Contemporary Fiction Core List

Total Page:16

File Type:pdf, Size:1020Kb

Contemporary Fiction Core List Contemporary Fiction Core List Required Primary Texts: 1. Margaret Atwood: The Handmaid’s Tale (1985) 2. James Baldwin: “Sonny’s Blues” (1957) & Another Country (1962) 3. Sandra Cisneros: The House on Mango Street (1984) 4. Don DeLillo: White Noise (1985) 5. Ralph Ellison: Invisible Man (1952) 6. Ernest J. Gaines: A Lesson Before Dying (1993) 7. Joseph Heller: Catch 22 (1961) 8. Maxine Hong Kingston: The Woman Warrior (1976) 9. Toni Morrison: Beloved (1987) 10. Tim O’Brien: The Things They Carried (1990) 11. Flannery O’Connor—stories: “A Good Man Is Hard To Find” “Good Country People” “The Life You Save May Be Your Own” “Everything That Rises Must Converge” “A Late Encounter With the Enemy” “The Displaced Person” “The Lame Shall Enter First” “The Comforts of Home” “A Stroke of Good Fortune” “Parker’s Back” 12. Ishmael Reed: Mumbo Jumbo (1972) 13. Philip Roth: American Pastoral (1997) 14. Leslie Marmon Silko: Ceremony (1977) 15. Alice Walker: The Color Purple (1982) EXPANDED PRIMARY CORE (BOLD = REQUIRED CORE 15; SELECT 5 OTHER TEXTS/TEXT- GROUPINGS TO COMPLETE PRIMARY CORE LIST OF 20) 1. Julia Alvarez: How The Garcia Girls Lost Their Accents (1991) 2. Margaret Atwood: The Handmaid’s Tale (1985) 3. James Baldwin: “Sonny’s Blues” (1957) & Another Country (1962) 4. Toni Cade Bambara: Gorilla, My Love (stories, 1972) or The Salt Eaters (novel, 1980) 5. John Barth: Lost in the Funhouse (stories, 1968) or The Sot-Weed Factor (novel, 1960) 6. Saul Bellow: Herzog (1964) 7. William Burroughs: Naked Lunch (1951) 8. Octavia Butler: Bloodchild (stories, 1995) or Kindred (novel, 1979) 9. Raymond Carver—stories: “Errand” “A Small Good Thing” (and “The Bath”) “Cathedral” “What We Talk About When We Talk About Love” “Where I’m Calling From” “Popular Mechanics” “So Much Water So Close To Home” “Will You Please Be Quiet, Please?” “Popular Mechanics” “Vitamins” and “Neighbors” 10. John Cheever—stories: “Goodbye, My Brother” “The Enormous Radio” “The Season of Divorce” “O Youth and Beauty!” “The Five-Forty-Eight” “The Country Husband” “The Swimmer” “Reunion” “The Sorrows of Gin” “Christmas Is A Sad Season For the Poor” 11. Frank Chin: The Chinaman Pacific and Frisco R.R. Co. (1988) 12. Sandra Cisneros: The House on Mango Street (1984) 13. Michael Cunningham: The Hours (1998) 14. Don DeLillo: White Noise (1985) 15. Junot Diaz: Drown (stories, 1996) or The Brief Wondrous Life of Oscar Wao (novel, 2007) 16. Joan Didion: Play It As It Lays (1970) 17. E.L. Doctorow: Ragtime (1975) 18. Ralph Ellison: Invisible Man (1952) 19. Louise Erdrich: Tracks (1988) 20. Ernest J. Gaines: A Lesson Before Dying (1993) 21. Joseph Heller: Catch 22 (1961) 22. Oscar Hijuelos: The Mambo Kings Play Song of Love (1989) 23. Shirley Jackson: The Lottery (stories, 1949) or The Haunting of Hill House (novel, 1959) 24. Denis Johnson: Jesus’ Son (1992) or Tree of Smoke (2007) 25. Edward P. Jones: Lost in the City (stories, 1993) or The Known World (novel, 2003) 26. Jack Kerouac: On the Road (1957) 27. Ken Kesey: One Flew Over the Cuckoo’s Nest (1962) 28. Jerzy Kosiński: The Painted Bird (1965) 29. Jamaica Kincaid: At the Bottom of the River (stories, 1983) or Annie John (novel, 1985) 30. Maxine Hong Kingston: The Woman Warrior (1976) 31. Chang-Rae Lee: Native Speaker (1995) 32. Harper Lee: To Kill A Mockingbird (1960) 33. David Leavitt: The Lost Language of Cranes (1986) 34. Cormac McCarthy: Blood Meridian (1985) 35. Carson McCullers: The Ballad of the Sad Café (novella & stories, 1951) or The Member of the Wedding (novel, 1961) 36. James Alan McPherson: Elbow Room (1977) 37. N. Scott Momaday: House Made of Dawn (1968) 38. Toni Morrison: Beloved (1987) 39. Alice Munro: The Beggar Maid (1978) 40. Vladimir Nabokov: Lolita (1955) 41. Tim O’Brien: The Things They Carried (1990) 42. Flannery O’Connor—stories: “A Good Man Is Hard To Find” “Good Country People” “The Life You Save May Be Your Own” “Everything That Rises Must Converge” “A Late Encounter With the Enemy” “The Displaced Person” “The Lame Shall Enter First” “The Comforts of Home” “A Stroke of Good Fortune” “Parker’s Back” 43. Tillie Olsen: Tell Me A Riddle (1961) 44. Cynthia Ozick: The Shawl (1989) 45. Grace Paley: Enormous Changes At The Last Minute (1974) 46. Walker Percy: The Moviegoer (1961) 47. Ann Petry: The Street (1946) 48. Sylvia Plath: The Bell Jar (1963) 49. Thomas Pynchon: The Crying of Lot 49 (1966) 50. Ishmael Reed: Mumbo Jumbo (1972) 51. Marilynne Robinson: Housekeeping (1981) 52. Philip Roth: American Pastoral (1997) 53. JD Salinger: Catcher in the Rye (novel, 1951) or Nine Stories (stories, 1953) 54. Leslie Marmon Silko: Ceremony (1977) 55. Susan Sontag: “The Way We Live Now” (story, 1986) & In America (novel, 1999) 56. Wallace Stegner: Angle of Repose (1971) 57. William Styron: The Confessions of Nat Turner (1967) 58. John Updike: Rabbit, Run (1960) 59. Alice Walker: The Color Purple (1982) 60. David Foster Wallace: Infinite Jest (1996) 61. Eudora Welty: The Optimist’s Daughter (novel, 1972) or select stories, including: “Why I Live At The P.O.,” “Petrified Man,” “The Worn Path,” and “Where Is The Voice Coming From?” 62. John Edgar Wideman: Philadelphia Fire (1990) 63. Kurt Vonnegut: Slaughterhouse Five (1969) 64. Hisaye Yamamoto: Seventeen Syllables and Other Stories (1988) 65. Richard Yates: Revolutionary Road (1961) Required Secondary Texts: 1. Charles Baxter – Burning Down the House 2. Wayne Booth – The Rhetoric of Fiction 3. Janet Burroway – Writing Fiction: A Guide to Narrative Craft 4. E.M. Forster – Aspects of the Novel 5. John Gardner – The Art of Fiction, On Moral Fiction, On Becoming a Novelist 6. David Lodge – The Art of Fiction 7. Vladimir Nabokov – Lectures on Literature 8. Flannery O’Connor – Mystery and Manners 9. Jane Smiley – 13 Ways of Looking at the Novel 10. James Wood – How Fiction Works .
