it was ahead of its time. InThe Awakening, a young marriedwoman with attractive children andan indulgent and successful h<strong>us</strong>bandgives up family, money,respectabi<strong>lit</strong>y, and eventually herlife in search of self-realization.Poetic evocations of ocean, birds(caged and freed), and m<strong>us</strong>icendow this short novel with un<strong>us</strong>ualintensity and complexity.Often paired with The Awakeningis the fine story “The Yellow Wallpaper”(1892) by Charlotte PerkinsGilman (1860-1935). Both workswere forgotten for a time, butrediscovered by feminist <strong>lit</strong>erarycritics late in the 20th century. InGilman’s story, a condescendingdoctor drives his wife mad by confiningher in a room to “cure” herof nervo<strong>us</strong> exha<strong>us</strong>tion. The imprisonedwife projects her entrapmentonto the wallpaper, in the design ofwhich she sees imprisoned womencreeping behind bars.MIDWESTERN REALISMFor many years, the editor ofthe important Atlantic Monthlymagazine, William Dean Howells(1837-1920) published realisticlocal color writing by Bret Harte,Mark Twain, George WashingtonCable, and others. He was thechampion of realism, and his novels,such as A Modern Instance(1882), The Rise of Silas Lapham(1885), and A Hazard of NewFortunes (1890), carefully interweavesocial circumstances withthe emotions of ordinary middleclassAmericans.WILLIAM DEAN HOWELLSPhoto © The Bettmann Archive51Love, ambition, idealism, andtemptation motivate his characters;Howells was acutely aware of themoral corruption of b<strong>us</strong>iness tycoonsduring the Gilded Age of the1870s. Howells’s The Rise of SilasLapham <strong>us</strong>es an ironic title to makethis point. Silas Lapham becamerich by cheating an old b<strong>us</strong>inesspartner; and his immoral act deeplydisturbed his family, though foryears Lapham could not see thathe had acted improperly. In theend, Lapham is morally redeemed,choosing bankruptcy rather thanunethical success. Silas Lapham is,like Huckleberry Finn, an unsuccessstory: Lapham’s b<strong>us</strong>iness fallis his moral rise. Toward the endof his life, Howells, like Twain,became increasingly active in po<strong>lit</strong>icalca<strong>us</strong>es, defending the rights oflabor union organizers and deploringAmerican colonialism in thePhilippines.COSMOPOLITAN NOVELISTSHenry James (1843-1916)Henry James once wrote that art,especially <strong>lit</strong>erary art, “makes life,makes interest, makes importance.”James’s fiction and criticismis the most highly conscio<strong>us</strong>,sophisticated, and difficult of itsera. With Twain, James is generallyranked as the greatest Americannovelist of the second half of the19th century.James is noted for his “internationaltheme” — that is, the complexrelationships between naïveAmericans and cosmopo<strong>lit</strong>an Europeans.What his biographer Leon
Edel calls James’s first, or “international,”phase encompassed suchworks as Transatlantic Sketches(travel pieces, 1875), The American(1877), Daisy Miller (1879), and amasterpiece, The Portrait of a Lady(1881). In The American, for example,Christopher Newman, a naïvebut intelligent and idealistic selfmademillionaire ind<strong>us</strong>trialist, goesto Europe seeking a bride. Whenher family rejects him beca<strong>us</strong>e helacks an aristocratic background, hehas a chance to revenge himself; indeciding not to, he demonstrateshis moral superiority.James’s second period wasexperimental. He exploitednew subject matters — feminismand social reform in TheBostonians (1886) and po<strong>lit</strong>icalintrigue in The Princess Casamassima(1885). He also attemptedto write for the theater, but failedembarrassingly when his play GuyDomville (1895) was booed on thefirst night.In his third, or “major,” phaseJames returned to internationalsubjects, but treated them withincreasing sophistication and psychologicalpenetration. The complexand almost mythical The Wingsof the Dove (1902), The Ambassadors(1903) (which James felt washis best novel), and The GoldenBowl (1904) date from this majorperiod. If the main theme of Twain’swork is appearance and rea<strong>lit</strong>y,James’s constant concern is perception.In James, only self-awarenessand clear perception of othersyields wisdom and self-sacrificingHENRY JAMESPhotogravure courtesyNational Portrait Gallery,Smithsonian Institutionlove. As James develops, his novelsbecome more psychological andless concerned with externalevents. In James’s later works, themost important events are all psychological— <strong>us</strong>ually moments ofintense illumination that showcharacters their previo<strong>us</strong> blindness.For example, in The Ambassadors,the idealistic, aging LambertStrether uncovers a secret loveaffair and, in doing so, discovers anew complexity to his inner life.His rigid, upright, mora<strong>lit</strong>y is humanizedand enlarged as he discoversa capacity to accept those whohave sinned.Edith Wharton (1862-1937)Like James, Edith Wharton grewup partly in Europe and eventuallymade her home there. She wasdescended from a wealthy, establishedfamily in New York societyand saw firsthand the decline ofthis cultivated group and, in herview, the rise of boorish, nouveauricheb<strong>us</strong>iness families. This socialtransformation is the backgroundof many of her novels.Like James, Wharton contrastsAmericans and Europeans. Thecore of her concern is the gulf separatingsocial rea<strong>lit</strong>y and the innerself. Often a sensitive characterfeels trapped by unfeeling charactersor social forces. EdithWharton had personally experiencedsuch entrapment, as a youngwriter suffering a long nervo<strong>us</strong>breakdown partly due to the conflictin roles between writer andwife.52
