DOCSLIB.ORG

Midamerica IX 1982

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Midamerica IX 1982 MIDAMERICA IX the yearbook of the Society for the Study of Midwe$tern Literature 1982 Edited By DAVID D. AND,ERSON The Midwestern Press The Center for the Study of Midwestern Literature and Culture Michigan State UniVersity East Lansing, Michigan 1982 In Honor of MARC VAN WORMER Copyright 1982 . by the Society for the Study of Midwestern Literature. All rights reserved Printed in the United States of America PREFACE With the publication of M idAmerica IX the Society for the Study of Midwestern Literature marks another year of progress, highlighted by the most Successful twelfth annual conference, the Symposium on the Cultural Heritage of the Midwest and con­ current Midwest Poetry Festival held at Michigan State Univer­ sity on May 6-8. Awards presented at the conference were the MidAmerica Award to Clarence Andrews and the Mark Twain Award to Wright Morris. The symposium and festival to be held in May 1983 are expected to be equally successful. The wide variety of essays, many of which had their incep­ tion at past symposia, and the impressive bibliography that make up MidAmerica IX are further evidence of the continued growth of Midwestern literature and Midwestern literary study. Espe­ cially commendable axe the efforts of Donald Pady and Robert Beasecker, the Society's bibliographers, in making available the record of Midwestern literature and literary study in this yearbook and in their computerized records. Commendable, too, are the 'continued efforts of Marc Van Wormer, Conference Coordinator at Michigan State University, in making the symposia and poetry festivals successful. We dedicate this volume to him as an ex­ pression of the Society's appreciation. October, 1982 DAVID D. ANDERSON Contents Preface 5 John Russell and the Piasa Legend John E. Hallwas 9 Hamlin Garland: Realist of Old Age Leland Krauth 23 Twenty Acres of Independence: The Letters of Omar Morse, 1890-1900 James Marshall 38 Another Angle of Willa Cather's Artistic Prism: Impressionistic Character Portraiture in My Antonia Edward J. Piacentino 53 Belgian Sources of Brand Whitlock's "French" Expatriate Novels Paul W. Miller 65 Michigan Proletarian Writers and the Great Depression David D. Anderson 76 Mark Schorer's Wisconsin Writings John Stark 98 Ohio Boyhoods: A Study of Adolescence in Novels by Robert McCloskey, Virginia Hamilton, and Don Moser Linda R. Silver 114 Sinclair Lewis vs. Zane Grey: Mantrap as Satirical Western Robert E. Fleming 124 The Chicago Literary Times: A Description and a Book Review Index Ray Lewis White 139 Annual Bibliography of Midwestern Literature: 1980 Editors: Robert Beasecker and Donald Pady 148 JOHN RUSSELL AND THE PIASA LEGEND JOHN E. HALLWAS John Russell (1793-1863), who spent much of his life at Bluff­ dale, Illinois, near Carrollton, was the most well-known fiction writer in that state after James Hall left in 1833. Unfortunately, he was not as talented as Hall, and so today there is little reason to read any of his moralistic and sentimental short stories and novelettes. However, Russell's works were admired in his own day, not only by Hall, who printed "The Emigrant" and "The Spectre Hunter" in his Western Monthly Magazine, but by John Mason Peck and John Reynolds, who were also widely known contemporaneous men of letters. Three decades ago Russell's career was the subject of an ar­ ticle by John Flanagan, but he failed to discuss, or even mention, the most successful story in the author's canon, "The Piasa: An Indian Tradition of Illinois.'" However, seven years later Rus­ .sell's authorship of that narrative was discussed by Wayne C. Temple in "The Piasa Bird: Fact or Fiction?" As his title indi­ cates, he was concerned only with determining whether there was any historical basis for the tale - and his research led him to conclude that there was none: Russell's story is full of the supernatural and its compo­ sition shows the flair of a novelist. He certainly never intended for this fanciful tale to be accepted as a historical article, but the reading public did just that. When ques­ tioned by William McAdams about the Piasa legend, Rus­ sell admitted that his story was "somewhat illustrated." And years later, his son, Spencer G. Russell, related to John F. Snyder that his father at one time coufessed to him that the legend of the Piasa Bird was the product of his imagi­ nation coupled with Marquette's account? 