Recommended publications
  • Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K
    Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K. A. Applegate Jeffrey Archer Diana Athill Paul Auster Wasi Ahmed Victoria Aveyard Kevin Baker Mark Allen Baker Nicholson Baker Iain Banks Russell Banks Julian Barnes Andrea Barrett Max Barry Sebastian Barry Louis Bayard Peter Behrens Elizabeth Berg Wendell Berry Maeve Binchy Dustin Lance Black Holly Black Amy Bloom Chris Bohjalian Roberto Bolano S. J. Bolton William Boyd T. C. Boyle John Boyne Paula Brackston Adam Braver Libba Bray Alan Brennert Andre Brink Max Brooks Dan Brown Don Brown www.downloadexcelfiles.com Christopher Buckley John Burdett James Lee Burke Augusten Burroughs A. S. Byatt Bhalchandra Nemade Peter Cameron W. Bruce Cameron Jacqueline Carey Peter Carey Ron Carlson Stephen L. Carter Eleanor Catton Michael Chabon Diane Chamberlain Jung Chang Kate Christensen Dan Chaon Kelly Cherry Tracy Chevalier Noam Chomsky Tom Clancy Cassandra Clare Susanna Clarke Chris Cleave Ernest Cline Harlan Coben Paulo Coelho J. M. Coetzee Eoin Colfer Suzanne Collins Michael Connelly Pat Conroy Claire Cook Bernard Cornwell Douglas Coupland Michael Cox Jim Crace Michael Crichton Justin Cronin John Crowley Clive Cussler Fred D'Aguiar www.downloadexcelfiles.com Sandra Dallas Edwidge Danticat Kathryn Davis Richard Dawkins Jonathan Dee Frank Delaney Charles de Lint Tatiana de Rosnay Kiran Desai Pete Dexter Anita Diamant Junot Diaz Chitra Banerjee Divakaruni E. L. Doctorow Ivan Doig Stephen R. Donaldson Sara Donati Jennifer Donnelly Emma Donoghue Keith Donohue Roddy Doyle Margaret Drabble Dinesh D'Souza John Dufresne Sarah Dunant Helen Dunmore Mark Dunn James Dashner Elisabetta Dami Jennifer Egan Dave Eggers Tan Twan Eng Louise Erdrich Eugene Dubois Diana Evans Percival Everett J.
    [Show full text]
  • Native American Reads
    Native American Reads Braiding Sweetgrass by Robin Wall Kimmerer As a botanist, the author is trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In this work of nonfiction, Kimmerer brings these two lenses of knowledge together in an amazing journey. Ceremony by Leslie Marmon Silko On a New Mexico reservation, one Navajo family--including Tayo, a World War II veteran deeply scarred by his experiences as a Japanese POW and by the rejection of his own people--struggles to survive in a world no longer theirs in the years just before and after World War II. Cherokee America by Margaret Verble. Check, in many ways the central character, has a fascinating personal history: her father is both a slave owner and a well-known soldier; her husband is an abolitionist. Check determines to solve, and avenge, a series of crimes all while history marches forward, threatening to tear her nation — and her family, apart. Refreshingly honest about slave ownership in Cherokee territory, this novel takes us through the Civil War and shows us the consequences that this part of American history has had on a people and their right to self-determination. Crazy Brave: a memoir by Joy Harjo A memoir from the Native American poet describes her youth with an abusive stepfather, becoming a single teen mom, and how she struggled to finally find inner peace and her creative voice. Crooked Hallelujah by Kelli Jo Ford Centering on teenage Justine, but covering three generations of Cherokee women, this novel-in-stories follows Justine’s life in Oklahoma, as she deals with being abandoned by her father and the toughness, and tenderness, of her mother and grandmother.
    [Show full text]
  • AP English Literature and Composition: Study Guide
    AP English Literature and Composition: Study Guide AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse, this product. Key Exam Details While there is some degree of latitude for how your specific exam will be arranged, every AP English Literature and Composition exam will include three sections: • Short Fiction (45–50% of the total) • Poetry (35–45% of the total) • Long Fiction or Drama (15–20% of the total) The AP examination will take 3 hours: 1 hour for the multiple-choice section and 2 hours for the free response section, divided into three 40-minute sections. There are 55 multiple choice questions, which will count for 45% of your grade. The Free Response writing component, which will count for 55% of your grade, will require you to write essays on poetry, prose fiction, and literary argument. The Free Response (or “Essay” component) will take 2 hours, divided into the three sections of 40 minutes per section. The course skills tested on your exam will require an assessment and explanation of the following: • The function of character: 15–20 % of the questions • The psychological condition of the narrator or speaker: 20–25% • The design of the plot or narrative structure: 15–20% • The employment of a distinctive language, as it affects imagery, symbols, and other linguistic signatures: 10–15% • And encompassing all of these skills, an ability to draw a comparison between works, authors and genres: 10–15 % The free response portion of the exam will test all these skills, while asking for a thesis statement supported by an argument that is substantiated by evidence and a logical arrangement of the salient points.
