282 books about Authors, American and 19
start with A
ACROSS SPOON RIVER
Edgar Lee Masters University of Illinois Press, 1991 Library of Congress PS3525.A83Z463 1991 | Dewey Decimal 811.52
This intimate and provocative autobiography, first published in 1936,
reveals the innermost thoughts of a great American poet. Edgar Lee Masters
was a transitional figure in American literature with one foot planted
in the nineteenth century and the other firmly placed on the path of what
we now think of as the modern period.
Masters expounds on his own development as a poet and as a human being;
he shares his views on American culture, politics, and the literary criticism
of the times. Masters's friends and acquaintances discussed here include
some of the most prominent writers and politicians of his age. And he
reflects on his life events that shaped, haunted, and inspired his writings
of the classic Spoon River Anthology.
Modern science fiction writers have long inhabited a dimension far removed from the comfortable realms of filmic space opera franchises and Dr. Who. Too often lurking along the margins of literature are some of the most intelligent, imaginative, and outrageous writing talents of our day. These interviews by legendary critic and SF proponent Larry McCaffery journeys into the minds and psyches of ten iconic writers whose works influenced the evolution of science fiction. Authors like Octavia Butler, William Gibson, Thomas Disch, Ursula Le Guin, and Bruce Sterling discuss New Wave, hard versus soft SF, and the viability of the genre as a means of suggesting political, radical, and sexual agendas. As these writers speak candidly about their works, backgrounds, and aesthetic impulses, it becomes clear that the issues on their minds and in their fiction are central to contemporary life and art.
She invites us along on a raucous tour of soul-sucking jobs, marriage, and a teaching career, with accompanying disquisitions on blasphemous reading preferences, ’60s pop culture, writing workshops, and other amusing detours and distractions on the way to publication. She also shares her keen insights into the role of a Southern writer in American literary culture, the experience of writing as a mother, and the process of novel-writing as compared to a lengthy family car trip.
Featuring guest appearances by other writers such as Fred Chappell, Max Steele, and Annie Dillard plus cameos by the likes of Patty Hearst, Richard Nixon, and Bon Jovi, Adventures in Pen Land celebrates writing as a form of play that Gingher has never outgrown. The lighthearted illustrations by novelist Daniel Wallace (author of Big Fish) serve to reinforce this refreshing message as they depict one writer and her imagination growing up together.
Adventures in Pen Land conveys a writer’s sheer doggedness, with a few bones of advice tossed in along the way. Candid and irreverent, but always humane, this memoir is must reading for fans of Southern literature, students of creative writing, and anyone who can’t resist the treat of reading about a writer’s resilience and dedication to her craft.
If you could meet one deceased literary figure, who would that be? What would you ask? What would you say, and why? In AfterWord: Conjuring the Literary Dead, eighteen distinguished authors respond to this challenge by creating imagined conversations with a constellation of British and American authors, from Samuel Johnson to Jane Austen to Samuel Beckett to Edith Wharton.
Each chapter embarks on an intellectual, emotional, and often humorous voyage as the layers of time are peeled away, letting readers experience authors as they really were in their own era or, on occasion, transported to the present. As eccentric as it is eclectic, this collection takes the audience on a dizzying descent into a literary Inferno where biographers, novelists, and critics eat the food of the dead and return to tell the tale. Readers will take great pleasure in seeing what happens when scholars are loosed from the chains of fact and conduct imaginary interviews with deceased authors.
Covering 200 years of literary history, the essays in AfterWord draw upon the lifelong, consuming interest of the contributors, each fashioning a vivid, credible portrait of a vulnerable, driven, fully human character. As contributors appeal to what Margaret Atwood calls the deep human desire to “go to the land of the dead, to bring back to the living someone who has gone there,” readers are privy to questions that have seldom been asked, to incidents that have been suppressed, to some of the secrets that have puzzled readers for years, and to novel literary truths about the essential nature of each author.