9 MIDAMERICA IX John RtMsell and the Piasa Legend 11 10 the great magalonyx and mastodon, whose bones are now Temple's conclusion is not very surprising, for a story about :' dug up, were still living in this land of the green prairies huge man-eating bird was not likely to be factual. However, It there exist.ed ~ bird of such dinlensions that he could easil; is evident from what he uncovered that the Piasa legend should carry off, m his talons, a full grown deer. Having obtained clearly be regarded as Russell's literary creation and not an In­ a taste of human flesh, from that time he would prey upon dian tale that the latter ran across and sinlply transcribed for nothing else. He was artful as he was powerful; would dart publication. / , ~uddenly and unexpectedly upon an Indian, bear him off Although Temple mentions other authors who retold Russell s mto one of the caves in the bluff, and devour him. Hun­ story, he does not discuss the literary quality of the various ver­ ru:eds of Warriours attempted for years to destroy him, but sions Yet this is an interesting consideration because there are Wlthout success. Whole villages were nearly depopulated, signtlicant differences between Russell's tale and later versi~ns and consternation spread through all the tribes of the Illini. that were based on it. These differences allow us to determme At length, Ouatoga, a chief, whose fame as a warriour ex­ tendeCl beyond the great lakes, separating himself from the how various tellers of the legend tried to interpret it, and they rest of his tribe, fasted in solitude for the space of a whole also provide insights into the transmission history of this famous moon, and prayed to the Great Spirit, the Master of life, tale. that he would protect his children from the Piasa. On the Russell's account first appeared in an eastern magazine dur- ~ast night of the fa~t, the Great Spirit appeared to Ouatoga ing 1836, and it is brief enough to present here in its entirety: m a dream, and drrected him to select twenty of his war­ No part of the United States, not ev~n the highla;'ds of riours, each armed with a bow and a poisoned arrow, and the Hudson, can vie, in wild and romantik ~cenery, wIth the conceal them in a desiguated spot. Near the place of their bluffs of the Illinois. On one side of the flver, often at the conce~~ent, another warriour waS to stand in open view, water's edge a perpendicular wall of rock rises to the height as a VIctim for the Piasa, which they must shoot the instant of some hu~dred feet. Generally on the opposite shore is that he pounced upon his prey. When the chief awoke in a level bottom or prairie, of several miles in width, extend­ t~e n:0ming, he thanked the Great Spirit, and returning to ing to a similar bluff that runs parallel with the river. his trIbe, told them his dream. The warriours were quickly One of these ranges commences at Alton, and extends s~lected and placed in ambush as directed. Ouatoga offered with few intervals for many miles along the left bank of himself as the victim. He was willing to die for his tribe. the Illinois. In descending the river to Alton, the trl!cvell~r P~acing himself in open view of the bluff, he soon saw the will observe between that town and the mouth of the I1~­ Plasa perched on the cliff eyeing his prey. Ouatoga drew nois a narrow ravine through which a small stream d,S­ up his manly form to its utlnost height, and planting his cha;ges its waters into the Mississippi. The stream is the feet firmly upon the earth, began to chant the death-song Piasa. Its name is Indian, and signifies in the lang:;age of of a warriour. A moment after, the Piasa rose into the air, the Illini "THE BIRD THAT DEVOURS MEN. Near and swift as the thunderbolt, darted down upon the chief. the mouti, of that stream, on the smooth and perpendicular Scarcely had he reached his victinl when every bow was face of the bluff at an elevation which no human art can sprung, and every arrow sent, to the feather, into his body. reach, is cut the figure of an enormous bird, with its wings The Piasa uttered a wild, fearful scream, that resounded extended. The bird which this figure represents was called far over the opposite side of the river, and expired. Ouatoga by the Indians, the Piasa, and from this is derived the was safe. Not an arrow, not even the talons of the bird had touched him. The Master of life, in admiration of th~ name of the stream. The tradition of the Piasa is still current among all the generous deed of Ouatoga, had held over hinl an invisible tribes of the Upper Mississippi, and those who have in­ shield. In memory of this event, the inlage of the Piasa habited the valley of the Illinois, and is briefly this: "Many was engraved on the face of the bluff." Such is the Indian thousand moons before the arrival of the pale faces, when tradition.
Load more

Recommended publications
  • The Black Arts Enterprise and the Production of African American Poetry
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett.