    [Show full text]
  • 11 Th Grade American Literature Summer Assignment (2019­2020 School Y Ear)
    6/26/2019 American Lit Summer Reading 2019-20 - Google Docs 11 th Grade American Literature Summer Assignment (2019­2020 School Y ear) Welcome to American Literature! This summer assignment is meant to keep your reading and writing skills fresh. You should choose carefully —select books that will be interesting and enjoyable for you. Any assignments that do not follow directions exactly will not be accepted. This assignment is due Friday, August 16, 2019 to your American Literature Teacher. This will count as your first formative grade and be used as a diagnostic for your writing ability. Directions: For your summer assignment, please choose o ne of the following books to read. You can choose if your book is Fiction or Nonfiction. Fiction Choices Nonfiction Choices Catch 22 by Joseph Heller The satirical story of a WWII soldier who The Short and Tragic Life of Robert Peace by Jeff Hobbs. An account thinks everyone is trying to kill him and hatches plot after plot to keep of a young African‑American man who escaped Newark, NJ, to attend from having to fly planes again. Yale, but still faced the dangers of the streets when he returned is, Bastard Out of Carolina by Dorothy Allison The story of an abusive “nuanced and shattering” ( People ) and “mesmeric” ( The New York Southern childhood. Times Book Review ) . The Known World by Edward P. Jones The story of a black, slave Outliers / Blink / The Tipping Point by Malcolm Gladwell Fascinating owning family. statistical studies of everyday phenomena. For Whom the Bell Tolls by Ernest Hemingway A young American The Hot Zone: A Terrifying True Story by Richard Preston There is an anti‑fascist guerilla in the Spanish civil war falls in love with a complex outbreak of ebola virus in an American lab, and other stories of germs woman.
    [Show full text]
  • 3-9. the Violence of Hybridity in Silko and Alexie Cyrus RK
    Journal of American Studies of Turkey 6 (1997) : 3-9. The Violence of Hybridity in Silko and Alexie Cyrus R. K. Patell The Native American novelists Leslie Marmon Silko and Sherman Alexie are two writers who ponder upon the predicament faced by all US minority cultures: how to transform themselves from marginalized cultures into emergent cultures capable of challenging and reforming the mainstream. My conception of cultural emergence here draws upon Raymond Williams’s analysis of the dynamics of modern culture, an analysis that has served as the foundation for minority discourse theory in the 1990s. Williams characterizes culture as a constant struggle for dominance in which a hegemonic mainstream— what Williams calls “the effective dominant culture” (121)—seeks to defuse the challenges posed by both residual and emergent cultural forms. According to Williams, residual culture consists of those practices that are based on the “residue of ... some previous social and cultural institution or formation,” but continue to play a role in the present (122), while emergent culture serves as the site or set of sites where “new meanings and values, new practices, new relationships and kinds of relationships are continually being created” (123). Both residual and emergent cultural forms can only be recognized and indeed conceived in relation to the dominant one: each represents a form of negotiation between the margin and the center over the right to control meanings, values, and practices. Both Silko and Alexie make use of a narrative strategy that has proven to be central to the project of producing emergent literature in late-twentieth-century America.
    [Show full text]
  • "The Story of a Dead Man" Was Published in the 1978 Short Story Collection, Elbow Room by James Alan Mcpherson
    "The Story of a Dead Man" was published in the 1978 short story collection, Elbow Room by James Alan McPherson. That collection won the 1978 Pulitzer Prize for fiction the first awarded to an African American for fiction writing. Prof. McPherson taught at the prestigious Iowa Writer's Workshop at U of IA for decades, where he mentored some of our best living writers. He died in the summer of 2016. Please be aware: This story contains strong language, both racist and misogynistic. The story contains a degree of violence and criminality. Nonetheless, the story is profoundly humorous and humane. Please pay special attention to the way McPherson is using class distinctions in his story. -rgk The Story of a Dead Man 33 The Story way back from Harvey after reclaiming a defaulted of a Dead Man Chevy. Neither is it true, as certain of his enemies have maintained, that Billy's left eye was lost during a rumble with that red-neck storekeep outside Limehouse, South '- Carolina. That eye, I now have reason to believe, was lost during domestic troubles. That is quite another story. But I have this full account of the Limehouse difficulty: Billy had stopped off there en route to Charleston to repossess another defaulting car for this same Mr. Floyd Dil­ lingham. He entered the general store with the sole inten­ tion of buying a big orange soda. However, the owner of the joint, a die-hard white supremacist, refused to execute I T is not true that Billy Renfro was killed during that the transaction.
