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Fools Crow, James Welch
by James Welch Model Teaching Unit English Language Arts Secondary Level with Montana Common Core Standards Written by Dorothea M. Susag Published by the Montana Office of Public Instruction 2010 Revised 2014 Indian Education for All opi.mt.gov Cover: #955-523, Putting up Tepee poles, Blackfeet Indians [no date]; Photograph courtesy of the Montana Historical Society Research Center Photograph Archives, Helena, MT. by James Welch Model Teaching Unit English Language Arts Secondary Level with Montana Common Core Standards Written by Dorothea M. Susag Published by the Montana Ofce of Public Instruction 2010 Revised 2014 Indian Education for All opi.mt.gov #X1937.01.03, Elk Head Kills a Buffalo Horse Stolen From the Whites, Graphite on paper, 1883-1885; digital image courtesy of the Montana Historical Society, Helena, MT. Anchor Text Welch, James. Fools Crow. New York: Viking/Penguin, 1986. Highly Recommended Teacher Companion Text Goebel, Bruce A. Reading Native American Literature: A Teacher’s Guide. National Council of Teachers of English, 2004. Fast Facts Genre Historical Fiction Suggested Grade Level Grades 9-12 Tribes Blackfeet (Pikuni), Crow Place North and South-central Montana territory Time 1869-1870 Overview Length of Time: To make full use of accompanying non-fiction texts and opportunities for activities that meet the Common Core Standards, Fools Crow is best taught as a four-to-five week English unit—and history if possible-- with Title I support for students who have difficulty reading. Teaching and Learning Objectives: Through reading Fools Crow and participating in this unit, students can develop lasting understandings such as these: a. -
The Art of Hybridization-James Welch's Fools Crow
The Art of Hybridization-James Welch's Fools Crow Hans Bak University of Nijmegen Recent Native American fiction has yielded a particularly hybrid mode of realism, one fluid and flexible enough to accommodate elements from tribal lore and, in varying modes and degrees, an awareness of the epis- temological dilemmas of postmodernism. The injection of tribal ele- ments-shamanism, spirits, witchcraft, charms, love medicines-together with the use of a non-Western (cyclical rather than linear) concept of time, for example, help to account for the vaunted "magical" realism in the work of Louise Erdrich (Love Medicine and Tracks) or the radically subversive and unambiguously postmodernist revision of American history and Western myth in Gerald Vizenor's The Heirs of Columbus. As critics have recurrently suggested, Native American fiction which seeks to connect itself to the oral tradition of tribal narrative (as Vizenor in his use of trickster myths and the "stories in the blood") more natu- rally accommodates itself to a postmodernist approach to fiction than to a traditional realistic one.1 The oral tradition, then, might be seen as by nature antithetical to realism. As Paula Gunn Allen has also noted, for the contemporary Native writer loyalty to the oral tradition has been "a major force in Indian resistance" to the dominant culture. By fostering an awareness of tribal identity, spiritual traditions, and connection to the 1 See, for example, Paula Gunn Allen, The Sacred Hoop: Recovering the Feminine in American Indian Traditions (Boston: Beacon Press, 1986), Brian Swann and Arnold Krupat, eds., Recovering the Word: Essays on Native American Literature (Berkeley: University of California Press, 1987), and Gerald Vizenor, Narrative Chance: Postmodern Discourse on Native American Indian Literatures (Albuquerque: University of New Mexico Press, 1989). -
COVER Feature
COVER FE ATURE 90 PROVINCETOWN ARTS 2016 Over the Years, Listening and Talking, with Marie Howe By Richard McCann About the writing of the poem, she says: Don’t hold back. She says: Write into things. Shine a light into the underlit places. About the writing of the poem, she says: The hard part is getting past the blah blah blah. Past the I think I think I think. Once, one New Year’s Eve in Provincetown, Heidegger, she says. Vorhanden. Objectively pres- maybe in the late 1990s, a bunch of us were back- ent. Present-at-hand. ing back home down Commercial Street in the Over the years, we have made an unintended snow. Mark Doty. Tony Hoagland. Maybe Nick habit of talking about poetry by talking about Flynn. Marie. And me. The snow had started to that snow. fall while we were huddled in a restaurant, laugh- She says: The things of the world don’t need ing and talking. As soon as we stepped out, we our language. Not in order to become more than could feel the winds pick up. The snowstorm was what they already are. turning into a blizzard. I’ve never had a mentor, not as a writer, except We had to link our arms, just so we could make maybe for Tillie Olsen, who used to tell me stories it down the street. from her life. Walking back one night from a lec- Then Tony called out, I know how each of you ture about the stages of grieving, for instance, not would write about this snow. -
