chakravorty Spivak, Lindsay Waters
Much as abortion in the United States today is a contentious issue used for scripting women's roles and potential into the national agenda, divorce was an issue dividing England in the Edwardian era. According to Janice Harris, anything and everything, from illicit sex and family values to the Garden of Eden, wrath of children, poverty of women, nature of cruelty, scandal of America, threat of Germany, and future of England were part of the debate over divorce. Living under marriage laws far more restrictive than those of their Protestant neighbors, Edwardian women and men campaigned for reform with a barrage of compelling stories. Organizing her analysis around three major sources of narrative on divorce––the Sunday papers, the Report of the Royal Commission on Divorce and Matrimonial causes, and the novel––Harris uncovers a war of words and a competition of tales. In raising questions about the winners, losers, and spoils, Harris expands our understanding of the history of divorce, the wars between the sexes, and the political import of those wars.
In the end, she presents a complex and lively story herself, one that illuminates battles over marriage and divorce taking place in our own era as well. This humane book on a long-neglected subject marks an important contribution to narrative studies and Edwardian history.
The English civil wars loom large in seventeenth-century history and literature. This period, which culminated in the execution of a king, the dismantling of the Established Church, the inauguration of a commonwealth, and the assumption of rule by a lord protector, was one of profound change and disequilibrium. Focusing on writers as major as Milton, Marvell, Herrick, and Vaughan, and as misunderstood as Fane, Overton, and the poet Eliza, the fifteen essays in this collection discuss not only the representation of the civil wars but also the ways in which the civil wars were anticipated, refigured, and refracted in the century's literary imagination.
Although all of the essays are historically grounded and critically based, they vary widely in their historical perspectives and critical techniques, as well as in their scope and area of concentration. Six of the essays are on Royalist literary figures, six are on figures traditionally associated with the Parliamentarian side of the civil wars, two consider both, and the remaining essay examines how Royalist writers refashioned a puritan literary trope.
Unified through the contributors' concentration on "moderate" voices and their recurrent concerns with the ambiguities of literary response, The English Civil Wars in the Literary Imagination provides an important understanding of the English civil wars' manifold and sometimes indirect presence in the literature of the period.
In the first half of the twentieth century, the United States moved from the periphery to the center of global cultural production. At the same time, technologies of dissemination evolved rapidly, and versions of modernism emerged as dominant art forms. How did African American, European immigrant, and other minority writers take part in these developments that also transformed the United States, giving it an increasingly multicultural self-awareness? This book attempts to address this question in a series of innovative and engaging close readings of major texts by Gertrude Stein, Mary Antin, Jean Toomer, O. E. Rölvaag, Nathan Asch, Henry Roth, Richard Wright, Zora Neale Hurston, Pietro di Donato, Jerre Mangione, John Hersey, and Leo Szilard, as well as briefer examinations of many other authors and works, against the background of international political developments, the rise of modernism in the visual arts, and the ascendancy of Ernest Hemingway as a model for prose writers.
In many of Werner Sollors’s sensitive readings, single sentences and paragraphs serve as the representative formal units of prose works, while throughout Ethnic Modernism the trolley (now a cute-seeming object of nostalgia) emerges with surprising frequency as a central thematic emblem of modernity.
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