    [Show full text]
  • Melancholia, Ethics, and Aesthetics in Selected Works by Chuang Hua, Maxine Hong Kingston, and Fae Myenne Ng
    Anna Pehkoranta Rewriting Loss: Melancholia, Ethics, and Aesthetics in Selected Works by Chuang Hua, Maxine Hong Kingston, and Fae Myenne Ng UNIVERSITY OF JYVÄSKYLÄ ISBN 978-951-39-5622-6 URN:ISBN:978-951-39-5622-6 2014 Anna Pehkoranta Rewriting Loss: Melancholia, Ethics, and Aesthetics in Selected Works by Chuang Hua, Maxine Hong Kingston, and Fae Myenne Ng Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa S212 joulukuun 3. päivänä 2013 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities of the University of Jyväskylä, in the Old Festival Hall S212, on December 3, 2013, at 12 o’clock noon. UNIVERSITY OF JYVÄSKYLÄ �� ABSTRACT Pehkoranta, Anna Rewriting Loss: Melancholia, Ethics, and Aesthetics in Selected Works by Chuang Hua, Maxine Hong Kingston, and Fae Myenne Ng University of Jyväskylä, 2013, 173 p. Diss. This doctoral dissertation investigates the dynamics of melancholia, ethics, and aesthetics in a selection of Chinese American women’s fiction. The corpus of the study consists of four prose narratives written by three different authors: Crossings (1968) by Chuang Hua, The Woman Warrior (1976) by Maxine Hong Kingston, and Bone (1993) and Steer Toward Rock (2008) by Fae Myenne Ng. The study is comprised of four individual articles accompanied with a reflective introduction that illuminates the theoretical, methodological, and discursive context of the articles. While the theoretical framework of this dissertation is rooted mainly in sociologically oriented literary criticism, most importantly in Asian Americanist, psychoanalytical, and feminist critical practices, the study also shows a particular interest in the literary form and the aesthetic in the narratives it examines.
    [Show full text]
  • Apocalypse, Time, and Schematic Imagination in Don Delillo's the Body Artist
    Angles New Perspectives on the Anglophone World 4 | 2017 Unstable States, Mutable Conditions Mutability as Counter-Plot: Apocalypse, Time, and Schematic Imagination in Don DeLillo’s The Body Artist Richard Anker Electronic version URL: http://journals.openedition.org/angles/1474 DOI: 10.4000/angles.1474 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Richard Anker, « Mutability as Counter-Plot: Apocalypse, Time, and Schematic Imagination in Don DeLillo’s The Body Artist », Angles [Online], 4 | 2017, Online since 01 April 2017, connection on 02 August 2020. URL : http://journals.openedition.org/angles/1474 ; DOI : https://doi.org/10.4000/ angles.1474 This text was automatically generated on 2 August 2020. Angles. New Perspectives on the Anglophone World is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. Mutability as Counter-Plot: Apocalypse, Time, and Schematic Imagination in Do... 1 Mutability as Counter-Plot: Apocalypse, Time, and Schematic Imagination in Don DeLillo’s The Body Artist Richard Anker To name mutability as a principle of order is to come as close as possible to naming the authentic temporal consciousness of the self. Paul de Man, “Time and History in Wordsworth” (94) 1 While the figure of apocalypse comes up frequently in commentaries of Don DeLillo’s fiction, rarely has it been contextualized from the perspective of the modern reception of romantic literature and the critical idiom that this reception has established.
