Sundquist presents a major reevaluation of the formative years of American literature, 1830-1930, that shows how white and black literature constitute a single interwoven tradition. By examining African America's contested relation to the intellectual and literary forms of white culture, he reconstructs American literary tradition.
Based on a historically accurate account of the Wilmington, North Carolina, "race riot" of 1898, African-American author Charles W. Chesnutt's innovative novel is a passionate portrait of the betrayal of black culture in America. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
“Sundquist’s careful, thoughtful study unearths new and fascinating evidence of the rhetorical traditions in King’s speech.”—Drew D. Hansen, author of The Dream: Martin Luther King, Jr., and the Speech That Inspired a Nation “I have a dream”—no words are more widely recognized, or more often repeated, than those called out from the steps of the Lincoln Memorial by Martin Luther King, Jr., in 1963. King’s speech, elegantly structured and commanding in tone, has become shorthand not only for his own life but for the entire civil rights movement. In this new exploration of the “I Have a Dream” speech, Eric J. Sundquist places it in the history of American debates about racial justice—debates as old as the nation itself—and demonstrates how the speech, an exultant blend of grand poetry and powerful elocution, perfectly expressed the story of African American freedom. This book is the first to set King’s speech within the cultural and rhetorical traditions on which the civil rights leader drew in crafting his oratory, as well as its essential historical contexts, from the early days of the republic through present-day Supreme Court rulings. At a time when the meaning of the speech has been obscured by its appropriation for every conceivable cause, Sundquist clarifies the transformative power of King’s “Second Emancipation Proclamation” and its continuing relevance for contemporary arguments about equality. “The [‘I Have a Dream’] speech and all that surrounds it—background and consequences—are brought magnificently to life . . . In this book he gives us drama and emotion, a powerful sense of history combined with illuminating scholarship.”—The New York Times Book Review (Editor’s Choice)
Originally published in 1979. Eric Sundquist takes four representative writers—James Fenimore Cooper, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville—and considers the way in which each grapples with the crucial issues of genealogy and authority in his works. From all four a common pattern emerges: the desire to revolt against the past is countered by the need to invoke or even repeat it. Sundquist's approach to the texts is psychoanalytic, but he does not attempt a clinical dissection of each writer; rather, he determines how personal crisis became material for engaging with larger questions of social and literary crisis.
The importance of blacks for Jews and Jews for blacks in conceiving of themselves as Americans, when both remained outsiders to the privileges of full citizenship, is a matter of voluminous but perplexing record. A monumental work of literary criticism and cultural history, Strangers in the Land draws upon politics, sociology, law, religion, and popular culture to illuminate a vital, highly conflicted interethnic partnership over the course of a century.
Provides an analysis of the powerful role played by folk culture in 3 major African American novels of the early 20th century: "The Autobiography of an Ex-Coloured Man", "Jonah's Gourd Vine", and "Black Thunder". This book explains how the survival of cultural traditions originating in Africa and in slavery became a means of historical reflection.
Sundquist presents a major reevaluation of the formative years of American literature, 1830-1930, that shows how white and black literature constitute a single interwoven tradition. By examining African America's contested relation to the intellectual and literary forms of white culture, he reconstructs American literary tradition.
The importance of blacks for Jews and Jews for blacks in conceiving of themselves as Americans, when both remained outsiders to the privileges of full citizenship, is a matter of voluminous but perplexing record. A monumental work of literary criticism and cultural history, Strangers in the Land draws upon politics, sociology, law, religion, and popular culture to illuminate a vital, highly conflicted interethnic partnership over the course of a century.
Now in four convenient volumes, Field’s Virology remains the most authoritative reference in this fast-changing field, providing definitive coverage of virology, including virus biology as well as replication and medical aspects of specific virus families. This volume of Field’s Virology: RNA Viruses, Seventh Edition covers the latest information on RNA viruses, how they cause disease, how they can cause epidemics and pandemics, new therapeutics and vaccine approaches, as provided in new or extensively revised chapters that reflect these advances in this dynamic field. Bundled with the eBook, which will be updated regularly as new information about each virus is available, this text serves as the authoritative, up-to-date reference book for virologists, infectious disease specialists, microbiologists, and physicians, as well as medical students pursuing a career in infectious diseases.
Provides an analysis of the powerful role played by folk culture in 3 major African American novels of the early 20th century: "The Autobiography of an Ex-Coloured Man", "Jonah's Gourd Vine", and "Black Thunder". This book explains how the survival of cultural traditions originating in Africa and in slavery became a means of historical reflection.
“Sundquist’s careful, thoughtful study unearths new and fascinating evidence of the rhetorical traditions in King’s speech.”—Drew D. Hansen, author of The Dream: Martin Luther King, Jr., and the Speech That Inspired a Nation “I have a dream”—no words are more widely recognized, or more often repeated, than those called out from the steps of the Lincoln Memorial by Martin Luther King, Jr., in 1963. King’s speech, elegantly structured and commanding in tone, has become shorthand not only for his own life but for the entire civil rights movement. In this new exploration of the “I Have a Dream” speech, Eric J. Sundquist places it in the history of American debates about racial justice—debates as old as the nation itself—and demonstrates how the speech, an exultant blend of grand poetry and powerful elocution, perfectly expressed the story of African American freedom. This book is the first to set King’s speech within the cultural and rhetorical traditions on which the civil rights leader drew in crafting his oratory, as well as its essential historical contexts, from the early days of the republic through present-day Supreme Court rulings. At a time when the meaning of the speech has been obscured by its appropriation for every conceivable cause, Sundquist clarifies the transformative power of King’s “Second Emancipation Proclamation” and its continuing relevance for contemporary arguments about equality. “The [‘I Have a Dream’] speech and all that surrounds it—background and consequences—are brought magnificently to life . . . In this book he gives us drama and emotion, a powerful sense of history combined with illuminating scholarship.”—The New York Times Book Review (Editor’s Choice)
Originally published in 1979. Eric Sundquist takes four representative writers—James Fenimore Cooper, Henry David Thoreau, Nathaniel Hawthorne, and Herman Melville—and considers the way in which each grapples with the crucial issues of genealogy and authority in his works. From all four a common pattern emerges: the desire to revolt against the past is countered by the need to invoke or even repeat it. Sundquist's approach to the texts is psychoanalytic, but he does not attempt a clinical dissection of each writer; rather, he determines how personal crisis became material for engaging with larger questions of social and literary crisis.
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