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A Achilles anger of, 125, 131, 133, 135 as hero, 134 and his allies, 126 revenge of, 127, 128, 130 Adventures of Huckleberry Finn, Th e (Twain), 1–8 chilling speech in, 7 fog, literal/metaphorical in, 6–7 Huck’s transformation in, 3–4 moral character in, 3–4, 7–8 Tom Sawyer in, 1 Adventures of Tom Sawyer, Th e (Twain), 2, 4 Aeneid (Virgil), 134 Aeschylean novel. See Pincher Martin Aeschylus, 63–64 Africa/African. See also Tar Baby diasporic/folk heritage, 170 essential ontology, 174, 175 Maroon communities, 185 Nation Dance, 179, 184 tricksters, 111, 170, 174 Alexie, Sherman, 9–18, 17 catalogues and repetitions, 17 Indian Killer, 10 Th e Lone Ranger and Tonto Fight in Heaven,13 “Making Smoke,” 13 poetry of, 13–14 , Index . 243 Red Blues, 11 Reservation Blues, 10 Summer of Black Widows, Th e, 15 “White Men Can’t Drum,” 15 allegory, 187 moral truth and, 102–103 standard defi nition of, 62 American Indians. See Native Americans Ammons, Elizabeth, 90 Anansi, 170 androgyny, 155 animals, associations with, 92, 115 anthropologists, 110 antinovels, 33 Aquinas, Th omas, 54 archetypal trickster, 90, 110, 111, 112, 113–114, 117, 234 Aristotle, 54, 125, 127, 133–134 art. See “Hunger Artist, A” Artemis, Rossitsa, 151–158 As You Like It (Shakespeare), 198 athleticism, 115 Auerbach, Eric, 38 B Barnum, P.T., 140 Bartelt, Guillermo, 91 Barth, John Sot-Weed Factor, 20
244 “Battle of the Maldon, Th e,” 16 Beat Poets, 10 Becker, John, 101–108 Bergson, Henri, 154, 156 Berryman, John, 16 Billingslea-Brown, Alma Jean, 169–186 biographer. See Orlando Bitter Nest, Th e (Ringgold), 184 Bloom, Harold, xv–xvi Boccaccio, Giovanni, 37–62, 209 Booth, Edwin, 85, 86, 87 boundary fi gures, moral truth and, 107 Bowers, Susan R., 89–100 Bowlby, R., 153, 157 Brass Butterfl y, Th e (Golding), 71 Brer Rabbit farmer’s trick on, 170–171 as symbol of blacks, 225 as trickster, 219, 221 Brodtkorb, Paul, Jr., 19–36 Brown Girl, Brownstones (Marshall), 178 buff oonery, 90 bumbling characteristic, 115 Burnett, Mark Th orton, 161–162 Burroughs, William, 142–143 Burton, Sir Richard, 209 C Campbell, Joseph, 74 Th e Hero with a Th ousand Faces, 69 Canzoniere (Petrarch), 54 Carroll, Michael, 90 Cartey, Wilfred, 174 Catch-22 (Heller), 20 Cervantes, Miguel de, 46 Chase, Richard, 20 Chaucer, Geoff rey, 229–242 Canterbury Tales, 209 Index Cheech & Chong, 9, 18 Chosen Place, Th e Timeless People, Th e (Marshall), 178 Christian, Barbara, 178 “Citizen Kane” (Alexie), 13 Cochran, Robert, 221 Coleridge, Samuel Taylor, 191 common trickster characteristics, 110–112, 113, 117. See also archetypal trickster Confi dence Man (Melville), xv Calvinistic theology and, 23 Christian/un-Christian principles and, 21 detached admiration of, 32 dupers/duped in, 27, 28, 30, 31 “if any” glosses/Shakespeare, 28, 34 inconsistency principle in man, 21–23, 24, 25–26, 27, 34 irony in, 21, 30, 31, 32 masks/masquerades, 19, 26–28, 30–31 mutability of man, 24, 26, 29 negativism of prose of, 29–30 nihilism and, 34, 35 self-revelation in, 29, 31 societal situations/role playing, 25 confi dence men, 138, 139, 143, 145– 146, 148 Conrad, Joseph, 64, 74 cross-dressing, 157 cultural taboos, 106 culture hero, 90 cultures “complementary opposites” in, 118 cultural continuity, 179–180 culture-specifi c tricksters, 110 Euramerican cultural dominance, 170
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Bloom's Literary Th emes f Alienati
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Bloom’s Literary Th emes THE TRIC
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, Contents . Series Introduction by
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Contents Th e Tempest (William Shak
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xii Series Introduction by Harold B
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, Volume Introduction by Harold Blo
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THE ADVENTURES OF HUCKLEBERRY FINN
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Th e Adventures of Huckleberry Finn
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the Works of sherman alexie ,. “F
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Th e Works of Sherman Alexie 11 Sup
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Th e Works of Sherman Alexie 13 reg
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Th e Works of Sherman Alexie 15 tea
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Th e Works of Sherman Alexie 17 A k
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The ConfidenCe-Man: his Masquerade
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Th e Confi dence-Man: His Masquerad
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DECAMERON (GIOVANNI BOCCACCIO) ,.
