By Roger Lathbury
A entire reference advisor to the modernist circulation in American literature, this quantity presents a wealth of data on American modernism, the misplaced new release, modernism within the American novel, the Harlem Renaissance, modernism in poetry and drama, and the literary tradition of the Moderns. Writers lined comprise: Countee Cullen, E. E. Cummings, John Dos Passos, T. S. Eliot, William Faulkner, F. Scott Fitzgerald, Sigmund Freud, Robert Frost, Ernest Hemingway, Langston Hughes, Zora Neale Hurston, Sinclair Lewis, Eugene O'Neill, Ezra Pound, Gertrude Stein, and extra.
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Additional resources for American Modernism: (1910-1945) (Background to American Literature)
E. B. Du Bois criticized the novel for perpetuating black stereotypes, Home to Harlem is still an authoritative performance. McKay’s Marxism is not integrated into the plots of his books. The characters discuss Marxist ideas and sometimes wish that “the indecent horde [could] get its chance at the privileged things of life,” but the novels never reach the point of showing this state. By the time he wrote his last novel, McKay was living abroad and apart from the Harlem milieu where he had gained a fine reputation that slowly declined.
In many cases, one could gain entrance to a speakeasy by the use of a password. A patron would knock on the door and a small partition would be pulled back. “Joe sent me,” was sometimes all that was required to gain access. R e n o w n e d b a r s i n N e w Yo r k , s u c h a s t h e S t o r k C l u b , l a t e r l e g i t i mate, started as speakeasies. The subsequently famous 21 Club w a s a n o t h e r, a n d i t w a s k n o w n f o r i t s e l a b o r a t e m e c h a n i c a l b a r designed to fool the police.
In conflating the stories of Bloom and Ulysses, Joyce joins the modern world to the ancient one. comically bewildering variety of the experience of life itself. Believing in little except the power of the human mind to recreate experience, Joyce wanted to present that experience naturally, without interference, but at the same time to enrich it, as Eliot and Pound did, through parallels with myth and through the shapeliness and control of art. Like Freud, Joyce was not afraid to deal explicitly with sexual matters, although the myth he chose was not that of Oedipus but of Odysseus; like Freud, Joyce was censored, and it was not until 1934 that Americans could legally buy and read Ulysses.
American Modernism: (1910-1945) (Background to American Literature) by Roger Lathbury