American Literature

The fact that more charr and ethnic minority writers are represented in the support than is customary in similar books explains its large number of pages. Additionally, as Elliott cites "the difficult decision to exclude some texts by constituted authors that are not frequently taught" (xviii).

The fact that the project of heathenish diversity is politically charged in the modern consequence appears to be connected to the fact that editorial introductions and commentary that control throughout the volume is meant to focus "strongly upon the connections between American literature and its various contexts: historical, political, economic, religious, intellectual, and international" (Elliott xxix). In other words, the kindly conditions under which a given work may watch arisen may help foster a good apprehensiveness of its intent and content, as well as the means by which ideas emerge in that work.

The first part of American literature is entitled "Expansion and National Redefinition: The Late 19th Century." As the designation implies, the works represented by this period radiate a context of transformation of American consciousness, including the divisions in such consciousness, brought on in the aftermath of the Civil War. The second half(prenominal)(prenominal) of the nineteenth century was marked by psychological and physical devastation of the South and an attendant bitterness by Southerners toward Northerners. Meanwhile, as there occurred the expansion to the West (accompanied

Hayden, Robert. "Frederick Douglass." American Literature: A Prentice pressure group Anthology. 2 Vols. Ed. Emory Elliott, Linda K. Kerber, A. Walton Litz, Terence Martin. Englewood Cliffs, N.J.: Prentice Hall, 1991. 1704-5.

America's realistic fiction in the last half of the nineteenth century reveals a variety of distinctive styles in spite of appearance the genre, precisely on the whole a concern for credibleness of setting and character psychology and circumstance. Consider Howells's concern with "truths of adult male character in the lives we ordinarily lead" (Elliott, Kerber, Litz, and Martin 791), which does not repay within Norris's meaning of Romanticism scarce which does suggest the richness of emotional truth in good fiction.

The ironic intonate of Twain's stories touches reality in the implicit social criticism that they contain. In "The Private History of a Campaign That Failed," the main testify made about war is not that it is dangerous but that it is dangerously dull, one retreat following another, yet all-embracing of rumors and command incompetence. Twain's refresh of James Fenimore Cooper as a tedious adventure writer is more straightforwardly humorous, but embedded in the lampoon is a plea for verisimilitude and against wordiness. The lucid adventure down the river in Huckleberry Finn partly conceals a critique of the anarchy of hatreds, mean-spiritedness, and fears in human experience. Irony works on its own terms as well, in such stories as "The Notorious Jumping Frog of Calaveras County," which is a tall tale told with complete seriousness.

Crane, Hart. "Passage." American Literature: A Prentice Hall Anthology. 2 Vols. Ed. Emory Elliott, Linda K. Kerber, A. Walton Litz, Terence Martin. Englewood Cliffs, N.J.: Prentice Hall, 1991. 1124-5.

Woolson's "King David" describes the psychological costs of notice between American cultures--North and South, black and white, working class and planter class. Chesnutt's description of racial prejudice from the point of view of blacks is a more
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