American Literature

Edwin Arlington Robinson- father/m a nonher(prenominal)/ 2 br incompatibles died. perk up chi squirte of t maven married brother. neer Married. Wanted to be poet since age 11 and chose to live In p totally(prenominal) overty. Wrote handed-d avouch poesys. ancient widely dopes with recent-day problems. Philosophy asshole the peaceful and genteel communities of sm on the whole-t experience the States lies a substrata of failure, l unmatch fittedliness, and terror. Conflict with light and in numerate satisfactoryice with the individual. major(ip) deeds The Children of the Night, The Man A suck inst the Sky, and The Man Who Died Twice. Quotes I lowestly currentized I was doomed, or elected, or sentenced to disembodied spirit sentence, to the make-up of poetrymajor(ip) whole caboodle A Boys Will, sum of Boston, western roughly-Running Brook. Quotes l am non a memorizeer n ever sotheless an awakener. Education is the ability to discover Poets argon eke b aseb each pitchers. In triple lecture I arse pump up some(prenominal)(prenominal)thing A meter begins In delight and shuttings in wisdom The universe Is full of willing companionship And where an epitaph to be my stratum Id crap a gip integrity subscribey for my own. altering W each(prenominal), cornerst wiz Burial, The Road non Taken, Birches, Fire and ice, closing up by Woods, Desert Places, Design, Nothing g emerit designn Can Stay, Out Out, Dep device handstal. T. S. Eliot The Hollow Men, The Love Song of J. Alfred Frock.William Carols Williams- pediatrician. Images, suggest sooner than mutilateer, record concrete Images, strive for Pictures from Brushes, Paterson, The Farmers Daughter and whatever other(prenominal) Stories. Quotes If you put forward bring nothing to this regularise The better run betforce do is al shipway When they exact me, as of precedent(a) If they give you lined paper, import the other way. It is problema tical to unisonal modernise the lates from poesys Poets atomic number 18 damned just they ar not blind One thing I am convinced to a broader extent and to a greater extent is original and that is this Tract, The Great Figure, The blood-red Wheel grave mound, This Is save to Say, A Sort of Song.E. E. Cummings- 3 months in French prison, Harvard. Unorthodox punctuation, compressed spacing, literary cubism. (Grasshopper) Images avoid clicks, puddle vernal rhythms, pulmonary tuberculosis common destilanded estate. Philosophy spontaneous, disintegration over against con trans pathationity, germity, exploitation of sustenance, ro earthly concerntic and sexual love. major(ip) Works Tulips and Chimneys, XSL Poems, ViVa, No Thanks, 1 * 1, agape(predicate) S char irritatey-One Poems, The Enormous Room. Quotes The well skeletal of all days is one w/o laughter. To be no em ashes however yourself in a homo which is doing A governmental is an erase upon which Th e songs to k with bulge out delay be for you and me In Just, My Sweet experient Etcetera, I sing of Loaf glad and big, If at that place be two heavens, Plato T experienced, I thank you paragon, she macrocosm brand-new, Jimmies got a soil, Old age sticks, Pity this busty addict un soft, L(a), Next to of occupation God the States l, quality at this, who ar you, petty(a) l, Maggie and mills and molly and freshthorn, I fill your heart with me, I standardized your dead body when it is with your. Longboats Hughes- Lawrence, Topeka.Black publishr. Rhythms of sportsman and blues. Oral tradition of dark culture. Philosophy direct engagement with people, preen of heritage, promotion of racial Justice. ingest Works The ideate Keeper, Montage of a dream deferred, Not With pop tabu Laughter. Quotes A dream deferred is a dream denied. l rent discover in brio that in that respect argon ways Humor is laughing at what you aro workoutnt got when you ought to reliev e oneself it. Like a pick up summer come down l predicate to the Lord l will not crawfish just now for an answer. Well I like to eat sleep go one and be in love. Oh god of detritus and rainbows 7 * 7 + Love = The dynamism Speaks of Rivers, The Weary Blues, Song for a bleached Girl, Trumpet Player, Motto, Harlem, Dream Variations, I similarly sing the States, beginning for slope B. F. Scott Fitzgerald- named afterwards cousin who wrote star spang take banner. wife was Zelda. Heavy drinker. Zelda became mentally ill. Clear musical prose. The Ameri stack Dream. Philosophy The lost generation, all gods dead, all fences, fought, all credences hake. Major Works The Side of Paradise, The Beautiful and the Damned, The Great Gatsby, Tales of the Jazz Age, Tender is the Night, The Last Tycoon, The Curious grammatical case of Benjamin Button.Quotes In a real dark night The test of a offshoot-rate few meters it is harder First you take a drink Either you phone or else others maintain you think for you Family quarrels argon bitter things Im a ro mantic It is in the thirties neer conf usance a single defeat with a final examination defeat. The world as a hold The faces of approximately Ameri cannister women Show me a hero and I will make unnecessary you a ragged. in that respect be no second acts in American Lives. Babylon Revisited allegory, Gothic romance. Philosophy southern memory, truthfulness, myth.Major Works Sartorial, As I lay dying, light in august, Abyssal, the unvanquished, go work through with(predicate) Moses, intruder in the dust, the sound and the fury. Quotes Given the choice The untested man or womanhood physical composition today constantly dream and shoot high than you know you can do If I were reincarnated A mule will dig out 10 age Loving all of it tied(p) objet dart he had to abominate close to of it I believe that man will not merely endure. He will prevail. A Rose for Emily Ernest Hemingway receive dressed him as a miss until he was 6. Suffered from malaria, skin cancer, anemia, depression, diabetes, high lineage pressure.Etc. Survived 2 plane crashes in 2 days. Athletic prose, iceberg theory physical composition tendency. Major Works The Sun in addition rises, in our meter, men w/o women, a f ar healthful to arms, final stage in the afternoon, the snows of Kilimanjaro, for whom the bell tolls, the old man and the sea. Quotes Always do sober But man is not made for defeat. Courage is dramatise chthonian pressure. E truely mans action ends the certainly(prenominal) way.. Madame all stories if intended far large end in death Never think that war no content how necessary The world breaks eachone and afterward umpteen argon stronger at the broken places. The Hemingway Hero suffered traumatic experience and lives.. Code Hero closely(p)-favoured Two-Hearted River John Steinbeck Journalistic, lyrical, biblical rhythms. Philosop hy tug against poverty/ social injustice, combo of realness, romanticism, and nativeism. Major Works Tortilla Flat, The long valley, the red pony, of mice and men, the grapes of wrath, the pearl, the put down from the sea of Cortez, cannery row, east of Eden, the winter of our discontent, travels with charley. value privacy. Wrote screenplay for Lifeboat.American literary productions?American committal to writings is any pen conk of art that is dod in the coupled States. American writings is like all lit, it has literary experiences and contextual hi news report of America. It depicts how America has changed is clam up changing today. American writings has changed over measure just like nearly ordinances of literary carryings. The unmatchedness of American globeations is that America from its low gear had a special philosophical system of feeling and freedom. The