The Mid-Twentieth-Century American Poetic Speaker in the Works of Robert Lowell, Frank O’Hara, and George Oppen
“THE OCCASION OF THESE RUSES”: THE MID-TWENTIETH-CENTURY AMERICAN POETIC SPEAKER IN THE WORKS OF ROBERT LOWELL, FRANK O’HARA, AND GEORGE OPPEN A dissertation submitted by Matthew C. Nelson In partial fulfillment for the requirements for the degree of Doctor of Philosophy In English TUFTS UNIVERSITY May 2016 ADVISER: VIRGINIA JACKSON Abstract This dissertation argues for a new history of mid-twentieth-century American poetry shaped by the emergence of the figure of the poetic speaker as a default mode of reading. Now a central fiction of lyric reading, the figure of the poetic speaker developed gradually and unevenly over the course of the twentieth century. While the field of historical poetics draws attention to alternative, non-lyric modes of address, this dissertation examines how three poets writing in this period adapted the normative fiction of the poetic speaker in order to explore new modes of address. By choosing three mid-century poets who are rarely studied beside one another, this dissertation resists the aesthetic factionalism that structures most historical models of this period. My first chapter, “Robert Lowell’s Crisis of Reading: The Confessional Subject as the Culmination of the Romantic Tradition of Poetry,” examines the origins of M.L. Rosenthal’s phrase “confessional poetry” and analyzes how that the autobiographical effect of Robert Lowell’s poetry emerges from a strange, collage-like construction of multiple texts and non- autobiographical subjects. My second chapter reads Frank O’Hara’s poetry as a form of intentionally averted communication that treats the act of writing as a surrogate for the poet’s true object of desire. -
F18-Farrar-Straus-And-Giroux.Pdf
18F Macm Farrar, Straus and Giroux LEAD The Piranhas The Boy Bosses of Naples: A Novel by Roberto Saviano, translated by Antony Shugaar In Naples, there is a new kind of gang ruling the streets: the paranze, or the children's gangs, groups of teenage boys who divide their time between counting Facebook likes, playing Call of Duty on their PlayStations, and patrolling the streets armed with pistols and AK-47s, terrorizing local residents in order to mark out their Mafia bosses' territory. Roberto Saviano's The Piranhas tells the story of the rise of one such gang and its leader, Nicolas-known to his friends and enemies as the Maharajah. Nicolas's ambitions reach far beyond doing other men's bidding: he wants to be the one giving the orders, calling the shots, and ruling the city. But the violence he is accustomed to wielding and witnessing soon spirals beyond his control-with tragic consequences. "With the openhearted rashness that belongs to every true writer, Saviano returns to tell the story of the fierce and grieving heart of Naples." -Elena Farrar, Straus and Giroux Ferrante On Sale: Sep 1/18 6 x 9 • 368 pages 9780374230029 • $35.00 • CL - With dust jacket Author Bio Fiction / Literary Location: Roberto Saviano - Under police protection Notes Roberto Saviano was born in 1979 and studied philosophy at the University of Naples. Gomorrah, his first book, has won many awards, including the prestigious Viareggio Literary Award. Promotion National review attention Antony Shugaar is a writer and translator. He is the author of Coast to Coast -
Lauro Flores
