Charles W. Chesnutt (1858-1932), critically acclaimed for his novels, short stories, and essays, was one of the most ambitious and influential African American writers of the late nineteenth and early twentieth centuries. Today recognized as a major innovator of American fiction, Chesnutt is an important contributor to de-romanticizing trends in post-Civil War Southern literature, and a singular voice among turn-of-the-century realists who wrote about race in American life. Whiteness in the Novels of Charles W. Chesnutt is the first study to focus exclusively on Chesnutt's novels. Examining the three published in Chesnutt's lifetime-The House Behind the Cedars, The Marrow of Tradition, and The Colonel's Dream-as well as his posthumously published novels, this study explores the dilemma of a black writer who wrote primarily for a white audience. Throughout, Matthew Wilson analyzes the ways in which Chesnutt crafted narratives for his white readership and focuses on how he attempted to infiltrate and manipulate the feelings and convictions of that audience. Wilson pays close attention to the genres in which Chesnutt was working and also to the social and historical context of the novels. In articulating the development of Chesnutt's career, Wilson shows how Chesnutt's views on race evolved. By the end of his career, he felt that racial differences were not genetically inherent, but social constructions based on our background and upbringing. Finally, the book closely examines Chesnutt's unpublished manuscripts that did not deal with race. Even in these works, in which African Americans are only minor characters, Wilson finds Chesnutt engaged with the conundrum of race and reveals him as one of America's most significant writers on the subject. Matthew Wilson is a professor of humanities and writing at Penn State University, Harrisburg. He is the editor of Charles W. Chesnutt's Paul Marchand, F.M.C. (University Press of Mississippi).
Widely regarded as one of the foremost cultural critics of the last century, Walter Benjamin's relation to Modernism has largely been understood in the context of his reception of the aesthetic theories of Early German Romanticism and his associated interest in avant-garde Surrealism. But this Romantic understanding only gives half the picture. Running through Benjamin's thought is also a critique of Romanticism, developed in conjunction with a positive engagement with the philosophical, artistic and historical writings of J. W. von Goethe. In demonstrating the significance of these Goethean elements, this book challenges the dominant understanding of Benjamin's philosophy as essentially Romantic and instead proposes that Goethe's Classicism, conceived as the counterpoint to Romanticism, permits a corrective to the latter's deficiencies. Benjamin's Modernist concept of criticism, it is argued, is constituted in the movement between these polarities of Romanticism and Classicism. Conversely, placing Goethe's Classicism in relation to Benjamin's practice of literary criticism reveals historical tensions with Romanticism that constitute the untimely – indeed, it will be argued, cinematic – Modernism of his work. Adopting a transcritical approach, this book alternates between Benjamin and Goethe in relation to the experiences of colour, language and technology, assembling a constellation of philosophical and artistic figures between them, including the writings of Kant, Nietzsche, Cohen, Deleuze, Koselleck, Klages, and the work of Grünewald, Marées, Klee, Turner, Hulme, Eisenstein, Tretyakov, and Murnau.
The reconstitution of the royal court in 1660 brought with it the restoration of fears that had been associated with earlier Stuart courts: disorder, sexual liberty, popery and arbitrary government. This volume illustrates the ways in which court culture was informed by the heady politics of Britain between 1660 and 1685.
