This exploration of the making of a legend compares the actual events surrounding duster's defeat with the imaginative account of the "Last Stand" as it developed in American folklore. The battle of the Little Big Horn is then compared with other great "epics of defeat" in terms of both the similarities of the narratives and the known facts about them. The other epic stories include the Biblical account of Saul and his losing struggle against the Philistines, Leonidas's defense of the pass at Thermopylae, the death of Roland in the Chanson de Roland, the Morte Arthure, and similar stories of great "losers" from Scandinavia, Serbia, England, and the Alamo. The interaction between literary and oral folk versions is explicated both for Custer and for his counterparts in other cultures. Custer's defeat was celebrated by writers of various stripes including dime novelist Frederick Whittaker, poets Longfellow and Whitman, and by painters of all shades of talent. The other epics have also been treated in both high culture and popular culture forms. Certain aspects of the folk variants of the legend of the defeated hero are shown to exist in legends and anecdotes about such other charismatic figures as Presidents Lincoln and Kennedy. Finally, the book reinterprets several epics in the light of these new findings. And it goes on to argue that the legend-making process is one of the fundamental processes of the human imagination--the dramatization of all reality. Custer is thus seen as one with many national heroes whose popularity persists despite all the known facts which seem to deflate them. Custer and the Epic of Defeat is illustrated with realistic as well as fanciful portraits of the heroes discussed, with photographs of several "last stand" sites from the Little Big Horn to Mt. Gilboa, and with battle maps.
Why has the spy story become such a popular form of entertainment in our time? In this fascinating account of the genre's evolution, John G. Cawelti and Bruce A. Rosenberg explore the social, political, and artistic sources of the spy story's wide appeal. They show how, in a time of bewildering political and corporate organization, the spy story has become increasingly relevant, the secret agent hero expressing the feelings of divided and ambiguous loyalties with which many individuals face the modern world. In addition to a general history of the genre, Cawelti and Rosenberg present in-depth analyses of the work of certain writers who have given the spy story its shape, among them John Buchan, Eric Ambler, Graham Greene, Ian Fleming, and John le Carré. The Spy Story also includes an extensive appendix, featuring a literary and historical bibliography of espionage and clandestinity, a list of the best spy novels and films, a catalog of major spy writers and their heroes, and a selection of novels on espionage themes written by major twentieth-century authors and public figures. Written in a lively style that reflects the authors' enthusiasm for this intriguing form, The Spy Story will be read with pleasure by devotees of the genre as well as students of popular culture.
Literature's dependence on a few folktale plots is a cliche, and the significance of structuralist theory cannot have escaped many scholars, so Rosenberg's insistence on the interrelation of folklore and literature is nothing new. He surveys the foundational work of Aarne, Thompson, and Propp and the oral-formulaic theories of Parry and Lord, but the references are too elliptical to be clear to nonspecialists, while explanations of methodology will be redundant to folklorists. Bits of good material, of interest to medievalists and other literary scholars (especially on Beo wulf and on Chaucerian narrative), are buried in this disjointed collection of chapters. Serious editorial lapses include the complete absence of footnotes, forcing inappropriate supplementary matter into the body of the text and further blurring its weak structure. The parity of literary and narrative-folklore studies is the author's underlying theme, but his preoccupation with status in the academic hierarchy does nothing to make his arguments on the symbiosis of the two disciplines more convincing. - Patricia Dooley, Univ. of Washington Lib. Sch., Seattle Copyright 1991 Reed Business Information, Inc.
Upon the moment 12-year-old Jeremy Rosenberg witnesses his father's death, Jeremy loses the world he had assumed would last forever. The Widow's Son is launched on a devastating moment, but this tale of misguided efforts and accidental triumphs of children forced into difficult times creates a humorous, poignant novel. The reader's laughter and tears are sure to flow together to the last page as Jeremy struggles to make his family into a family once again.
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