This is the definitive work on Americans taken prisoner during the Revolutionary War. The bulk of the book is devoted to personal accounts, many of them moving, of the conditions endured by U.S. prisoners at the hands of the British, as preserved in journals or diaries kept by physicians, ships' captains, and the prisoners themselves. Of greater genealogical interest is the alphabetical list of 8,000 men who were imprisoned on the British vessel The Old Jersey, which the author copied from the papers of the British War Department and incorporated in the appendix to the work. Also included is a Muster Roll of Captain Abraham Shepherd's Company of Virginia Riflemen and a section on soldiers of the Pennsylvania Flying Camp who perished in prison, 1776-1777.
To complement his work as a fiction writer, John Updike accepted any number of odd jobs—book reviews and introductions, speeches and tributes, a “few paragraphs” on baseball or beauty or Borges—and saw each as “an opportunity to learn something, or to extract from within some unsuspected wisdom.” In this, his largest collection of assorted prose, he brings generosity and insight to the works and lives of William Dean Howells, George Bernard Shaw, Philip Roth, Muriel Spark, and dozens more. Novels from outposts of postmodernism like Turkey, Albania, Israel, and Nigeria are reviewed, as are biographies of Cleopatra and Dorothy Parker. The more than a hundred considerations of books are flanked, on one side, by short stories, a playlet, and personal essays, and, on the other, by essays on his own oeuvre. Updike’s odd jobs would be any other writer’s chief work.
This is the first comprehensive, daily compendium of more than 18,000 performances that took place in Dublin's theatres, music halls, pleasure gardens, and circus amphitheatres between Thomas Sheridan's becoming the manager at Smock Alley Theatre in 1745 and the dissolution of the Crow Street Theatre in 1820.
This treatise develops a theory of the relationship of war in general to literature in general, to make sense of American literary history in particular. "The Iliad", argues the author, inaugurates literary history on the failure of war to be formally beautiful.
A portrait of Lincoln's private secretary and the Secretary of State under Presidents William McKinley and Theodore Roosevelt traces his constant presence at Lincoln's side and his role in major historical events for more than half a century.
Since World War II critics have been predicting the decline of the novel. This book argues that the novel is not dead. Looking at American and English fiction it claims that the novel can not only change the possibilities of art, but also contribute to awareness of life's possibilities.
In his compelling reinterpretation of American history, The Public and Its Possibilities, John Fairfieldargues that our unrealized civic aspirations provide the essential counterpoint to an excessive focus on private interests. Inspired by the revolutionary generation, nineteenth-century Americans struggled to build an economy and a culture to complement their republican institutions. But over the course of the twentieth century, a corporate economy and consumer culture undercut civic values, conflating consumer and citizen. Fairfield places the city at the center of American experience, describing how a resilient demand for an urban participatory democracy has bumped up against the fog of war, the allure of the marketplace, and persistent prejudices of race, class, and gender. In chronicling and synthesizing centuries of U.S. history—including the struggles of the antislavery, labor, women’s rights movements—Fairfield explores the ebb and flow of civic participation, activism, and democracy. He revisits what the public has done for civic activism, and the possibility of taking a greater role. In this age where there has been a move towards greater participation in America's public life from its citizens, Fairfield’s book—written in an accessible, jargon-free style and addressed to general readers—is especially topical.
First Published in 2004. From Philip Freneau to Walt Whitman, Herman Melville to Trumbull Stickney, this collection of two volumes, selected by John Hollander, gives an insight into the artform during the nineteenth century. This collection is sorted by author with focus on American Indian Poetry, Folk Songs and Spirituals. An extensive list of works with attention to their chronology and editor notes on the texts within.
This is the only biography by a leading American poet of the great American writer, Stephen Crane. John Berryman originally wrote this book in 1950 for the distinguished "American Men of Letters" series, and revised it twelve years later. This edition reproduces the later version. In Stephen Crane, Berryman assesses the writings and life of a man whose work has been one of the most powerful influences on modern writers. As Edmund Wilson said in The New Yorker, "Mr. Berryman's work is an important one, and not merely because at the moment it stands alone...We are not likely soon to get anything better on the critical and psychological sides." It is Berryman's special insight into Crane as a poet that makes this book unique.
