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4 books match the query 'Labor in literature'

cover of Hog Butchers, Beggars, and Busboys: Poverty, Labor, and the Making of Modern American Poetry

Hog Butchers, Beggars, and Busboys

Poverty, Labor, and the Making of Modern American Poetry

John Marsh

University of Michigan Press, 2011

"Impressive—Marsh successfully rewrites the founding moment of American Modernist poetry."
---Mark Van Wienen, Northern Illinois University

"Cogently argued, instructive, and sensitive, Marsh’s revisionist reading opens new insights that will elicit lively comment and critical response."
---Douglas Wixson, University of Missouri–Rolla

Between 1909 and 1922, the genre of poetry was remade. Literary scholars have long debated why modern American poetry emerged when and how it did. While earlier poetry had rhymed, scanned, and dealt with conventional subjects such as love and nature, modern poetry looked and sounded very different and considered new areas of experience. Hog Butchers, Beggars, and Busboys: Poverty, Labor, and the Making of Modern American Poetry argues that this change was partially the result of modern poets writing into their verse what other poetry had suppressed: the gritty realities of modern life, including the problems of the poor and working class.

A closer look at the early works of the 20th century's best known poets (William Carlos Williams, T. S. Eliot, Edna St. Vincent Millay, Claude McKay, Langston Hughes, and Carl Sandburg) reveals the long-neglected role the labor problem—including sweatshops, strikes, unemployment, woman and child labor, and immigration---played in the formation of canonical modern American poetry. A revisionary history of literary modernism and exploration into how poets uniquely made the labor problem their own, this book will appeal to modernists in the fields of American and British literature as well as scholars in American studies and the growing field of working-class literature.

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cover of Human: Babylonian Reflections on Labor

Human

Babylonian Reflections on Labor

Sophus Helle

University of Chicago Press, 2026

Acclaimed author and translator Sophus Helle considers an ancient creation story with themes of humanity, class warfare, and catastrophic climate change.
 
The Babylonian poem Atra-hasis is a forgotten masterpiece of political thought. Written in Akkadian in what is now southern Iraq during the early second millennium BCE, Atra-hasis gives us a glimpse of how ancient poets understood the society growing around them. This radical history of the world told from the perspective of the mother goddess conveys the complexity and contradictions that lie at the heart of the human experience. Atra-hasis tells how humanity was created as part of a bargain to resolve the world’s first labor strike, in which the lower gods rebelled against the excessive work imposed on them by the higher gods. It depicts humans as workers endowed with defiant intelligence. They multiply and become too loud, so the gods decide to quiet them with a cataclysmic flood.
 
Looking to Atra-hasis, Sophus Helle reveals an ancient story with reflections on power and history that invite comparison to topics of contemporary relevance, including labor, inequality, climate change, artificial intelligence, threats to democracy, disability, care work, sexual consent, and more. Helle considers Atra-hasis as a foundational document of “pasthumanism,” a term he uses to describe the study of how cultural conceptions of humanity have changed across centuries. He argues that ancient and non-Western texts remind us that cultural assumptions we now take for granted are neither natural nor necessary.
 
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cover of Kitchen Sink Realisms: Domestic Labor, Dining, and Drama in American Theatre

Kitchen Sink Realisms

Domestic Labor, Dining, and Drama in American Theatre

Dorothy Chansky

University of Iowa Press, 2015

From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman, A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner of Second Avenue to 2005’s The Clean House, domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed “kitchen sink realism” to both support and contest the idea that the home is naturally women’s sphere. But there is more to the genre than even its supporters suggest.

In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women’s roles and the importance of their household labor across lines of class and race in the twentieth century.

The story begins just after World War I, as more households were electrified and fewer middle-class housewives could afford to hire maids. In the 1920s, popular mainstream plays staged the plight of women seeking escape from the daily grind; African American playwrights, meanwhile, argued that housework was the least of women’s worries. Plays of the 1930s recognized housework as work to a greater degree than ever before, while during the war years domestic labor was predictably recruited to the war effort—sometimes with gender-bending results. In the famously quiescent and anxious 1950s, critiques of domestic normalcy became common, and African American maids gained a complexity previously reserved for white leading ladies. These critiques proliferated with the re-emergence of feminism as a political movement from the 1960s on. After the turn of the century, the problems and comforts of domestic labor in black and white took center stage. In highlighting these shifts, Chansky brings the real home.
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cover of The Briny South: Displacement and Sentiment in the Indian Ocean World

The Briny South

Displacement and Sentiment in the Indian Ocean World

Nienke Boer

Duke University Press, 2023

In The Briny South Nienke Boer examines the legal and literary narratives of enslaved, indentured, and imprisoned individuals crossing the Indian Ocean to analyze the formation of racialized identities in the imperial world. Drawing on court records, ledgers, pamphlets, censors’ reports, newsletters, folk songs, memoirs, and South African and South Asian works of fiction and autobiography, Boer theorizes the role of sentiment and the depiction of emotions in the construction of identities of displaced peoples across the Indian Ocean. From Dutch East India Company rule in the seventeenth and eighteenth centuries to early apartheid South Africa, Boer shows how colonial powers and settler states mediated and manipulated subaltern expressions of emotion as a way to silence racialized subjects and portray them as inarticulately suffering. In this way, sentiment operated in favor of the powerful rather than as an oppositional weapon of the subaltern. By tracing the entwinement of displacement, race, and sentiment, Boer frames the Indian Ocean as a site of subjectification with a long history of transnational connection—and exploitation.
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