special philosophy of life and freedom that made American books so unique was beamed in i ts writings.Americans believed and had faith that God was and is the give of all our redresss and freedom. We as Americans had faith in ourselves that we could succeed in anything that we try doing. The literature that we Americans wrote made life price reinforcement because it was displayed for the world to acquire and under endorse that life was what we made it. in like manner by Americans having the ability to spring covering from sort made life worth living and George Washington was a absolute example of this. literary enactment is fundamentally a suggested list of readings that belongs to a solid anchor or a certain extent in measure.Literary canon contains literary whole kit that is mainly by authors who ar true as an authority in their ambit and their writings constituting a serious body of literature in any prone words. The contri totallyes that ar collected that is include in a literary canon is approved largely by ethnical and academic institutions and is observed as literature of that lyric. Literary works publicity is not found lone(prenominal) on the quality, simply on the relevance of what matters to the context diachronicly, socially, and artistically.Literary canon plug into actually well to what is vent on in club house because of what is most strategic at that measure work is organism write. The context of the club, whether it is historical, social, or artistic, that is basically the as yett. Ethnic writers express the special contends of naturalism, naturalism, and regionalism indoors the American literary experiences. realism labels a movement in English, European, and American literature that gathered force from the 1930s to the end of the century.Realism attempted to record life as it was lived rather than life as it ought to be lived or had been lived in times past. William dean Howells stated that naive realism is nothing to a greater extent(prenominal) and nothing less than the truthful intervention of substantive. Present-day literary theorists ar credibly more aw are of what may be cal conduct the crisis of theatrical per engineerance-the difference mingled with re premiseation and the thing payed-than were these realists of the late ordinal and primal on twentieth century.Naturalism is silent by some as an extension or intensification of realism. It introduces characters from the fringes and profoundnesss of baseball club whose fates are determined by throw away heredity, a sordid environment, and/or a corking deal of bad flock. Regionalism writing, another face of the realist zest, resulted from the desire both(prenominal) to bear on a record of flashy-cutive ways of life before industrialization dust or homogenized them and to come to toll with the harsh realities that seemed to be replacing these early and allegedly happier times.By the end of the twentieth century, e genuinely region of the country had a local colorist to immortaliz e its natural, social, and linguistic features. Ethnic writers touch on literature as literature that is written by people of a unlike culture, manner of speaking, piety, or lam. It differs from the canon of traditional American literature because literary canon is a list of work from American sort of of from a contrastive speed or religion. The historical, socio-political, and heathenish apexics that great power be cover by ethnic writers would be slaveholding and how the slaves were treated during that time.Slavery is a topic that can be covered under all three. Government issues are a topic that could be covered under socio-political. The manage against government issues such(prenominal)(prenominal) as wellness care and taxes could be something that ethnic writers could write most. It does not differ from the canon of traditional American literature because the writings select to be by authors who are true as an authority in their issue and their writings of litera ture in any given talking to.American literary productionsA . or so of the best names that come into headland when one speaks of modern English literature and fantasies are Editha, and Kate Chopin. Their works stand tall in the golden pages of modern literature, influencing most people of this generation and umteen more to follow. They eat keystoneed and disfranchised life into each character of the refreshed, The Awakening, with great magical artistic skills. Such is the brilliance and purity of the artists that they are believed to induct given birth to a completely new carcass of writing that the modern belles-lettres is so proud of.Hence they are considered premodern. There are some more writers such as Tolkien who have contributed immensely towards this. I believe, Mr. Tolkien has succeeded more completely than any previous writer in this genre in using the traditional properties of the Quest, the heroic journey, the numinous Object, the conflict amidst Good and cruel while at the compar adapted time satisfying our intelligence of historical and social reality (W. H. Auden, 1956). The greater the power, the more chancy is the abuse. The truth in the statement is well proved in Tolkiens The Hobbit.The author makes his political report in this twentieth-century fictitiousisation that could be relished as an elating and exhilarate fabrication. He, very well comments upon the abuse of political power and how the ridiculous and down trodden spend prey to the diplomacy of sly directrs. In the midst of haziness between an fancy and reality this twentieth-century f subject portrays the evil in Middle-Earth as totalitarian evil and that war is an immense ingredient of this malevolence. Many premodern authors have flourished on the fantasy genre. Age cannot decease their overbolds nor custom stale their infinite variety.The best, modern refreshings seem inexhaustible. They are a persistent author of inspiration for valet de chambreit y. Fantasy literature in general encom twistes unreal, non gracious creatures, unusual powers, created mythologies and fanciful settings. ice, who can in addition be termed as a premodern poet remains faithful to the speak phrase of his time. His language, in the poetry, is a multifariousness of raillery and seriousness. He portrays regionalism with its rich demarcation of images, spatial relation and anecdotes. This in turn provides an thick source for metaphors and symbols.The in dinner dress tone and the salient space in the poetry take in the indorsers. The compute at the core of pickle mole is salient(ip). Two men summon on terms of near(a) dexterity and sociability to put up a parapet between them. The argue is erected out of convention, out of tradition. Nevertheless the very ground works against them as well as makes their depute thorny. The dickens neighbors thrust stones, rearwards on top of the hem in as merely as a result of hunters or e lves, or the chill of spirits incognoscible hand, the boulders topple downward so far again.The in turnal fashion and lack of rhyme masquerade the ploy in Petit the Poet. Some of his most praised and have in minding works necessitate Petit the Poet and Seth Compton, marvelous creations of Edgar lee, best break down his blending of wit with irritation. His someoneal and colloquial style makes the endorser con noticed in his tone and mood. He takes the contributor into government agency finished his lightheaded and delightful pace. what is more it appears quite pictorial with some humorous explanations.The tone is very somber and the proof endorser cannot help but a discrete hopelessness, of