- Page 5 and 6: special songs for children’s game
- Page 7 and 8: Painting courtesy Smithsonian Insti
- Page 9 and 10: he accepted his lifelong job as a m
- Page 11 and 12: solo trip in 1704 from Boston to Ne
- Page 13 and 14: mon, “Sinners in the Hands of an
- Page 15 and 16: CHAPTER2DEMOCRATIC ORIGINSAND REVOL
- Page 17 and 18: should look out for themselves.Bad
- Page 19 and 20: of a Horse the Rider was lost, bein
- Page 21 and 22: translate Homer. Dwight’s epic wa
- Page 23 and 24: Charles Brockden Brown (1771-1810)A
- Page 25 and 26: ness, and they became legends inthe
- Page 27 and 28: CHAPTER3THE ROMANTIC PERIOD,1820-18
- Page 29 and 30: physical self-discovery. For the Ro
- Page 31 and 32: great detail, is a concrete metapho
- Page 33 and 34: Whitman’s voice electrifies evenm
- Page 35 and 36: anti-slavery poems such as“Ichabo
- Page 37 and 38: CHAPTER4THE ROMANTIC PERIOD,1820-18
- Page 39 and 40: cratic families: “The truth is, t
- Page 41 and 42: emanates from the Book of Genesis i
- Page 43 and 44: of ratiocination, or reasoning. The
- Page 45 and 46: has become legendary:I have ploughe
- Page 47 and 48: looked until recently. The same can
- Page 49 and 50: the weak or vulnerable individual.S
- Page 51: falling tree, and every lick makes
- Page 55 and 56: who had lived a century earlier. Pr
- Page 57 and 58: the quiet poverty, loneliness, and
- Page 59 and 60: TWO WOMENREGIONAL NOVELISTSNovelist
- Page 61 and 62: CHAPTER6MODERNISM ANDEXPERIMENTATIO
- Page 63 and 64: more technological, and more mechan
- Page 65 and 66: erary and social traditions for the
- Page 67 and 68: (1935), and Parts of a World (1942)
- Page 69 and 70: themes of Greek tragedy set in ther
- Page 71 and 72: F. Scott Fitzgerald(1896-1940)Franc
- Page 73 and 74: where he lived most of his life.Fau
- Page 75 and 76: John Steinbeck (1902-1968)Like Sinc
- Page 77 and 78: ZORA NEALE HURSTONPhoto © Carl Van
- Page 79 and 80: (1928), a winner of the Pulitzer Pr
- Page 81 and 82: TRADITIONALISMTraditional writers i
- Page 83 and 84: ground melody. It was experimentalp
- Page 85 and 86: John Berryman (1914-1972)John Berry
- Page 87 and 88: poetry writing, for women, as a dan
- Page 89 and 90: his example and influence.Beat poet
- Page 91 and 92: acial differences have shaped their
- Page 93 and 94: Acoma, New Mexico.A central text in
- Page 95 and 96: Americans, from Harper (a collegepr
- Page 97 and 98: At the opposite end of the theoreti
- Page 99 and 100: Robert Penn Warren(1905-1989)Robert
- Page 101 and 102: was set in Mexico during the revolu
- Page 103 and 104:
ful people whose inner faultsand di
- Page 105 and 106:
veiled account of the life ofBellow
- Page 107 and 108:
(1964), Bullet Park (1969), andFalc
- Page 109 and 110:
eing reported. In The Electric Kool
- Page 111 and 112:
own phrase) in negotiating thechaot
- Page 113 and 114:
the sweep of time from the end of t
- Page 115 and 116:
vivid, and often comic novel is asu
- Page 117 and 118:
sister discovers her inner strength
- Page 119 and 120:
paths of life in his early years,fl
- Page 121 and 122:
acism and adopted the surname ofhis
- Page 123 and 124:
Bishop, generally considered the fi
- Page 125 and 126:
arate vantage point. As in a film
- Page 127 and 128:
moments of spiritual insight rescue
- Page 129 and 130:
the city in which I love you.And I
- Page 131 and 132:
loads up steep hills on the Greekis
- Page 133 and 134:
Billy Collins (1941- )The most infl
- Page 135 and 136:
in a musicians’ “jam session.
- Page 137 and 138:
CHAPTER10CONTEMPORARYAMERICANLITERA
- Page 139 and 140:
with private lives.Influenced by Th
- Page 141 and 142:
ecognition for her Crimes of the He
- Page 143 and 144:
Kennedy as an explosion of frustrat
- Page 145 and 146:
Coast. Cotton and the plantationcul
- Page 147 and 148:
tle, open-ended fiction; recent vol
- Page 149 and 150:
nature essayist Rick Bass (1958- ),
- Page 151 and 152:
AMY TANPhoto: Associated Press /Gra
- Page 153 and 154:
Sherman Alexie (1966- ), aSpokane/C
- Page 155 and 156:
tells the story of an illegal immig
- Page 157 and 158:
156
- Page 159 and 160:
GLOSSARYFaust: A literary character
- Page 161 and 162:
GLOSSARYPoet Laureate: An individua
- Page 163 and 164:
162
- Page 165 and 166:
INDEXBabbitt (Sinclair Lewis) 60, 7
- Page 167 and 168:
INDEXCummings, Edward Estlin (e.e.
- Page 169 and 170:
INDEXGolden Apples, The (Eudora Wel
- Page 171 and 172:
INDEXKumin, Maxine 90, 130Kushner,
- Page 173 and 174:
INDEX“Negro Speaks of Rivers, The
- Page 175 and 176:
INDEXSeascape (Edward Albee) 117Sea
- Page 177 and 178:
INDEXWaiting (Ha Jin) 155Waiting fo
- Page 179:
U.S. DEPARTMENT OF STATE /BUREAU OF