Contributors to AfterWord are: Catherine Aird (on Rudyard Kipling), Brian Aldiss (on Thomas Hardy), Margaret Atwood (on negotiating with the dead), William M. Chace (on Ezra Pound), Nora Crook (on the Shelleys), Paul Delany (on George Gissing), Colin Dexter (on Alfred Edward Housman), Margaret Drabble (on Arnold Bennett), Peter Firchow (on George Orwell), Alan W. Friedman (on Samuel Beckett), Eugene Goodheart (on Jane Austen), John Halperin (on Edith Wharton), Francis King (on Oscar Wilde), Jeffrey Meyers (on Samuel Johnson), Cynthia Ozick (on Henry James), Jay Parini (on Robert Frost), Carl Rollyson (on William Faulkner), Dale Salwak and Laura Nagy (on literary imagination), Alan Sillitoe (on Joseph Conrad), and Ann Thwaite (on Frances Hodgson Burnett, Edmund Gosse, A. A. Milne, and Emily Tennyson).
By 1888, twenty years after the publication of Little Women, Louisa May Alcott (1832-1888) was one of the most popular and successful authors America had yet produced. In her pre-Little Women days, she concocted blood-and-thunder tales for low wages; post-Little Women, she specialized in domestic novels and short stories for children. Collected here for the first time are the reminiscences of people who knew her, the majority of which have not been published since their original appearance in the 19th and early 20th centuries.
Many of the printed recollections in this book appeared after Alcott became famous and showcase her as a literary lion, but others focus on her teen years, when she was living the life of Jo March; these intimate glimpses into the life of the Alcott family lead the reader to one conclusion: the family was happy, fun, and entertaining, very much like the fictional Marches. The recollections about an older and wealthier Alcott show a kind and generous, albeit outspoken, woman little changed by her money and status.
From Annie Sawyer Downs’s description of life in Concord to Anna Alcott Pratt’s recollections of the Alcott sisters’ acting days to Julian Hawthorne’s neighborly portrait of the Alcotts, the thirty-six recollections in this copiously illustrated volume tell the private and public story of a remarkable life.
Jad Smith University of Illinois Press, 2016 Library of Congress PS3552.E796Z85 2016 | Dewey Decimal 813.54
Alfred Bester's classic short stories and the canonical novel The Stars My Destination made him a science fiction legend. Fans and scholars praise him as a genre-bending pioneer and cyberpunk forefather. Writers like Neil Gaiman and William Gibson celebrate his prophetic vision and stylistic innovations. Jad Smith traces the career of the unlikeliest of SF icons. Winner of the first Hugo Award for The Demolished Man , Bester also worked in comics, radio, and TV, and his intermittent SF writing led some critics to brand him a dabbler. In the 1960s, however, New Wave writers championed his work, and his reputation grew. Smith follows Bester's journey from consummate outsider to an artist venerated for foundational works that influenced the New Wave and cyberpunk revolutions. He also explores the little-known roots of a wayward journey fueled by curiosity, disappointment with the SF mainstream, and an artist's determination to go his own way.
Shortly after his mother dies of breast cancer when he is ten years old, Michael Blumenthal discovers that she was not his biological mother, and that his aunt and uncle, immigrant chicken farmers living in Vineland, New Jersey, are really his parents.
As fate would have it, his adoptive father, a German-Jewish refugee raised by a loveless and embittered stepmother after his own mother died in childbirth, has inflicted on his stepson a fate uncannily—and terrifyingly—similar to his own: Having first adopted Michael, in part, to help his dying wife, he then imposes on him the same sort of penurious and loveless stepmother whom he himself had had to survive. With these revelations, the "mysteries" that seem to have permeated Michael's childhood are laid bare, triggering a quest for belonging that will infiltrate the author's entire adult life.
In the wake of the 2001 terrorist attacks in the United States, American memoirists have wrestled with a wide range of anxieties in their books. They cope with financial crises, encounter difference, or confront norms of identity. Megan Brown contends that such best sellers as Cheryl Strayed’s Wild, Elizabeth Gilbert’s Eat, Pray, Love, and Tucker Max’s I Hope They Serve Beer in Hell teach readers how to navigate a confusing, changing world.