    [Show full text]
  • Biography Etheridge Knight Was a Man of Mystery. According To
    Biography Etheridge Knight was a man of mystery. According to Sanford Pinsker, “Knight is the kind of poet who gives poetry a good name.”1 Fran Quinn, a close friend of Knight’s said that Knight is “the kind of person that a lot of rumors are going to gather around.”2 One thing that is certain is the he managed to produce a body of work that is to this day considered some of the finest of American poetry. Etheridge Knight was born on April 19, 1931, in Corinth, Mississippi. He grew up in Paducah, Kentucky. Knight only attended school until he had finished the eight grade. It was during this period that his problems with drug and alcohol use began, although this was also when he was introduced to the art of toasting. Toasts are traditional oral forms of narratives, often focusing on “drugs, sex, illegal activities, and violence.” After he dropped out, he ended up joining the army in 1947. Knight saw active duty in Korea and served until he was discharged in 1951 after suffering a shrapnel wound.3 In 1960 he was arrested for what was officially called armed robbery.4 Knight had distracted a clerk at a convenience store and taken $12 out of the register. When the police picked him up a few blocks away, he was found to have a knife in his pocket. The whole incident had been caught on the store’s security camera, and despite never having drawn the weapon, Knight was convicted of armed robbery and made into an example by the judge; who sentenced him to one year in prison for each dollar taken.
    [Show full text]
  • GAILY, GAILY the NIGHT THEY RAIDED MINSKY's “In 1925, There
    The one area where it succeeded perfectly was So, Rosenblum began refashioning the film, in its score by Henry Mancini. By this time, using a clever device of stock footage that Mancini was already a legend. After toiling in the would lead into the production footage, rear - GAILY, GAILY music department at Universal (the highlight of ranging and restructuring scenes, and spend - his tenure there would be Orson Welles’ Touch ing a year doing so – the result was stylish and Of Evil) , he hit it big, first with his TV score to visually interesting and it transformed the film THE NIGHT Peter Gunn – which not only provided that from disaster into a hit. THEY RAIDED MINSKY’S Blake Edwards series with its signature sound, but which also produced a best-selling album The score for Minsky’s was written by Charles on RCA – and then in a series of films for which Strouse, who’d already written several Broad - “In 1925, he provided amazing scores, one right after an - way shows, as well as the score for the film other – Breakfast At Tiffany’s, Charade, Hatari, Bonnie and Clyde . The lyrics were by Lee there was this real The Pink Panther, Days Of Wine and Roses , Adams, with whom Strouse had written the religious girl” and many others. Many of those films also pro - Broadway shows Bye Bye Birdie, All-American, duced best-selling albums. Mancini not only Golden Boy, It’s A Bird, It’s A Plane, It’s Super - knew how to score a film perfectly, but he was man and others.
    [Show full text]
  • Nothing Sacred (United Artists Pressbook, 1937)
    SEE THE BIG FIGHT! DAVID O. SELZNICK’S Sensational Technicolor Comedy NOTHING SACRED WITH CAROLE LOMBARD FREDRIC MARCH CHARLES WINNINCER WALTER CONNOLLY by the producer and director of "A Star is Born■ Directed by WILLIAM A. WELLMAN * Screen play by BEN HECHT * Released thru United Artists Coyrighted MCMXXXVII by United Artists Corporation, New York, N. Y. KNOCKOUT'- * IT'S & A KNOCKOUT TO^E^ ^&re With two great stars 1 about cAROLE {or you to talk, smg greatest comedy LOMBARD, at her top the crest ol pop- role. EREDWC MARC ^ ^ ^feer great ularity horn A s‘* ‘ cWSD.» The power oi triumph in -NOTHING SA oi yfillxanr Selznick production, h glowing beauty oi Wellman direction, combination ^ranced Technicolor {tn star ls . tS made a oi a ^ ““new 11t>en “^ ”«»•>- with selling angles- I KNOCKOUT TO SEE; » It pulls no P“che%afanXioustocount.Beveald laughs that come too to ot Carole Lomb^ mg the gorgeous, gold® the suave chmm ior the fast “JXighest powered rolejhrs oi Fredric March m the g ^ glamorous Jat star has ever had. It 9 J the scieen has great star st unusual story toeS production to th will come m on “IsOVEB:' FASHION PROMOTION ON “NOTHING SACHEH” 1AUNCHING a new type of style promotion on “The centrated in the leading style magazines and papers. And J Prisoner of Zenda,” Selznick International again local distributors of these garments will be well-equipped offers you this superior promotional effort on to go to town with you in a bang-up cooperative campaign “Nothing Sacred.” Through the agency of Lisbeth, on “Nothing Sacred.” In addition, cosmetic tie-ups are nationally famous stylist, the pick of the glamorous being made with one of the country’s leading beauticians.