the plight of human organisms not being able to choose what they remember, and in addition that the memories reckond today, will be oft disparate than the memories cute tomorrow. C. reparation mole Robert freezing was innate(p) in San Francisco, U. S. A, in 1874. disappoint with the lofty renders of numerous American poets, frost opted to write rough country life with which he was most familiar. In the poesy, Mending fence confronts sound posturing, a form of writing based on the tones of occasional speech.In his hookup, brotherhood of Boston (1914), Frost began to taste with poems of monologue and dialogue, which critics have called his dramatic poems. The present poem, Mending Wall too reflects his chassisle in dramatic and natural speech. The stanzas of the poem Mending Wall are honest alike sound more kindred to an extra usual human frame of mind than a fuming portrayal of the poets neighbor. A breakdown of the rhyme scheme sends the reader into a mesmerizing situation and the words is comparatively free from portentous and dark imagery. Robert Frosts poetry is well known for its intensely personal and despicable approximation.A great deal of Frosts verse is confessional and publishs his life experiences th primitive me taphor or hardcorely. Mending Wall asserts his abhorrence for a border or a barrier between human beings. This Frost does through the engagement of powerful imagery articulated through language, structure, and tone. A wall divides the poets land from his neighbors. They take down together to saunter to the wall and in return mend it, when it is spring time. Something there is that doesnt love a wall, That sends the frozen-ground-swell under it, And spills the upper boulders in the sun,And makes gaps even two can pass abreast. (Lines 1-4) The verbaliser sees no rationality for the wall to be keptthere are no cows to be contained, just apple and pine trees. He does not believe in walls for the pursuit of walls. The neighbor chooses to stick to his fathers words Good fences make goodly neighbors. The poet remains skeptical and impishly forces the neighbor down to come across the outdated rendering. However his neighbor will not be persuaded. The poet visualizes his neighbor as a leftover from a reasonably obsolete time. He is an being paradigm of an old orthodox.Nevertheless the neighbor merely goes back over the secerning. Frost retains five stressed syllables intentional for each line however he launchs a discrepancy in the feet wide to maintain the usual dialogue in the rhyme. The dearth of radiance, gloom and unhappiness, have been brought into play. noticeably the wall is melodic theme of as a vengeance for transparency, light and security. The turn virtually of proceeding in the poem reiterates the dismay of hostilities and the wasted misfortunes that could have been evaded if those drawn in would have scrutinized the dealings they were caught up with.Even though the reader of the poem gets the archetype of the neighbor portrayed in the poem by Frost, he does not subsist immaterial of interpretations of men from the past or historical pictures. The poets neighbor is, in umpteen senses, of a weak temperament rather unworthy of examin ation because there is nothing that detaches him an ordinary human being. There is realization that hostilities are but a ploy to gain power and supremacy over the pictures of people. A sense of guilt revolves closely the entire novel and expresses that wars are unfortunate and just now a gamble where the leaders relapse to exploit the poor, down trodden masses.Mending Wall is a lingering recollection of life events and dreams that have spiraled out of mastery collectible to hostilities. The hopes and dreams that once seemed so right and so justifiable bugger off shattered because of the wall that inflicts the very core of the poets soul. Frost remains faithful to the spoken language of his time. His language, in the poem, is a mixture of playfulness and seriousness. He portrays regionalism with its rich stock of images, situation and anecdotes. This in turn provides an abundant source for metaphors and symbols. The conversational tone and the dramatic situation in the poem strike the readers.The picture at the core of Mending Wall is striking. Two men convene on terms of good manners and sociability to put up a barricade between them. The wall is erected out of convention, out of tradition. Nevertheless the very ground works against them as well as makes their task thorny. The two neighbors thrust stones, back on top of the wall however as a result of hunters or elves, or the chill of natures imperceptible hand, the boulders topple downward yet again. The work of hunters is another thing I have come after them and made mitigate Where they have left not one stone on a stone,But they would have the rabbit out of hiding,(lines 5-8) Even then, the neighbors endure on with their work of mending the wall. The poem, consequently, looks as if it contemplates typically on themes like, human pull of blockades, separation, and hostility. What sets in motion in aboveboard candor ends in intricate symbolism. This wall-building work appears primeval, as it is p ortrayed in formal, complaisant terms. It engrosses publishs to work against the elves, and the neighbor comes into view as a Stone-Age savage at the same time as he lifts and carries a boulder. We have to use a spell to make them balanceStay where you are until our backs are glum We wear our fingers rough with handling them. Oh, just another kind of out-door game,(lines 18-21) Frosts treatment of objects of nature shows that he does not idealize or glorify them. His attitude towards the stone wall is not actually that of a realist, nor so much of a romantist. Frosts poems on natural objects are not dealt with as the starting point for the mysterious meditation. Like other poems, Mending Wall carries a good but the m unwritten is indirectly presented either as a dramatic situation. Frosts poems are profoundly philosophical in violate of their homely diction.In Mending Wall, he uses symbolism to communicate a cabalistic rooted doctrine. The symbolism in the poem comes out a s an indirect order of communication. The poem has a spring up marrow but it in addition shows a deeper significance, which is understood besides through a impendent scrutiny of the poem. D. Edgar Lee Masters is acclaimed as one of the leading humorous poets of the world. He has produced some of the best works of his time. His readers have long appreciated him for his classical interpretation of human nature and several precise thematic concerns of parliamentary law but yet in a most humorous, easy and light hearted delegacy.One of the simplest and easy flowing poems of Edgar Lee is Petit the Poet. The informal fashion and lack of rhyme masquerade the ploy in Petit the Poet. Some of his most praised and entertaining works involve Petit the Poet and Seth Compton, marvelous creations of Edgar Lee, best reveal his blending of wit with humor. His personal and conversational style makes the reader touch on in his tone and mood. He takes the reader into self-assurance through his easy and delightful pace. what is more it appears quite realistic with some witty descriptions.The tone is very somber and the reader cannot help but a trenchant hopelessness, of the plight of human beings not being able to choose what they remember, and likewise that the memories cherished today, will be much several(predicate) than the memories cherished tomorrow. The poem is composed to 18 lines. The concluding verse shows an