This lively and theoretically grounded book analyzes twenty-first-century memoirs from Three Cups of Tea to Fun Home, emphasizing the ways in which they reinforce and circulate ideologies, becoming guides or models for living. Brown expands her inquiry beyond books to the autobiographical narratives in reality television and political speeches. She offers a persuasive explanation for the memoir boom: the genre as a response to an era of uncertainty and struggle.
In modern culture, the essay is often considered an old-fashioned, unoriginal form of literary styling. The word essay brings to mind the uninspired five-paragraph theme taught in schools around the country or the antiquated, Edwardian meanderings of English gentlemen rattling on about art and old books. These connotations exist despite the fact that Americans have been reading and enjoying personal essays in popular magazines for decades, engaging with a multitude of ideas through this short-form means of expression.
To defend the essay—that misunderstood staple of first-year composition courses—Ned Stuckey-French has written The American Essay in the American Century. This book uncovers the buried history of the American personal essay and reveals how it played a significant role in twentieth-century cultural history.
In the early 1900s, writers and critics debated the “death of the essay,” claiming it was too traditional to survive the era’s growing commercialism, labeling it a bastion of British upper-class conventions. Yet in that period, the essay blossomed into a cultural force as a new group of writers composed essays that responded to the concerns of America’s expanding cosmopolitan readership. These essays would spark the “magazine revolution,” giving a fresh voice to the ascendant middle class of the young century.
With extensive research and a cultural context, Stuckey-French describes the many reasons essays grew in appeal and importance for Americans. He also explores the rise of E. B. White, considered by many the greatest American essayist of the first half of the twentieth century whose prowess was overshadowed by his success in other fields of writing. White’s work introduced a new voice, creating an American essay that melded seriousness and political resolve with humor and self-deprecation. This book is one of the first to consider and reflect on the contributions of E. B. White to the personal essay tradition and American culture more generally.
The American Essay in the American Century is a compelling, highly readable book that illuminates the history of a secretly beloved literary genre. A work that will appeal to fiction readers, scholars, and students alike, this book offers fundamental insight into modern American literary history and the intersections of literature, culture, and class through the personal essay. This thoroughly researched volume dismisses, once and for all, the “death of the essay,” proving that the essay will remain relevant for a very long time to come.
American Naturalism and the Jews examines the unabashed anti-Semitism of five notable American naturalist novelists otherwise known for their progressive social values. Hamlin Garland, Frank Norris, and Theodore Dreiser all pushed for social improvements for the poor and oppressed, while Edith Wharton and Willa Cather both advanced the public status of women. But they all also expressed strong prejudices against the Jewish race and faith throughout their fiction, essays, letters, and other writings, producing a contradiction in American literary history that has stymied scholars and, until now, gone largely unexamined. In this breakthrough study, Donald Pizer confronts this disconcerting strain of anti-Semitism pervading American letters and culture, illustrating how easily prejudice can coexist with even the most progressive ideals.
Pizer shows how these writers' racist impulses represented more than just personal biases, but resonated with larger social and ideological movements within American culture. Anti-Semitic sentiment motivated such various movements as the western farmers' populist revolt and the East Coast patricians' revulsion against immigration, both of which Pizer discusses here. This antagonism toward Jews and other non-Anglo-Saxon ethnicities intersected not only with these authors' social reform agendas but also with their literary method of representing the overpowering forces of heredity, social or natural environment, and savage instinct.
"This book can take its place on the shelf beside Henry Nash Smith's Virgin Land and Leo Marx's The Machine in the Garden."—Choice
"[Gilmore] demonstrates the profound, sustained, engagement with society embodied in the works of Emerson, Hawthorne, Thoreau and Melville. In effect, he relocates the American Renaissance where it properly belongs, at the centre of a broad social, economic, and ideological movement from the Jacksonian era to the Civil War. Basically, Gilmore's argument concerns the writers' participation in what Thoreau called 'the curse of trade.' He details their mixed resistance to and complicity in the burgeoning literary marketplace and, by extension, the entire ' economic revolution' which between 1830 and 1860 'transformed the United States into a market society'. . . .
