American Modernism: (1910-1945) (Background to American by Roger Lathbury

By Roger Lathbury

A complete reference advisor to the modernist move in American literature, this quantity presents a wealth of knowledge on American modernism, the misplaced iteration, modernism within the American novel, the Harlem Renaissance, modernism in poetry and drama, and the literary tradition of the Moderns. Writers lined contain: Countee Cullen, E. E. Cummings, John Dos Passos, T. S. Eliot, William Faulkner, F. Scott Fitzgerald, Sigmund Freud, Robert Frost, Ernest Hemingway, Langston Hughes, Zora Neale Hurston, Sinclair Lewis, Eugene O'Neill, Ezra Pound, Gertrude Stein, and extra.

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Revolutionary, allusive, learned, subtle, funny, Ulysses made such a complete and authoritative rejection of conventional fiction that afterward previous ways of writing seemed quaint. Not easy to read, it 30 3. Modernism in the American Novel: Joyce, Dos Passos, and Faulkner changed writing permanently. The old fiction was limited, perhaps dead. Even novelists apart from Joyce’s circle, who did not remain in Paris or never were exiles there, were affected by it. Two of the most prominent of these were John Dos Passos and William Faulkner.

It introduced in full realized form the techniques of modernist fiction. It was read by Dos Passos, Hemingway, Fitzgerald, Faulkner—by every serious writer after 1922. James Joyce’s Ulysses (1922) Ulysses is less of a novel with an evident plot line than a presentation of human existence through a variety of literary techniques. The entire book, over 700 pages, takes place in Dublin on June 16, 1904, and concerns the wanderings of two men in that city. Throughout the course of that day, one or the other of them and sometimes both go to public baths and a newspaper office, attend a funeral, and visit various places: the library, pubs, a maternity hospital, a brothel.

It burst on the Harlem scene with grand success when it appeared in 1923 from the mainstream publisher Liveright. Toomer had come to the attention of writers and critics when his sketches, poems, and stories appeared in literary magazines of the 1920s, such as The Double Dealer, Dial, and Little Review, where many famous writers—Sherwood Anderson, Hemingway, even Joyce—first appeared. Waldo Frank, Allen Tate, as well as black critics (Lola Rodge, William Stanley Braithwaite) hailed Cane as the work of a soon-to-be-major writer.

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