analogous allusion. Seeds in a dry pod, tick, tick, tick, Tick, tick, tick, what little iambics, man Homer and Whitman roared in the pines? The concluding vox of the poem brings us backwards in time, which intromits the reader to view true accounts and scummy that people have to endure in a village.Thus Petit the poet, no doubt is thought to appall us yet again but with a twist. Thus the caustic remark in, Petit the poet, comes through as we read it. The analytic issue of Seth Compton is beautifull render with a humorous disposition. The poet describes human deportment through the process of loving and forgetting. The poet tactfully and with an aroma of humor, describes the social and moral matters of the modern times from the perspective of a clean hearted human being. He craftily incorporates humor to the arena and at the same time, assay to bring into light the disgrace of corruption.For this kind of his writing, he has been also long criticized for his more moderate instituteation of the extents of social distemper of the time. The Poet is distressed to see the state of the people after death. The go around library that he constructed was son disposed off. When I died, the circulating library Which I built up for Spoon River, And managed for the good of inquiring minds, Was exchange at auction on the public square The poem gives a opinioning that Seth Compton has been keeping a note of all the happenings after his death.During the blockage when the poem was written, although on the face of it flowing in a po sitive direction, human relations were beginning to withstand new strains, trapped now in a cleverer and more train society. These relations were more official and formal than social and personal. This new form of the society was less institutionalized but at the same time was more difficult to resolve or combat. This new tactic, pick up with the velvety diplomacies of pity, care and tolerance, made things even worse. Very teetotalally and rightly, the Poet criticizes the dioramas of morality in terms of particular social concerns.American LiteratureMark twains celebrated novel gobbler sawyer (1876) has generally been considered by literary critics to slightly less accomplished on a technical and thematic level than its purported sequel, The Adventures of Huckleberry Finn, (1885).Although umteen reasons for this discrepancy in the level of critical retort of the two works may be reliably cited, one of the contributing accompanimentors to the critical reception of gobbl er sawyer both on its initial publication in the nineteenth century and during its present status in critical estimation is the piece of literary realism. In short, because turkey cock sawyer represents to most literary critics a less innovative performance of couplings literary proficiency, it also functions a less acquireed example of yokes expression by way of literary realism.Important, also, is that fact that gallus was and is viewed by critics as one of Americas foremost realist writers and Twains realism is regarded as having had a liberating influence on American literature as a whole It led him to make use of the vernacular and at last to develop popular speech, as an actor for character portrayal and effective communicatory, to near perfection, (Long 102) which, in turn, led to the first truly American phrase in fiction.However, as in Huckleberry Finn, the aspects of realism (or verisimilitude) which permeate tom turkey Sawyer, also function as hold up for mythical ideas and iconographic expression which directly contradicts the end and function of literary realism itself. In essence, by regarding realism in tomcat Sawyer not a presidency principle of Twains esthetic, but rather as a tool or a literary device which is utilise to wreak a deeper theme or aesthetic namely romanticism can be identified.In Twains case, the romantic or idealized strains of his theme in gobbler Sawyer relate directly to the myth of American elaborateness and prosperity which were as prevalent pagan fascinations in nineteenth century America as they are in twenty-first century America.Before tom turkey Sawyer itself can be examined in light of its use of realism as a literary device, it is grave to alleviationate what the (critical) grounds of literary modernism is truly all about(predicate) and what literary modernism meant to the writers who comprised the movement in its earliest stages and what literary realism way to contemporary literar y critics, and specifically those critics who have turned their energies to explicating gobbler Sawyer.It should also be pointed out that Twain presents special problems even for the most studious and energetic of critics because his work is founded, first adn foremost upon humor, which is a very difficult literary premise to define and define in critical terms. notwithstanding the fact that criticism is notoriously at sea in the straw man of writing that is really funny (Smith 1), specific aesthetic principles and influences can be rooted out and dis fold upd to some extent from the over-riding satirical peck in Twains work.Any attempted critical fellow feeling would be greatly aided in first accepting Twain as a literary realist as this assigning is the most expedient as to hypothesis a empower window into the purported purpose and themes of Twains writings. Literary realism comprised an artistic response to the changing social conditions beginning in the 19th century w hich saw a dominant rise of industry, science, and rationality in western culture. Realism attempted to develop a literary idiom which was able to persuadely portray the actual events and component part of life.The movement toward realism can be seen as an artistic mode of clamshell with changing and frightening circumstances of western culture. In addition to seeking out themes of social significance, writers such as Zola, country Passos, Eliot and Flaubert advanced a narrative technique which jettisoned rhetorica stylized language of elevated expression designed to usher that the writer had mastered the tradition of civilized lettersfor everyday speech, (Borus 22) so that highly-stylized narratives still evoked the realism of everyday speech and everyday life.Part of the technique of literary realism involved the use of vernacular, sometimes extensively, to create the sense of verisimilitude which was essential to the realist aesthetic. The combination of real-world idio matic expression and the studies technique of the realist writers resulted in a unique blend of linguistic styles which resulted in a generating a set of readers who considered themselves cultivated readers of dialect, (Barrish 37). because realist writers desire to evoke in extensive detail, the living settings of their works, umpteen realist writers were committed to regionalism that is, they wrote about the world they experienced directly.Examples of this are Faulkner who wrote extensively about a fictional gray county which was based on counties which actually existed. Realist writers desired to create fiction that felt and read as close to real life as possible in order to allow readers to see and experience aspects of life which would other have remained unknowable to them. With this bit of critical history in mind, one get on aspect remains quite all valuable(predicate) relative to Twain and that is the fact that realism as a guiding principle of criticism (Smith 5) has been rigidly and soundly apply to Twains work with the resulting conclusion that shortcomings have led to its gradual abandonment during the last quarter of a century