More panoramic in scope and more realistic in its details than Crane's Red Badge of Courage, this is one of the first and best novels ever written about the American Civil War Drawing on his own combat experience with the Union forces, John W. De Forest crafted a war novel like nothing before it in the annals of American literature. His first-hand knowledge of "the wilderness of death" made its way on to the pages of his riveting novel with devastating effect. Whether depicting the tedium before combat, the unspoken horror of battle, or the grisly butchery of the field hospital, De Forest broke new ground, anticipating the realistic war writings of Ernest Hemingway, Norman Mailer, and Tim O'Brien. A commercial failure in its own day, De Forest's story was praised by Henry James and William Dean Howells, who, comparing it favorably to War and Peace, acclaimed the book "one of the best American novels ever written." 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.
Introduction: Black classicism in the American empire -- Phillis Wheatley and the affairs of state -- In plain sight: slavery and the architecture of democracy -- Ancient history, American time: Charles Chesnutt and the sites of memory -- Crumbling into dust: conjure and the ruins of empire -- National monuments and the residue of history
THE STORY: PART ONE: BULFINCH'S MYTHOLOGY. The play begins on a deserted Nantucket beach in 1875 where the young Joshua Hickman awaits the return of his wife, Lydie, who has been off-island on a nursing assignment. She is furious that he has let he
America’s most famous humorist lives again within the pages of John Isaac Jones’s new biographical novel! His hardscrabble childhood; influence of his older brother Orion; his wild days out West including his passionate fling with poet Ina Coolbrith; how he wooed and won his beloved Olivia and how, after rearing three children, neither would survive the death of their oldest daughter. It's all here!
Though Marxism is the dominant philosophical theory applied to class in academia, its real-life inconsistencies, particularly stereotyping, have troubling effects on working class studies. As a result of its hegemony, alternative discourses have been effectively shut out of the academic world. This critical work seeks to establish a new philosophy of class, drawing on disciplines as diverse as sociology, cognitive science, anthropology and psychology and applying a decidedly Weberian hermeneutical lens. Topics covered include a detailed exploration of Marxism, a review of working class literature, post-marxist theories of class and the future of the field.
Metaphor theory, observes John Bird, is like Mark Twain: both seem simple upon first introduction. Now, in the most complete study to date of Twain's use of figurative language, a veteran Twain scholar tackles the core of his writing and explores it with theoretical approaches that have rarely been applied to Twain, providing new insights into how he imagined his world--and the singular ways in which he expressed himself. From "The Jumping Frog" to the late dream narratives, Bird considers Twain's metaphoric construction over his complete career and especially sheds new light on his central texts: Roughing It; The Adventures of Tom Sawyer; Adventures of Huckleberry Finn; A Connecticut Yankee in King Arthur's Court; Pudd'nhead Wilson; and No. 44,The Mysterious Stranger. He reconsiders "Old Times on the Mississippi" as the most purely metaphorical of Twain's writings, goes on to look at how Twain used metaphor and talked about it in a variety of works and genres, and even argues that Clemens's pseudonym is not so much an alter ego as a metaphorized self. By offering insight into how Twain handled figurative language during the composing process, Bird reveals not only hidden facets of his artistry but also new aspects of works that we think we know well--including some entirely new ideas regarding Huck Finn that draw on the recent discovery of the first half of the manuscript. In addition to dealing with issues currently central to Twain studies, such as race and gender, he also links metaphor to humor and dream theory to further illuminate topics central to his work. More than a study of Twain's language, the book delves into the psychological aspects of metaphor to reveal the writer's attitudes and thoughts, showing how using metaphor as a guide to Twain reveals much about his composition process. Applying the insights of metaphor theorists such as Roman Jakobson and Colin M. Turbayne, Bird offers readers not only new insights into Twain but also an introduction to this interdisciplinary field. In lively prose, Mark Twain and Metaphor provides a vital way to read Twain's entire corpus, allowing readers to better appreciate his style, humor, and obsession with dreams. It opens new ground and makes old ground fresh again, offering ways to see and resee this essential American writer.
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