Something is not right in the world of Tom Sawyer and Huckleberry Finn. The unease is less evident to Tom, the manipulator, than to the socially marginal Huck. The trouble is most dramatically revealed when Huck, whose "sivilized" Christian conscience is developing, faces the choice between betraying his black friend Jim--which he believes is his moral duty--and letting him escape, as his heart tells him to do. "Bad faith" is Forrest Robinson's name for the dissonance between what we profess to believe, how we act, and how we interpret our own behavior. There is bad faith in the small hypocrisies of daily living, but Robinson has a much graver issue in mind--namely slavery, which persisted for nearly a century in a Christian republic founded on ideals of freedom, equality, and justice. Huck, living on the fringes of small-town society, recognizes Jim's humanity and understands the desperateness of his plight. Yet Huck is white, a member of the dominant class; he is at once influenced and bewildered by the contradictions of bad faith in the minds of his fully acculturated contemporaries. Robinson stresses that "bad faith" is more than a theme with Mark Twain; his bleak view of man's social nature (however humorously expressed), his nostalgia, his ambivalence about the South, his complex relationship to his audience, can all be traced back to an awareness of the deceits at the core of his culture--and he is not himself immune. This deeply perceptive book will be of interest to students of American literature and history and to anyone concerned with moral issues.
Searching out the private man as well as the public figure, this elegantly written biography follows Henry Murray through his discoveries and triumphs as a pioneer in the field of clinical psychology, as a co-founder of Harvard's Psychological Clinic, the co-inventor of the Thematic Apperception Test, and a biographer of Herman Melville. Murray's fascination with Melville's troubled genius, his wartime experiences in the O.S.S., and his close friendships with Lewis Mumford and Conrad Aiken all come to the fore in this masterly reconstruction of a life. And always, at the heart of this story, Robinson finds Murray's highly erotic and mystical relationship with Christiana Morgan. Love's Story Told penetrates to the heart of a brilliant figure in American intellectual life at mid-century, as he dives deeply into the unconscious, testing in work and love the limits of self-exploration.
Forrest G. Robinson argues that a strong autobiographical impulse infuses the whole of Clemens's fiction. He shows how Clemens wrote out of an enduring need to come to terms with his remembered experiences-not to memorialize the past, but to transform it.Clemens's special curse was guilt. He was unable to forgive himself for the deaths of those closest to him, especially members of his family--from his siblings's death in childhood to the deaths of his own children. Nor could he reconcile himself to his role in the Civil War, his ignominious part in the duel that prompted his departure from Virginia City in 1864, and--worst of all--his sense of moral complicity in the crimes of slavery. Tracing the theme of bad faith in all of Clemens's major writing, but with special attention to the late work, Robinson sheds new light on a tormented moral life, directing attention to what William Dean Howells describes as the depths of a nature whose tragical seriousness broke in the laughter which the unwise took for the whole of him.
Forrest G. Robinson argues that a strong autobiographical impulse infuses the whole of Clemens's fiction. He shows how Clemens wrote out of an enduring need to come to terms with his remembered experiences-not to memorialize the past, but to transform it.Clemens's special curse was guilt. He was unable to forgive himself for the deaths of those closest to him, especially members of his family--from his siblings's death in childhood to the deaths of his own children. Nor could he reconcile himself to his role in the Civil War, his ignominious part in the duel that prompted his departure from Virginia City in 1864, and--worst of all--his sense of moral complicity in the crimes of slavery. Tracing the theme of bad faith in all of Clemens's major writing, but with special attention to the late work, Robinson sheds new light on a tormented moral life, directing attention to what William Dean Howells describes as the depths of a nature whose tragical seriousness broke in the laughter which the unwise took for the whole of him.
Seven scholars examine the work of the "new western" historians, who retell the story of the American West from the point of view of the oppressed and colonized, and discuss ways to expand the horizons of this new approach to include fiction, literature by women, racial categories, writers who presaged the movement, popular culture, and natural history.
Searching out the private man as well as the public figure, this elegantly written biography follows Henry Murray through his discoveries and triumphs as a pioneer in the field of clinical psychology, as a co-founder of Harvard's Psychological Clinic, the co-inventor of the Thematic Apperception Test, and a biographer of Herman Melville. Murray's fascination with Melville's troubled genius, his wartime experiences in the O.S.S., and his close friendships with Lewis Mumford and Conrad Aiken all come to the fore in this masterly reconstruction of a life. And always, at the heart of this story, Robinson finds Murray's highly erotic and mystical relationship with Christiana Morgan. Love's Story Told penetrates to the heart of a brilliant figure in American intellectual life at mid-century, as he dives deeply into the unconscious, testing in work and love the limits of self-exploration.
Something is not right in the world of Tom Sawyer and Huckleberry Finn. The unease is less evident to Tom, the manipulator, than to the socially marginal Huck. The trouble is most dramatically revealed when Huck, whose "sivilized" Christian conscience is developing, faces the choice between betraying his black friend Jim--which he believes is his moral duty--and letting him escape, as his heart tells him to do. "Bad faith" is Forrest Robinson's name for the dissonance between what we profess to believe, how we act, and how we interpret our own behavior. There is bad faith in the small hypocrisies of daily living, but Robinson has a much graver issue in mind--namely slavery, which persisted for nearly a century in a Christian republic founded on ideals of freedom, equality, and justice. Huck, living on the fringes of small-town society, recognizes Jim's humanity and understands the desperateness of his plight. Yet Huck is white, a member of the dominant class; he is at once influenced and bewildered by the contradictions of bad faith in the minds of his fully acculturated contemporaries. Robinson stresses that "bad faith" is more than a theme with Mark Twain; his bleak view of man's social nature (however humorously expressed), his nostalgia, his ambivalence about the South, his complex relationship to his audience, can all be traced back to an awareness of the deceits at the core of his culture--and he is not himself immune. This deeply perceptive book will be of interest to students of American literature and history and to anyone concerned with moral issues.
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