on both sides of the Atlantic. (Smith 5). What are these shortcomings, specifically? The answer to that head word is complex and lies in the on the face of it broad nature of Twains realism. The fact that Twains realism is distinct from naturalism or purely journalistic writing is his sophisticated employment of realism as a device, rather than as a guiding principle of theme or overall technical approach.In other words, because Mark Twains realism does not stop at externals (Smith 29) that same realism essentialiness by necessity engage emotional, psychological, and spectral (or mythic) concepts and identities which are by definition tangled of any realistic photograph. By delving deeper than externals Twain must, by necessity, abandon verisimilitude as a guiding aesthetic principle and quite accept i t as a device, like a single color on a painters pallette.In order to illustrate this around elusive point, it must be emphasize that Twains external realism is devastatingly powerful adn hi-fi, to the highest degree photo-realistically so. Twain is obviously quite loose of conveying the special atmosphere of each characteristic environment (Smith 29) and from this mastery of description of the external world, the reader is led to assumption that Twains excursions into the inner world will be just as faithfully rendered and just as obviously based on reality. However, a clear, if subtle, distinction separates Twain from photorealistic artists. A key aspect to Twains particular use of realism is that His purpose is not to say everything, nor even to present everything in an objective way (Smith 30) but render the clinical depression that what is described, whether it be a river, or a young boys stream-of- intellect inner-monologue, is a faithful representation of the actual world.By rendering the impression of realism rather than a rote facsimile of nature, Twain allows himself to pursue his inquiries into reality with vary intensity, to support his observations with a wider or a narrower range of evidence (Smith 30) and, by doing so, achieves an sagacity which is capable of misleading he reader into mistaking what is actually a mythic or romantic impression as a realistic observation.To demonstrate this concretely, a single mythic aspect of tom turkey Sawyer can be dislocated and compared with Twains realistic prose-style to indicate the duality of his narrative idiom, where realism generally indicates, if at an shifty angel, a mythic undertone. For example, the treasure-hunt sub-plot of gobbler Sawyer conveys the uniquely American myth of striking it rich through pure luck adn adventure.This is in fact a very durable American myth, the myth that anyone disrespect his or her stature in life can hit pay-dirt quickly, blindly, almost circumstant ially (Coulombe 16) and like Huck and turkey cock become rich entirely by good luck (Coulombe 16). Such a myth was used by Twain not only when in Tom Sawyer and in his other of his fictional works, but also as an attribute of his own author-persona.Twain cultivated a deliberate contortion of his biography by attempting to further the notion that his accomplishments were effortless and intuitivea uncouth genius rising naturally to the top (Coulombe 16). In this case, literary biography plays a contributing role to thematic explication because Twains true experience belied the myth he inserted into Tom Sawyer regarding wealth adn the pursuit of adventure. In reality, Twain was a careerist who worked diligently, even desperately, to catch success and money (Coulombe 17).The aforementioned biographical detail is mentioned merely to illustrate that Twain,had he been truly interested in being a literary realist and depicting the received world he had experienced would have obviousl y dismissed any mythic treasure hunt ending in blind, wild fortune as being over-the-top romantic, and perhaps even foolish. At this point, it is useful to examine the manner by which Twain attempts to insert verisimilitude into what is essentially a mythic fantasy.he does so retrospectively by describing what appears to be a very convincing description of the rection of the little townsfolk of St. Petersburg to the boys uncovering of treasure THE reader may rest satisfied that Toms and Hucks windfall made a mighty stir in the poor little village of St. Petersburg. So vast a sum, all in actual cash, seemed next to incredible. It was talked about, gloated over, glorified, until the reason of many of the citizens tottered under the strain of the unhealthy excitement. all haunted house in St. Petersburg and the neighboring villages was dissected, plank by plank, and its foundations dug up and ransacked for orphic treasureand not by boys, but menpretty grave, unloving men, too, som e of them. (Twain 285) This attempt to balance a romantic myth with a deliberately anti-romantic description of the aftermath of the discovery is thorough right down to Twains choice of diction.The word unromantic is specifically clever and powerful in forwarding a sense that Twains treasure hunt is grounded in reality and not in a boyish, culturally incited fantasy. Every detail seems to have been accounted for right down to the observation that The village paper publish biographical sketches of the boys (Twain 285) which made them celebrities. Here it is elicit to note that Twains romantic nerve impulse and his urge to restrain his story in verisimilitude are operating at commensurate military strength and simultaneously.If Twain is capable of obscuring what are essentially romantic myths beneath a facing of realism as was demonstrated by the preceding description of his expression of the rags to riches myth of America, what other myths might be discovered under the narra tive surface of Tom Sawyer? Obviously, because Twain embraces the figurehead of military force in American as a part of his role as a realist writer, depictions of force-out and of death in Twain deserve special worry in regard to the myths they may or may not express beneath the highly detailed and unusually faultless level of narrative description occupied by Twain. man it is true that for Twain The ken of a pistol blazing or dig flashing, followed by the red farm animal gushing from a death wound, was actuality (Long 99) it is also conspicuously true that Twains depiction of violence in Tom Sawyer is not prevailing, and as in the realism of Howells, and that in Twain happiness, not wo, was the general rule (Long 99) despite the actuality of violence and death in human experience.One might rightly ask how is such a proposition that violence and death do not close out human happiness based in realism? Plainly, one does not gestate an observational adn descriptive acum en that is equal to Twains to readily perceive that violence and death in the real world practically do preclude human happiness. Clearly, Twains depiction of violence, like his depiction of material dreaming and the attainment of wealth, partakes of a mythic rather then realistic expression.This mythic approximation of violence and human mortality allows Twain to establish the entire theoretical account of Tom Sawyer on the mythic scaffolding of death and rebirth. In fact, The Adventures of Tom Sawyer is constructed on a loose framework whose major elements include games of death and games of resurrection (Aspiz) and these games are purely mythic rather than realistic both in conception and execution.Because it is mythic violence and mythic death that Tom interacts with in the novel, he and the other characters depicted in the novel seem to exist on the manic demonstrate beyond which lurks the menace of destruction and the unknown (Aspiz) but the teetering over and falling o ver the edge which is repeatedly depicted by Twain in Tom Sawyer results in the illusion that all experience is in the long run reducible to entertainment (Aspiz).Imagination is stronger than the mere presence of death and its associated pains in Twains fictional world, which is propelled in part by startlingly realistic descriptions and observational details. The result is senseless Murder, grave-robbing, the withholding of life-saving evidence, impulses to suicide, simulated disasters, numerous close brushes with death, the violation of sanguinary oaths, wrenching charge and guilt, and numberless suppressions of the truth and miscarriages of justice are all transformed, through masterful instrumentality and narrative control, into entertainment.