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as ultimate trickster, 116, 167 The Winter’s Tale, 188, 198 Shamanism (Eliade), xv shape-shifting, 91, 112, 114, 117, 138 Shaw, Lemeul, Jr., 20, 36 Shelley, Mary, 71 Shelley, Percy Bysshe, 64 Sindbad cleverness of, 213–214, 215, 217 invoking of Allah, 215–216, 217 memory of, 213 shipwrecks of, 211, 215 story-within-story and, 211, 215 Sir Gawain and the Green Knight, 230 Green Knight in, 236 King Arthur’s court in, 230, 236 Sir Gawain in, 229–230 situation-inventor, 105 Smoke Signals (movie), 11 Snyder, Gary, 140 solipsism, 94 Song of Solomon (Morrison), 180 Sot-Weed Factor (Barth), 20 Spann, Meno, 102 Spillane, Mickey, 11 Spire, The (Golding), 65 Spivak, Gayatri, 91 Stallman, R.W., 102 stand-up comedy, 9–18 Stein, Gertrude, 18, 138 Steinbeck, John, 11 Stephen, Sir Leslie, 152 Stoppard, Tom, 159–168 Strachey, Lytton, 152–153 subaltern, 91, 99 subversion of authority, tricksters and, 234 Summer of Black Widows, The (Alexie), 15 Sundquist, Eric J., 221 Swinford, Dean, 229–242 Index 251 T Tar Baby (Morrison), 169–178, 183, 184 blind race of people in, 172, 174 early edition, narrative, 171 Eloe, Florida in, 170, 173, 175– 176 “Isle de Cevaliers” in, 170, 172, 173, 176 motifs in, 172, 177 Napoleonic Code and, 172 narrative, 177 ‘tar baby’ name/archetype, 176, 177–178 two versions of, 172–173 “two views” in, 171–172 Tempest, The (Shakespeare), 187–208. See also Prospero action, course of, 199, 200, 202, 206 celebrated passage in, 208 characters driven by tempest, 202 explanatory criticism of, 190 fairy tale and, 188, 191 good/evil struggle in, 203–204 heterogenous elements in, 198 moral dominion and, 191 nature, mysterious powers of, 191, 202–203, 204 poetical world and, 192, 193 reality and, 188–189, 190, 191, 192 restlessness and, 200–201, 203, 206 romance/marriage in, 195, 196, 197 script of, 202, 205, 206 shipwrecked crew in, 198–199, 203 storms in our lives, 205–206 unity in, 205
252 Th ousand and One Nights, A, 209–218 Burton’s translation of, 209 central frame story of, 210, 211, 215 narrative, 210, 214 traveling/ethnology and, 211–217 Th ree Guineas (Woolf ), 151 Tidwell, Paul, 90–91 time, 154–155 clock time, 154 psychological time, 154, 155, 156 To the Lighthouse (Woolf ), 151 To Wake the Nations: Race in the Making of American Literature (Sundquist), 221 Toffl er, Alvin, 142 traveling, tricksters and, 138, 211–217 Treatise of the Epick Poem (Bossu), 121 Trial, Th e (Kafka), 101 trick-playing/deception, 114 Trickster Makes this World (Hyde), 212 trickster paradox, 93 Troilus and Cressida (Shakespeare), xv Trojan Horse, xv Trudell, John, 17 Turner, Victor, 98 Twain, Mark, 139, xv Th e Adventures of Huckleberry Finn, Th e, 1–8 as greatest trickster, 8 Th e Mysterious Stranger, 20 Tytell, John, 144 U Ulrici, Hermann, 187–208 ultimate trickster, 8, 116, 157, 167 Ulysses, 121–136. See also Odysseus art of dissimulation and, 131, 135 Uncle Remus (Harris), 219–228. See also Brer Rabbit Index His Songs and Sayings, 222 narrative, 224, 227 narrative trickery in, 222–223, 227, 228 oppressed peoples and, 225 phrasing/racial overtones, 226 power/abuses of power, 226–227, 227–228 race relations and, 224–225 racial stereotypes and, 220 “Th e Wonderful Tar-Baby Story,” 222 universal archetype, trickster as, 110 V V. (Pynchon), 20 Velie, Alan R., 90, 91, 92 Victorian era, 152, 154, 155, 156 Vizenor, Gerald, 11, 91 Voltaire, François-Marie Arouet, 33, 121 Vonnegut, Kurt, 18 Vorticism, 13 Voyage Out, Th e (Woolf ), 151 W Wake and Resurrection, Th e (Ringgold), 184 Warde, Frederick, 77–87 Warner, Marina, 238 Waste Land, Th e (Eliot), 70 Waves, Th e (Woolf ), 151 Weintraub, Stanley, 71, 74 West, Nathanael Day of the Locust, 20 “White Men Can’t Drum” (Alexie), 15 Whitman, Walt, 10, 16, 18, 141–142 “Wife of Bath’s Tale, Th e” (Chaucer), xv, 229–242
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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
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Th e Tempest 193 under-current of h
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Th e Tempest 195 the latter allow a
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Th e Tempest 197 the fools for murd
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Th e Tempest 199 saved, but some, a
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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
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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
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Page 257 and 258: 242 Acknowledgments Warde, Frederic
Page 259 and 260: 244 “Battle of the Maldon, Th e,
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: 250 narrative, 183, 184 Tatem, Sout
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