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Decameron 39 commonplace, eludes al
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Decameron 41 mercenary soldier, fal
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Decameron 43 pretends to confi de t
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Decameron 45 general laughter. Cala
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Decameron 47 For the storytellers j
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Decameron 49 alcuni, più gentili c
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Decameron 51 death and is, in this
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Decameron 53 city of Naples is iron
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Decameron 55 Th e Decameron constan
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Decameron 57 9. “Avvegna che, chi
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Decameron 59 20. It may be of inter
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Decameron 61 33. Lynn Th orndike, A
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THE NOVELS OF WILLIAM GOLDING Intro
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Th e Novels of William Golding 65 h
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Th e Novels of William Golding 67 u
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Th e Novels of William Golding 69 B
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Th e Novels of William Golding 71 t
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Th e Novels of William Golding 73 t
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Th e Novels of William Golding 75 I
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haMleT (William shakespeare) ,. “
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Hamlet 79 I picture the old fellow
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Hamlet 81 natural dignity of his tr
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Hamlet 83 the gruesome relics that
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Hamlet 85 Th e dialogue is terminat
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Hamlet 87 It appeared that our prop
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90 N. Scott Momaday Th e in-between
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92 N. Scott Momaday (Momaday, HMD,
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94 N. Scott Momaday with grace and
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96 N. Scott Momaday House made of d
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98 N. Scott Momaday fearsome experi
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100 N. Scott Momaday Jones, Peter N
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102 Franz Kafka notes in his deft a
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104 Franz Kafka hunger artist and t
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106 Franz Kafka evoked by the narra
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108 Franz Kafka Kafka, Franz. Th e
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110 William Shakespeare Contours, C
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112 William Shakespeare likeness of
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114 William Shakespeare Th roughout
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116 William Shakespeare the comic c
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118 William Shakespeare he had, iro
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ODYSSEY (HOMER) ,. “A General Vie
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Odyssey 123 without offending again
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Odyssey 125 their own miscarriages.
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Odyssey 127 SECT. V Th e action 7 o
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Odyssey 129 he should have ended il
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Odyssey 131 a passion that begins a
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Odyssey 133 which we only read or h
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Odyssey 135 the rest of the work, w
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ON THE ROAD (JACK KEROUAC) ,. “Fa
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On Th e Road 139 person with extrao
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On Th e Road 141 for limitless spac
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On Th e Road 143 motion.” Whether
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On Th e Road 145 Buddha . . . sator
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On Th e Road 147 the middle of the
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On Th e Road 149 faith when Dean le
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ORLANDO (VIRGINIA WOOLF ) ,. “Wit
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Orlando 153 a rather masculine view
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Orlando 155 the biographer, the len
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Orlando 157 often it is only the cl
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ROSENCRANTZ AND GUILDENSTERN ARE DE
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Rosencrantz and Guildenstern are De
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Tar BaBy (toni morrison) Praisesong
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Tar Baby and Praisesong for the Wid
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THE TEMPEST (WILLIAM SHAKESPEARE) ,
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Th e Tempest 189 imitations of comm
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Th e Tempest 191 affi nity to the f
Page 208 and 209: Th e Tempest 193 under-current of h
Page 210 and 211: Th e Tempest 195 the latter allow a
Page 212 and 213: Th e Tempest 197 the fools for murd
Page 214 and 215: Th e Tempest 199 saved, but some, a
Page 216 and 217: Th e Tempest 201 rest, and we look
Page 218 and 219: Th e Tempest 203 stream of life hur
Page 220 and 221: Th e Tempest 205 meets the brutal.
Page 222 and 223: Th e Tempest 207 long known to the
Page 224 and 225: A THOUSAND AND ONE NIGHTS ,. “Sev
Page 226 and 227: A Th ousand and One Nights 211 ways
Page 228 and 229: A Th ousand and One Nights 213 top
Page 230 and 231: A Th ousand and One Nights 215 Just
Page 232 and 233: A Th ousand and One Nights 217 him
Page 234 and 235: UNCLE REMUS (JOEL CHANDLER HARRIS)
Page 236 and 237: Uncle Remus 221 Mixon’s view foun
Page 238 and 239: Uncle Remus 223 Harris calls “the
Page 240 and 241: Uncle Remus 225 the plantations at
Page 242 and 243: Uncle Remus 227 accused of a crime,
Page 244 and 245: “THE WIFE OF BATH’S TALE” (GE
Page 246 and 247: “Th e Wife of Bath’s Tale” 23
Page 254: “Th e Wife of Bath’s Tale” 23
Page 257: 242 Acknowledgments Warde, Frederic
Page 261 and 262: 246 Free Fall (Golding), 65 Freud,
Page 263 and 264: 248 Lewis, R.W.B., 20, 30, 33, 34 l
Page 265 and 266: 250 narrative, 183, 184 Tatem, Sout
Page 267 and 268: 252 Th ousand and One Nights, A, 20
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