(Aspiz, 108) Of course it is the power and depth of Twains masterful orchestration and narrative control which drives the perception on the readers behalf that Twains mythic expressions of pain, death, and sorrow are as meticulously acc urate as his objective descriptions of rivers, school-houses, and grave-yards. The paradox is born out of the divergence of the mythic and realist strains of Twains own consciousness and his narrative expression. The character of Tom Sawyer is, himself, an expression of this paradox and duality.Tom is eventually portrayed as heroic, but also realistically, so that his flaws can be tardily spotted and used to increase the ironic impact of the novel. In fact, careful study of Toms behavior throughout the novel reveals that Tom was neither noble nor pure. Rather, he was practically vindictive, violent, and obscuremuch like the natural world to which he was linked (Coulombe 129) and ironically it is inside this construction of nature, as a character, that Twain achieves a more long and realistic expression.Twains impulse to romanticize even human bigotry is evident in his depiction of red man Joe and bodge Potter, during the trial-scene when Muff fallaciously confesses to murderi ng the Doctor. Historical reality dictates that it was white men who cam and tricked the native American tribes out of their lands and sunk their culture, a fact readily purchasable to anyone, even in Twains time, who cared to utilise minimal energy doing research.However, rather than get hold of on this massive historical reality, Twain opts to facilitate the extant prejudice against racial types that existed in his time, and continue to exist, by positing a mythic half-breed, Injun Joe, who is more sleek and diabolical than the white society he despises. During the trial scene, Muff Potter is confronted with his knife which was used by Injun Joe to finish off the Doctor in the cemetery.Potters reaction is wretched Potter lifted his face and looked around him with a pathetic hopelessness in his eyes. He saw Injun Joe, and exclaimed Oh, Injun Joe, you promised me youd never (Twain 100) and then, slowly, Potter realizes that he must confess to his crime. The reversal of hist orical reality is chilling. In reality, Native Americans were oftentimes controlled and victimised with liquor and in Twains depiction, the half-breed, Injun Joe, has turned these realities on their head.It is the Indian who is dastardly and manipulative and it is the white man, Muff Potter, who is drunkenly put-upon and falsely sentenced to death. Such reversals under the bland realism of Twains technique can only be considered, rightly, as propaganda. By no stretch of the imagination can propaganda ever be regarded as realistic or objective, so it is obvious that on at to the lowest degree three major themes materialism, mortality, and racial prejudice, Twain embraces a mythic, rather than realistic, mode of expression in Tom Sawyer.Again, as in the treasure-hunt scenario, Twain attempts to balance his mythically compulsive conceptualization of race with what appears to be a cogent adn realistic description of the butterfly-room itself and the boys reaction to Potters confes sion Then Huckleberry and Tom stood impenetrable and staring, and heard the stony-hearted liar reel off his serene statement, they expecting every moment that the clear sky would deliver Gods lightnings upon his head, (Twain 100).This passage, in fact, only strengthens the essentially culturally chauvinistic impulse of the courtroom scene by positing the half-breed no only as a notorious murderer but as an enemy of the white mans God. Twains romanticism may be rightly regarded as clincher in the thematic expression of Tom Sawyer. In every case, it is mythic impulse rather than natural or historical realism that drives both the conceptualization and execution of the scenes in Tom Sawyer and the associated themes which these scenes express.Rather than band the aesthetic ideas of literary realism, Twains use of the idiom in Tom Sawyer is sublimated to his interest in forwarding culturally resonant, American myths which would ostensibly engage and entertain his audience. It is quite p ossible that Twains own material ambitions, as previously mentioned, drove, at to the lowest degree in part, his decision to make a literary giving up throughout Tom Sawyer to romantic myths, a concession which completely eradicated any claim that might be made on Twains behalf that the novel embodied literary realism.Works Cited Aspiz, Harold. Tom Sawyers Games of Death. Studies in the Novel 27. 2 (1995) 141+. Barrish, Phillip. American Literary Realism, Critical Theory, and Intellectual Prestige, 1880- 1995. Cambridge, England Cambridge University Press, 2001. Borus, Daniel H. Writing Realism Howells, throng, and Norris in the Mass Market. Chapel Hill, NC University of North Carolina Press, 1989.Coulombe, Joseph L. Mark Twain and the American West. Columbia, MO University of Missouri Press, 2003. Long, E. Hudson. Mark Twain Handbook. raw(a) York Hendricks House, 1957. Smith, enthalpy Nash, ed. Mark Twain A Collection of Critical undertakes. Englewood Cliffs, NJ Prentice-Hall, 1963. Twain, Mark. The Adventures of Tom Sawyer. New York P. F. Collier & Sons, 1920.American LiteratureIf I was teaching a course in American Literature since 1865, the texts that I would choose to teach would be Tulips by Sylvia Plath, Leaves of Grass by Walt Whitman, Sula by Toni Morrison, Wise Blood by Flannery OConnor, The Great Gatsby by F. Scott Fitzgerald, Housekeeping by Marilynne Robinson, The Adventures of Huckleberry Finn by Mark Twain, The Yellow paper by Charlotte Perkins Gilman, Daisy miller by heat content James, and Drown by Junot Diaz.I feel that it is all- great(a) to chronologically span the 150 or so years of literature in this time period, to choose a diversity of authors in terms of sexual activity, race and sexuality, to represent the nation regionally as well as possible, to include texts that tenseness on important issues in the nation including immigration, grammatical gender equality and race relations, and to counseling on texts that are comparati vely accessible and reflect the time period in which they are written. With these texts, I feel that this is accomplished.Chronologically, this list is comparatively complete there are texts that represent the period of reconstruction (The Adventures of Huckleberry Finn) and that are from around ten years ago (Drown). Indeed, unalike aspects of this list speak to the Industrial renewing and ever-changing face of America through technological advancement, and others cover the ways that race and gender exist in the time period in which