"The result is a model of literary-historical revisionism. Gilmore's opening chapters on Emerson and Thoreau show that 'transcendental' thought and language can come fully alive when understood within the material processes and ideological constraints of their time. . . . The remaining five chapters, on Hawthorne and Melville, contain some of the most penetrating recent commentaries on the aesthetic strategies of American Romantic fiction, presented within and through some of the most astute, thoughtful considerations I know of commodification and the 'democratic public' in mid-nineteenth-century America. . . . Practically and methodologically, American Romanticism and the Marketplace has a significant place in the movement towards a new American literary history. It places Gilmore at the forefront of a new generation of critics who are not just reinterpreting familiar texts or discovering new texts to interpret, but reshaping our ways of thinking about literature and culture."—Sacvan Bercovitch, Times Literary Supplement
"Gilmore writes with energy, clarity, and wit. The reader is enriched by this book." William H. Shurr, American Literature
American Unexceptionalism examines a constellation of post-9/11 novels that revolve around white middle-class male suburbanites, thus following a tradition established by writers such as John Updike and John Cheever. Focusing closely on recent works by Richard Ford, Chang-Rae Lee, Jonathan Franzen, Philip Roth, Anne Tyler, Gish Jen, A. M. Homes, and others, Kathy Knapp demonstrates that these authors revisit this well-trod turf and revive the familiar everyman character in order to reconsider and reshape American middle-class experience in the wake of the 9/11 attacks and their ongoing aftermath.
The novels in question all take place in the sprawling terrain that stretches out beyond the Twin Towers—the postwar suburbs that since the end of World War II have served, like the Twin Towers themselves, as a powerful advertisement of dominance to people around the globe, by projecting an image of prosperity and family values. These suburban tales and their everyman protagonists grapple, however indirectly, with the implications of the apparent decline of the economic, geopolitical, and moral authority of the United States. In the context of perceived decay and diminishing influence, these novels actively counteract the narrative of American exceptionalism frequently peddled in the wake of 9/11.
If suburban fiction has historically been faulted for its limited vision, this newest iteration has developed a depth of field that self-consciously folds the personal into the political, encompasses the have-nots along with the haves, and takes in the past when it imagines the future, all in order to forge a community of readers who are now accountable to the larger world. American Unexceptionalism traces the trajectory by which recent suburban fiction overturns the values of individualism, private property ownership, and competition that originally provided its foundation. In doing so, the novels examined here offer readers new and flexible ways to imagine being and belonging in a setting no longer characterized by stasis, but by flux.
The blossoming of Appalachian studies began some thirty years ago. Thousands of young people from the hills have since been made aware of their region’s rich literary tradition through high school and college courses. An entire generation has discovered that their own landscapes, families, and communities had been truthfully portrayed by writers whose background was similar to their own.
An American Vein: Critical Readings in Appalachian Literature is an anthology of literary criticism of Appalachian novelists, poets, and playwrights. The book reprises critical writing of influential authors such as Joyce Carol Oates, Cratis Williams, and Jim Wayne Miller. It introduces new writing by Rodger Cunningham, Elizabeth Engelhardt, and others.
Many writers from the mountains have found success and acclaim outside the region, but the region itself as a thriving center of literary creativity has not been widely appreciated. The editors of An American Vein have remedied this, producing the first general collection of Appalachian literary criticism. This book is a resource for those who teach and read Appalachian literature. What’s more, it holds the promise of introducing new readers, nationally and internationally, to Appalachian literature and its relevance to our times.
A vivid archive of memories, Beth Alvarado’s Anthropologies layers scenes, portraits, dreams, and narratives in a dynamic cross-cultural mosaic. Bringing her lyrical tenor to bear on stories as diverse as harboring teen runaways, gunfights with federales, and improbable love, Alvarado unveils the ways in which seemingly separate moments coalesce to forge a communal truth. Woven from the threads of distinct family histories and ethnic identities, Anthropologies creates a heightened understanding of how individual experiences are part of a larger shared fabric of lives.