    [Show full text]
  • Native American Literature: Remembrance, Renewal
    U.S. Society and Values, "Contemporary U.S. Literature: Multicultura...partment of State, International Information Programs, February 2000 NATIVE AMERICAN LITERATURE: REMEMBRANCE, RENEWAL By Geary Hobson In 1969, the fiction committee for the prestigious Pulitzer Prizes in literature awarded its annual honor to N. Scott Momaday, a young professor of English at Stanford University in California, for a book entitled House Made of Dawn. The fact that Momaday's novel dealt almost entirely with Native Americans did not escape the attention of the news media or of readers and scholars of contemporary literature. Neither did the author's Kiowa Indian background. As news articles pointed out, not since Oliver LaFarge received the same honor for Laughing Boy, exactly 40 years earlier, had a so-called "Indian" novel been so honored. But whereas LaFarge was a white man writing about Indians, Momaday was an Indian -- the first Native American Pulitzer laureate. That same year, 1969, another young writer, a Sioux attorney named Vine Deloria, Jr., published Custer Died For Your Sins, subtitled "an Indian Manifesto." It examined, incisively, U.S. attitudes at the time towards Native American matters, and appeared almost simultaneously with The American Indian Speaks, an anthology of writings by various promising young American Indians -- among them Simon J. Ortiz, James Welch, Phil George, Janet Campbell and Grey Cohoe, all of whom had been only fitfully published at that point. These developments that spurred renewed -- or new -- interest in contemporary Native American writing were accompanied by the appearance around that time of two works of general scholarship on the subject, Peter Farb's Man's Rise to Civilization (1968) and Dee Brown's Bury My Heart At Wounded Knee (1970).
    [Show full text]
  • Literary Tricksters in African American and Chinese American Fiction
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2000 Far from "everybody's everything": Literary tricksters in African American and Chinese American fiction Crystal Suzette anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Literature Commons, and the Ethnic Studies Commons Recommended Citation anderson, Crystal Suzette, "Far from "everybody's everything": Literary tricksters in African American and Chinese American fiction" (2000). Dissertations, Theses, and Masters Projects. Paper 1539623988. https://dx.doi.org/doi:10.21220/s2-z7mp-ce69 This Dissertation 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]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • REALISM Realism Is As Old As the Human Race. No Doubt Primeval
    REALISM Realism is as old as the human race. No doubt primeval hunters returning from their adventures told stories with rhetoric and gestures intended to evoke an “illusion of real life,” in the phrase of Henry James. Realism is relative, with visions of reality varying from teller to teller, culture to culture and generation to generation. It must be defined in historical context by intention, subject, themes, focus, techniques and style. The Realist movement in American fiction after the Civil War refers to shared intentions of writers as different as Twain and James, opposite poles of sensibility who were contemptuous of each other. Due to such diversity, the only major American writer whose work as a whole could illustrate standard or typical “Realism” as defined by prevailing literary criticism (his own, which emphasizes the commonplace) is William Dean Howells, its characteristics well exemplified in his story “Editha” and his novel The Rise of Silas Lapham (1885). In practice, some of the best examples of pure commonplace Realism are short stories by local color writers such as Mary Wilkins Freeman. Though literary Realism is understood as the opposite of Romance, and Expressionism, the romancers developed techniques of realism to make their stories plausible. In 1826 the word realisme was used in France to describe a literary method that imitated Nature, in contrast to Classicism. However, as Realism developed, it opposed Romanticism and its aesthetics became Neoclassical. In the United States one of the first examples of Realism--realistic for the most part--is “Life in the Iron Mills” (1861) by Rebecca Harding Davis, sympathetic to workers and the lower class against the upper, in the manner of Charles Dickens.
    [Show full text]
  • Novel to Novel to Film: from Virginia Woolf's Mrs. Dalloway to Michael
    Rogers 1 Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ Novel to Novel to Film: From Virginia Woolf’s Mrs. Dalloway to Michael Cunningham’s and Daldry-Hare’s The Hours Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2015 By Jacob Rogers ____________________ Thesis Director Dr. Kirk Boyle ____________________ Thesis Advisor Dr. Lorena Russell Rogers 2 All the famous novels of the world, with their well known characters, and their famous scenes, only asked, it seemed, to be put on the films. What could be easier and simpler? The cinema fell upon its prey with immense rapacity, and to this moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. (Woolf, “The Movies and Reality”) Although adaptation’s detractors argue that “all the directorial Scheherezades of the world cannot add up to one Dostoevsky, it does seem to be more or less acceptable to adapt Romeo and Juliet into a respected high art form, like an opera or a ballet, but not to make it into a movie. If an adaptation is perceived as ‘lowering’ a story (according to some imagined hierarchy of medium or genre), response is likely to be negative...An adaptation is a derivation that is not derivative—a work that is second without being secondary.
    [Show full text]