they are written (The Yellow Wallpaper and Sula, for example).Further, not only do these texts represent a width of time periods, but they also show diametric regions of the united States, including the South (Wise Blood) and the West (Housekeeping), with the typical representation of the Northeast and many texts that are not necessarily primaeval to any specific region.Through providing a diversity of chronological and regional representation, I feel that students, especially in a nation that is not as familiar with the linked States as we are, would be able to get a better feel of how the joined States changed over the past 150 years and how the opposite regions of the United States face different challenges. Just as its important to represent different literal aspects of the United States, its just as important to represent the diversity of people that make the nation up.By providing works from authors like Toni Morrison and Junot Diaz, students would get a perspective on the African American and immigrant experience in the United States, respectively. Indeed, America exists differently for the immigrant characters in this collection of Diaz short stories than it does for the characters seeking the American Dream in The Great Gatsby, and its important for students to research these differences among communities in the U. S.Indeed, this collection of texts also reflects issues that are of the utmost importance in the U nited States Tulips and The Yellow Wallpaper discuss what it core to be a woman and how motherhood or marriage can trap women, for example. Wise Blood explores the intricacies of religion, and more specifically Christianity, in the South, and Sula thoroughly discusses how threatening Americans live in the canful while whites live at the top long after the conclusion of the civilised War.Students reading my list of texts would be assailable to a breadth of issues, while also reading canonical literature that explores natures such as Leaves of Grass and the work of hydrogen James and his take on relationships and people. entirely of the works that are included in this list cover so many different aspects of American Literature, and together they paint a picture that represents the time period and nation as well as any ten-piece collection can.Regionally, canonically and chronologically, the list covers all of the essential points present in American literature, and it also to uches on three-fold issues of diversity deep down the texts as well as issues central to American culture in these different time periods. These poems, short stories, novellas and novels are an excellent window into American Literature as well as the ever-ubiquitous American culture, and I would be excited to teach these texts to any classroom. 2nd Essay Confederate Literature is fraught with guilt, struggle and a resistance to dominant American cultural norms.Three of the most important authors in Confederate Lit, Zora Neale Hurston, William Faulkner and Flannery OConnor, are all implausibly attentive to issues important to all southerly people, but they each discuss gray life in a different form. plot of ground all three deal with the integral issues of race relations in the South, the constant struggle with the separation of the North from the South, and what hardly it means to have a Southern identity, each of these authors does this in a very different manner.Hurston g uidancees on African American dialect and unique experiences inwardly those communities, Faulkner traditionally discusses close-knit small town communities in a stream of consciousness and highly narrative manner, and OConnor takes a highly moralistic tone, with a focalization on religion and community in the South. Hurstons effort is similar to her most famous Their Eyes Were reflection God in that gender struggles and dialect deep down African American communities are showcased. Indeed, one of the central conflicts in suds is the struggle for lateralisation within the relationship between Delia and Sykes Jones.Even though aspects of Southern femininity and masculinity are inherent to this struggle, femininity is the focus as this is typical of Hurston and the protagonist, and thereby where the readers sympathies more dominantly lie, is with Delia Jones. The work focuses on how African American communities exist, with a focus on Delias humming and the music thats present, t hereby demonstrating a focus on an oral tradition that doesnt necessarily exist within Faulkner and OConnors work.Further, the end of the short story demonstrates how women are able to obtain dominance in relationships, if they ever are able to do so, through Sykes horrifying death. Indeed, this story demonstrates many of Hurstons focuses, and it shows typical struggles within Southern African American communities in terms of gender relations and oral traditions versus dominant narratives. Faulkners vitamin B burn is different from this in that its focus is on a father and son, and also on the town in which the characters live.Indeed, the story begins in The store in which the justice of the Peaces court was sitting and continues to focus on the actual location and Southern-ness of the setting. Like Hurston, the dialogue of Barn Burning is uniquely Southern, with the characters saying the word it as hit, thereby demonstrating Southern dialect and accents in a way that separates it from any Northern dialogue. Also like Hurstons work, the story discusses race relations in the South, though necessarily from a white perspective kind of of a caustic perspective.Because of this, the community at the midpoint of the story is a white community instead of a black community, and it thereby emphasizes race relations and oppressive institutions within Southern society instead of exploring the ways in which African American communities form themselves. While there are no unadorned OConnor works on the syllabus, it would be remiss to discuss Southern writing without using OConnor as an example.In her A Good Man is Hard to Find, for example, the explicit focus of the narrative is on what it means to be a good person, and how a criminal is not necessarily a more evil and corrupt person than a grandma without good intentions. While the criminal who murders the family who are at the center of the story is clearly not a good man, neither is the matriarchal grandmother wh o is central to the story indeed, she would have been good if it had been somebody there to shoot her every minute of her life. OConnor discusses Southern society in terms of morality and religion throughout her novels and short stories, and within this discussion also exists issues of race relations, Southern society and dialect, and other things. Indeed, OConnor, Faulkner and Hurston all do it the differences between the South and other regions in the United States, the unique moral and community systems that exist there, and demonstrate these aspects differently. 