Like the opening of a series of doors, each turn of the page reveals some new reality and the memories that emerge from it. Open one door and you are transported to a modest Colorado town in 1966, appraising animal tracks edged into a crust of snow while listening to stories of Saipan. Open another and you are lounging in a lush Michoacán hacienda, or in another, the year is 1927 and you are standing on a porch in Tucson, watching La Llorona turn a corner.
With vivid imagery and a poetic sensibility, Anthropologies reenacts the process of remembering and so evokes a compelling narrative. Each snapshot provides a glimpse into the past, illuminating the ways in which memory and history are intertwined. Whether the experience is of her own drug use or that of a great-great-grandmother’s trek across the Great Plains with Brigham Young, Alvarado’s insight into the binding nature of memory illuminates a new way of understanding our place within families, generations, and cultures.
The memory of the American Civil War took many forms over the decades after the conflict ended: personal, social, religious, and political. It was also remembered and commemorated by poets and fiction writers who understood that the war had bequeathed both historical and symbolic meanings to American culture. Although the defeated Confederacy became best known for producing a literature of nostalgia and an ideological defensiveness intended to protect the South’s own version of history, authors loyal to the Union also confronted the question of what the memory of the war signified, and how to shape the literary response to that individual and collective experience. In Ashes of the Mind, Martin Griffin examines the work of five Northerners—three poets and two fiction writers—who over a period of four decades tried to understand and articulate the landscape of memory in postwar America, and in particular in that part of the nation that could, with most justification, claim the victory of its beliefs and values. The book begins with an examination of the rhetorical grandeur of James Russell Lowell’s Harvard Commemoration Ode, ranges across Herman Melville’s ironic war poetry, Henry James’s novel of North-South reconciliation, The Bostonians, and Ambrose Bierce’s short stories, and ends with the bitter meditation on race and nation presented by Paul Laurence Dunbar’s elegy “Robert Gould Shaw.” Together these texts reveal how a group of representative Northern writers were haunted in different ways by the memory of the conflict and its fraught legacy. Griffin traces a concern with individual and community loss, ambivalence toward victory, and a changing politics of commemoration in the writings of Lowell, Melville, James, Bierce, and Dunbar. What links these very different authors is a Northern memory of the war that became more complex and more compromised as the century went on, often replacing a sense of justification and achievement with a perception of irony and failed promise.
The Attic: A Memoir
Harnack, Curtis University of Iowa Press, 2011 Library of Congress PS3558.A62474Z463 2011 | Dewey Decimal 813.54
In The Attic, his sequel to the classic We Have All Gone Away, Curtis Harnack returns to his rural Iowa homeplace to sift through an attic full of the trash and treasures left behind by the thirteen children in two generations who grew up in the big farmhouse.
The adult Harnack had been making pilgrimages to his past from various parts of the country for thirty-plus years; now the death of an uncle and the disposal of an estate bring him home once more. The resonant diaries, church bulletins, photos, newspaper clippings, and other memorabilia in the attic allow him to rediscover both personal and universal truths as he explores the enduring legacies of home, family, and community.
Finally, discovering a cache of letters written home while he was in the Navy in the mid 1940s, he confronts a stranger—his younger self. Harnack’s “dream-pod journey . . . from who I am now to how it once was for me” tells the life story of a close-knit family and extends this story to our own journeys through our own memory-filled attics.
Autobiography of My Hungers
Rigoberto González University of Wisconsin Press, 2019 Library of Congress PS3557.O4695Z46 2013 | Dewey Decimal 813.54
In the second of his trio of acclaimed memoirs, Rigoberto González looks at his past through a startling lens: hunger. A childhood of neglect, adolescent yearnings, and adult desire for a larger world, another lover, a different body—all are explored by González in a series of heartbreaking and poetic vignettes.