    [Show full text]
  • INTRODUCTION Fatal Attraction and Scarface
    1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things.
    [Show full text]
  • Steinbeck the Writer-Knight
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1990 Steinbeck the Writer-Knight William Scott Simkins College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Simkins, William Scott, "Steinbeck the Writer-Knight" (1990). Dissertations, Theses, and Masters Projects. Paper 1539625595. https://dx.doi.org/doi:10.21220/s2-fa3r-2g19 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. STEINBECK THE WRITER-KNIGHT A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by William Scott Simkins 1990 APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of MASTER OF ARTS William Scott Simkins Approved, December 1990 W. Qjpydoa John W. Conlee, Chair Scott Donaldson David C. Jenkins TABLE OF CONTENTS ACKNOWLEDGEMENTS............................................................................................................iv ABSTRACT.......................................................................................................................................v
    [Show full text]
  • The Black Plumb Line: Re-Evaluating Race and Africanist Images in Non-Black Authored American Texts
    The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2011 The Black Plumb Line: Re-evaluating Race and Africanist Images in Non-Black Authored American Texts LaShondra Vanessa Robinson University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Literature in English, North America Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Recommended Citation Robinson, LaShondra Vanessa, "The Black Plumb Line: Re-evaluating Race and Africanist Images in Non- Black Authored American Texts" (2011). Dissertations. 663. https://aquila.usm.edu/dissertations/663 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi THE BLACK PLUMB LINE: RE-EVALUATING RACE AND AFRICANIST IMAGES IN NON-BLACK AUTHORED AMERICAN TEXTS by LaShondra Vanessa Robinson Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2011 ABSTRACT THE BLACK PLUMB LINE: RE-EVALUATING RACE AND AFRICANIST IMAGES IN NON-BLACK AUTHORED AMERICAN TEXTS by LaShondra Vanessa Robinson August 2011 This study evaluates Africanisms (representations of racialized or ethnicized blackness) within three contemporary non-black authors’ texts: Jewish American Saul Bellow’s novel Henderson the Rain King, white southerner Melinda Haynes’ novel Mother of Pearl, and Nyurican poet Victor Hernández Cruz’s works “Mesa Blanca” and “White Table.” Though not entirely unproblematic, each selection somehow redefines black identity and agency to challenge denigrated representations of Africanist people and culture.
    [Show full text]
  • P E R F O R M I N G
    PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales).
    [Show full text]
  • Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society
    Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society Originally compiled as a printed guide (Selected African-American History Collections) by Wilma L. Gibbs, 1996 Revised and updated by Wilma L. Gibbs as an online guide, 2002 and 2004 Introduction Personal Papers Organizations, Institutions, and Projects Communities Education Race Relations Religious Institutions 15 July 2004 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org Introduction This guide describes manuscript and visual collections in the William Henry Smith Memorial Library of the Indiana Historical Society (IHS) that document the experiences of African Americans in Indiana. In 1982, a collecting effort was formalized at the Historical Society to address the concern for the paucity of records available for doing research on the history of African Americans in the state. The purpose of that effort continues to be to collect, process, preserve, and disseminate information related to the history of black Hoosiers. The Archivist, African American History is available to answer and direct research questions from the public. Indiana Historical Society members can receive Black History News & Notes, a quarterly newsletter that publicizes library collections, relevant historical events, and short papers pertaining to Indiana’s black history. Preserving Indiana’s African American heritage is a cooperative venture. The Society needs your help in providing information about existing records in attics, basements, and garages that can be added to the library’s collections. As more records are collected and organized, a more accurate and complete interpretation of Indiana history will emerge.