3rd Essay William Carlos Williams The Red Wheelbarrow and e.e. cummings my tonic old and so on both rely on unconventional, modernist poetic form and use this form to convey separate messages. Williams poem uses its form to put emphasis on a beence on the smallest things indeed, the form and conquer of The Red Wheelbarrow hinge on the wheelbarrow itself, and demonstrate how form and subject are both integral to a p oems ultimate message. Similarly, e. e. cummings unconventional form is different from almost any other poet and uses triune definitions of and so forth.Both poems show how form is as essential to function as subject and literal messages are, and both use this form to reiterate the meaning of the poem. Williams The Red Wheelbarrow is from a time period in which poets were able to play with form and think more consciously about how a poem can be unconventional in form and still convey a message. Indeed, this poem more or less relies on form to convey that message. What is so elicit about this poem is that there is no terribly clear message in the poem in fact, it initially seems to not say much of anything and instead to run around with words.However, the way the poem is structured, the seemingly insignificant nouns are placed at the forefront. As the poem reads, so much depends / upon / a red wheel / barrow (lines 1-4). Here, the poem does in fact depend on the barrow every b races in The Red Wheelbarrow hinges upon a second one-word line that consists of a relatively common and insignificant noun. The nouns continue to locate the poem. The red wheelbarrow is vitreous with rain / water / beside the white / chickens (lines 5-8), showing that while each bitstock is grounded by the final one-worded line, the entire poem is grounded by the wheelbarrow.Indeed, all of the lines refer back to it it is the thing that is glazed with rainwater, and it is the thing that is beside the white chickens. The first couplet itself makes it increasingly clear that the wheelbarrow is at the center of this poem in multiple ways everything in the poem depends on it literally, as is stated in the first two lines, but it is also structurally at the center of the poem. William Carlos Williams is able to use this unconventional form to make a statement about what is important after all, how can so much depend on a wheelbarrow unless Williams demonstrates it in this unconventio nal way?Similarly, e. e. cummings poem my sweet old and so on challenges ideas of what the etcetera of the poem is by introducing it in a form that allows multiple interpretations. Indeed, the poem begins with my sweet old etcetera / aunt lucy (lines 1-2), and also includes references to it as not to / mention shirts fleaproof earwarmers / etcetera wristers etcetera (lines 11-13), my / mother hoped that / I would die etcetera (lines 13-15), my / self etcetera lay lightly (lines 19-20), and dreaming, / et / cetera, of / Your smile / eyes knees and of your Etcetera (lines 23-27).All of these uses of etcetera are different and challenge what exactly the word means indeed, the word literally refers to a continuing list of things, but here sometimes its used in an apathetic sense, sometimes as a euphemism, and other times as its definition connotes. Like The Red Wheelbarrow, this poem hinges on the definition of one word, and because of seemingly spontaneous line breaks and capitalizat ion, that word carries entirely different meanings at different places in the text.Interestingly, in the last parenthetical notation, etcetera refers to both the never-ending list of actions of the speaker and also, presumably, the body of the woman who is being described, thereby showing the many definitions of the word. Both The Red Wheelbarrow and my sweet old etcetera use relatively unconventional form to challenge traditional notions of established words and concepts. By relying on a different order of poetry and description, both writers are able to disrupt these ideas that are so closely tied to the words, and also to redefine both the words and the poetic form that they are using to describe them.4th Essay If I could choose any two authors to explore more fully, I would pick Zora Neale Hurston and enthalpy James to look at further. Not only are these two authors very different in terms of their writing styles, but they also are from different time periods and different lite rary perspectives, with Hurston generally describing communities and concrete people more fully while James writes conceptually and canonically in a way that focuses on narrative and other literary forms.Both authors speak to different audiences, both of which I at least partially identify with, and I look forward to reading more by each author. In this course, we read Sweat by Hurston, which I wrote about for one of my other essays. I really enjoy this work not only because I enjoy Southern literature, but also because it focuses on a different aspect of identity than many of the authors that weve read in this course.Indeed, Hurston focused on African American oral narratives, and was actually often involved in sociological work and pull together African American folktales to preserve in writing instead of simply within an oral tradition. Because her life was not ever so spent in looking at writing through a set literary lens, I think that she has a unique perspective in repres enting life as it truly exists within communities that are not typically discussed in popular fiction.She herself grew up in an African American town, and is particularly knowledgeable and gifted and representing these types of communities. I would love to read Their Eyes Were Watching God if only because it is similar to Sweat but, as a novel instead of a short story, allows more time to delve into a characters mindset and to develop a sense of what it means to live within an African American community. Further, I think that Hurston has a unique and powerful style that explores language in a way that many authors simply dont.She is able to write using heavy symbolism and metaphors throughout her prose, but shes also able to interesting, intelligently and authentically portray the language that exists within black southern communities, something that most authors would not even think about discussing. Indeed, because of her early life in a unique community that most canonical author s do not understand, her sociological work on oral narratives within black communities, her interesting view on language and style, and her emphasis on womens issues and gender equality, I would love to look more closely at Zora Neale Hurstons body of literature.Henry James is also an incredibly important figure in American Literature, but for very different reasons than Hurston. Indeed, James style is not as accessible or engaging as Hurstons often is, and he is much more noetic in the issues that he chooses to tackle. As Daisy Miller demonstrates, though, James has a terrific understanding of how to manipulate narrative to show multiple dimensions of characters, and his other work demonstrates this even further.The novel which I would most like to read by him is The Turn of the Screw, primarily because it is both a frame narrative (similar to the Canterbury Tales), which provides many unique and interesting insights into narrative, and also because it is a unique version of a su btlety story that is much more literary in style than most of what gets represented in popular culture today. Because James is so able to take on narrative, I enjoyed Daisy Miller thoroughly not only were the characters deep, complex, round and interesting, but the timeline was also gainsay.I really enjoy reading Henry James because he is, in many ways, timeless while his work is obviously dated in certain ways in terms of subject and the setting, the human condition is so central to everything that he writes that it can be understood outside of this context. Because of his narrative abilities, interest in the human psyche and innate human struggles, challenging prose that pushes different ideas of symbolism and identity, and the innovative subjects that he chooses to write about, I would also very much enjoy looking at what else Henry James has written.