For this week's Black Cat Weekly, Michael Bracken has acquired an original mystery by Ashley-Ruth M. Bernier, Barb Goffman found a tale by SJ Rozan that will surely satisfy crime fans, and Cynthia Ward tracked down a Matthew Hughes story. Plus, for the sheer silliness of it all, there’s a Mickey Spillane parody from 1954 (which manages to be both a mystery and fantasy…but wasn’t everything of Spillane’s?) and classics from R. Austin Freeman (a Dr Thorndyke story), a Nick Carter novel, and the first Skylark of Space novel by E.E. “Doc” Smith. Here’s the complete lineup: Mysteries / Suspense / Adventure: “Ripen,” by Ashley-Ruth M. Bernier [Michael Bracken Presents short story] “Death Takes a Swing,” by Hal Charles [Solve-It-Yourself Mystery] “E-Golem,” by SJ Rozan [Barb Goffman Presents short story] “The Case Of Oscar Brodski,” by R. Austin Freeman [short story] A Human Counterfeit, by Nicholas Carter [novel] “The Shaky Undertaker,” by Ed Cox [short story] Science Fiction & Fantasy: “The Shaky Undertaker,” by Ed Cox [short story] “To the Sons of Tomorrow,” by Irving Cox, Jr. [short story] “Mastermindless,” by Matthew Hughes [Cynthia Ward Presents short story] “Problem In Solid,” by George O. Smith [short story] “Sequel,” by Ben Smith [short story] The Skylark of Space, by E.E. “Doc” Smith [novel]
Holy Is a Four-Letter Word responds to the need for an accessible and simple articulation of the holy life, and what it means for the collective church as well as for individual believers. This goal is accomplished by taking the fundamental tenets of holiness doctrine and shaping them around twelve four-letter words: (1) Holy, (2) Self, (3) Full, (4) Pure, (5) Will, (6) Mind, (7) Body, (8) Love, (9) Rest, (10) Life, (11) Sent, and (12) Call. Each chapter deals with holy living according to scripture as it pertains to each four-letter word. Setting the concept of holiness against the backdrop of modern (and often profane) media culture accomplishes two objectives: (1) it reveals the relevance and urgency of holy living amongst a super-charged, secular media culture, and (2) defining holy living, first and foremost, by what it is not thereby accentuating "holy" as being set a part for the purposes of God.
How can doctrines be made intelligible within the context of our modern world? This book throws new light on Lonergan's response to this challenge in his presentation of the functional specialty, systematics, within his Method in Theology.
People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short years after the darkest, most devastating period for the Ho-Chunk. Invasion, diseases, warfare, forced assimilation, loss of land, and repeated forced removals from our beloved homelands left the Ho-Chunk people in a fight for their culture and their lives.” The book includes three introductory essays (a biographical essay by Matthew Daniel Mason, a critical essay by Amy Lonetree, and a reflection by Tom Jones) and 300-plus duotone photographs and captions in gallery style. Unique to the project are the identifications in the captions, which were researched over many years with the help of tribal members and genealogists, and include both English and Ho-Chunk names.
Conflating deconstructive theory with psychoanalysis, Rowlinson (English, Dartmouth College) proposes an analytic formalism as the appropriate model for reading Tennyson, and demonstrates the utility of the approach with close readings of fragments and poems written from 1824 to 1833, focusing on the nature of place the structuring of desire. Annotation copyright by Book News, Inc., Portland, OR
When the British monarchy was restored in 1660, King Charles II was faced with the conundrum of what to with those who had been involved in the execution of his father eleven years earlier. Facing a grisly fate at the gallows, some of the men who had signed Charles I's death warrant fled to America. Charles I's Killers in America traces the gripping story of two of these men-Edward Whalley and William Goffe-and their lives in America, from their welcome in New England until their deaths there. With fascinating insights into the governance of the American colonies in the seventeenth century, and how a network of colonists protected the regicides, Matthew Jenkinson overturns the enduring theory that Charles II unrelentingly sought revenge for the murder of his father. Charles I's Killers in America also illuminates the regicides' afterlives, with conclusions that have far-reaching implications for our understanding of Anglo-American political and cultural relations. Novels, histories, poems, plays, paintings, and illustrations featuring the fugitives were created against the backdrop of America's revolutionary strides towards independence and its forging of a distinctive national identity. The history of the 'king-killers' was distorted and embellished as they were presented as folk heroes and early champions of liberty, protected by proto-revolutionaries fighting against English tyranny. Jenkinson rewrites this once-ubiquitous and misleading historical orthodoxy, to reveal a far more subtle and compelling picture of the regicides on the run.
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