    [Show full text]
  • AUDRE LORDE: Dream of Europe 90000> SELECTED SEMINARS and INTERVIEWS 1984–1992
    ISBN 978-0-9997198-7-9 AUDRE LORDE: dream of europe 90000> SELECTED SEMINARS AND INTERVIEWS 1984–1992 9780999 719879 AUDRE LORDE AUDRE : dream of europe dream of AUDRE LORDE: dream of europe elucidates Lorde’s methodology as a poet, mentor, and activist during the last decade of her life. This volume compiles a series of seminars, interviews, and conversations held by the author and collaborators across Berlin, Western Europe, and The Caribbean between 1984-1992. While Lorde stood at the intersection of various historical and literary movements in The United States—the uprising of black social life after the Harlem Renaissance, poetry of the AIDS epidemic, and the unfolding of the Civil Rights Movement-- this selection of texts reveals Lorde as a catalyst for the first movement of Black Germans in West Berlin. Lorde’s intermittent residence in Berlin lasted for nearly ten years, a period where she inspired many important local and global initiatives, from individual poets to international movements. The legacy of this “Black, lesbian, mother, warrior, poet” has been well persevered by her colleagues in Germany. It is an erotics of friendship that allowed Lorde and her collaborators EDITIONSKENNING to develop a strong sense of political responsibility for each other, transforming alliance and love Edited, with an afterword between women into tools for social change. These selected writings lay bare struggles, bonds, and by Mayra A. Rodríguez Castro Preface by Dagmar Schultz hopes shared among Black women in a transnational political context. POETRY | POLITICS KENNING EDITIONS POETRY | POLITICS KENNING EDITIONS AUDRE LORDE Lorde_Dream-draft.indd 2-3 11/14/19 8:39 AM DREAM OF EUROPE SELECTED SEMINARS AND INTERVIEWS: 1984-1992 Edited, with an afterword, by Mayra A.
    [Show full text]
  • The Notorious Ben Hecht
    Purdue University Purdue e-Pubs Purdue University Press Book Previews Purdue University Press 3-2019 The otN orious Ben Hecht: Iconoclastic Writer and Militant Zionist Julien Gorbach Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_previews Part of the Film and Media Studies Commons, and the Jewish Studies Commons Recommended Citation Gorbach, Julien, "The otN orious Ben Hecht: Iconoclastic Writer and Militant Zionist" (2019). Purdue University Press Book Previews. 26. https://docs.lib.purdue.edu/purduepress_previews/26 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. “In The Notorious Ben Hecht: Iconoclastic Writer and Militant Zionist, Julien Gorbach highlights the character, the motivations, and the involvement of an engaged intellectual, crossing from the world of words into that of assertive advocacy on behalf of a cause deemed too narrow for the milieu in which he was a major element. In focusing on this facet of the life of one who was a borderline American Jew, Gorbach not only details the personal biography of Hecht as Hollywood screenwriter, playwright, and novelist, but in his treatment of Hecht’s activities on behalf of the Jewish resistance in Mandate Palestine against the oppressive British rule, he retrieves that period of Israel’s history shunted aside due to ideological and political bias, the years of the national liberation struggle prior to the establishment of the state that have been subjected to a campaign of purposeful neglect and which affected Hecht as well.” —Yisrael Medad, Research Fellow, Menachem Begin Heritage Center, Jerusalem “With storytelling skills equal to his subject’s, Julien Gorbach shows the nuance and complexity of Ben Hecht’s transformation from secular and cynical Hollywood script doctor to committed Zionist activist attempting first to save the Jews of Europe during World War II, and then to found the state of Israel.
    [Show full text]
  • Writing Communities: Aesthetics, Politics, and Late Modernist Literary Consolidation
    WRITING COMMUNITIES: AESTHETICS, POLITICS, AND LATE MODERNIST LITERARY CONSOLIDATION by Elspeth Egerton Healey A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2008 Doctoral Committee: Associate Professor John A. Whittier-Ferguson, Chair Associate Professor Kali A. K. Israel Associate Professor Joshua L. Miller Assistant Professor Andrea Patricia Zemgulys © Elspeth Egerton Healey _____________________________________________________________________________ 2008 Acknowledgements I have been incredibly fortunate throughout my graduate career to work closely with the amazing faculty of the University of Michigan Department of English. I am grateful to Marjorie Levinson, Martha Vicinus, and George Bornstein for their inspiring courses and probing questions, all of which were integral in setting this project in motion. The members of my dissertation committee have been phenomenal in their willingness to give of their time and advice. Kali Israel’s expertise in the constructed representations of (auto)biographical genres has proven an invaluable asset, as has her enthusiasm and her historian’s eye for detail. Beginning with her early mentorship in the Modernisms Reading Group, Andrea Zemgulys has offered a compelling model of both nuanced scholarship and intellectual generosity. Joshua Miller’s amazing ability to extract the radiant gist from still inchoate thought has meant that I always left our meetings with a renewed sense of purpose. I owe the greatest debt of gratitude to my dissertation chair, John Whittier-Ferguson. His incisive readings, astute guidance, and ready laugh have helped to sustain this project from beginning to end. The life of a graduate student can sometimes be measured by bowls of ramen noodles and hours of grading.
    [Show full text]