Lauro Flores Department of Romance Languages and Literatures University of Washington Seattle, W A 98195 Visible Language XXI 1 (Winter 1987) Lauro Flores, pp.130-152 ©Visible Language, Wayne State University Press, Detroit, MI 48202 The contact and interaction of English and Spanish, of Mexican and Anglo-American cultures, lies at the heart of the Chicano experience in the United States. Accordingly, code-switching has been a salient feature of many Chicano literary works. The simulta neous incorporation of both languages into poetry and other artistic forms is sometimes interpreted as an expression of the ambiguity permeating the historical evolution of this people. However, it can also be explained as part of the Chicanos' attempt to achieve cultural definition and autonomy in a con flicting reality. 131 II The author gratefully The historical context. acknowledges the support he received from the Institute for Ethnic Studies in the Any brief reference to Chicano poetry is bound to United States, University of refer the uninformed reader almost exclusively to Washington. It made the literary production loosely associated with the possible the completion of Chicano movement - poetry written during the last this and other projects. two decades. Until recently, the general contention, or at least the assumption on the part of many critics and literary historians, was that before the 1960s there was no literature written by people of Mexican descent in the United States. Nothing could be farther from the truth. While it is clear that the Chicano movement came to foment and revitalize the artistic endeavors of Chicanos during the last twenty years, subsequent research has demonstrated that the production of literature is hardly a new activity for this group. -
Penguin Anthology = of = Twentieth- Century American Poetry
SUB Hamburg 111 THE A 2011/11828 PENGUIN ANTHOLOGY = OF = TWENTIETH- CENTURY AMERICAN POETRY EDITED WITH AN INTRODUCTION BY RITA DOVE PENGUIN BOOKS Contents Introduction by Rita Dove xxix Edgar Lee Masters (1868-1950) FROM Spoon River Anthology: The Hill • 1 Fiddler Jones • 2 Petit, the Poet • 3 Edwin Arlington Robinson (1869-1935) Miniver Cheevy • 4 Mr. Flood s Party • 5 James WeldonJohnson (1871-1938) The Creation • 7 Paul Laurence Dunbar (1872-1906) 10 The Poet • 10 Life's Tragedy • 10 Robert Frost (1874-1963) 12 The Death of the Hired Man • 12 Mending Wall • 17 Birches • 18 Stopping by Woods on a Snowy Evening • 20 Tree at My Window • 20 Directive • 21 CONTENTS Amy Lowell (1874-1925) 23 Patterns • 23 Gertrude Stein (1874-1946) 26 Susie Asado • 26 FROM Tender Buttons: A Box • 26 A Plate • 27 Alice Moore Dunbar-Nelson (1875-1935) 28 I Sit and Sew • 28 Carl Sandburg (1878-1967) 29 Grass • 29 Cahoots • 29 Wallace Stevens (1879-1955) 31 Peter Quince at the Clavier • 31 Disillusionment of Ten O'Clock • 33 Thirteen Ways of Looking at a Blackbird • 34 Anecdote of the Jar • 36 The Emperor of Ice-Cream • 36 Of Mere Being • 36 Angelina Weld Grimke (1880-1958) 38 Fragment • 38 William Carlos Williams (1883-1963) 39 Tract • 39 DanseRusse • 41 The Red Wheelbarrow • 41 The Yachts • 42 FROM Asphodel, That Greeny Flower (Book I, lines 1-92) • 43 SaraTeasdale (1884-1933,) 51 Moonlight • 51 There Will Come Soft Rains • 51 CONTENTS Ezra Pound (1885-1972) 53 The Jewel Stairs' Grievance • 53 The River-Merchant's Wife: A Letter • 53 In a Station of the -
The Piranhas the Boy Bosses of Naples: a Novel Roberto Saviano; Translated from the Italian by Antony Shugaar
The Piranhas The Boy Bosses of Naples: A Novel Roberto Saviano; Translated from the Italian by Antony Shugaar The saga of a city under the rule of a criminal network and the Neapolitan boys who create their own gang In Naples, there is a new kind of gang ruling the streets: the paranze, or the children’s gangs, groups of teenage boys who divide their time between counting Facebook likes, playing Call of Duty on their PlayStations, and FICTION patrolling the streets armed with pistols and AK-47s, terrorizing local residents in order to mark out their Mafia bosses’ territory. Farrar, Straus and Giroux | 9/4/2018 9780374230029 | $27.00 / $35.00 Can. Hardcover with dust jacket | 368 pages Roberto Saviano’s The Piranhas tells the story of the rise of one such gang Carton Qty: 20 | 9 in H | 6 in W and its leader, Nicolas—known to his friends and enemies as the Maharajah. Brit., trans., 1st ser., dram.: The Wylie Agency Nicolas’s ambitions reach far beyond doing other men’s bidding: he wants to Audio: FSG be the one giving the orders, calling the shots, and ruling the city. But the violence he is accustomed to wielding and witnessing soon spirals beyond MARKETING his control—with tragic consequences. National review attention Roberto Saviano was born in 1979 and studied philosophy at the University of Print features and profiles Men’s interest media outreach Naples. Gomorrah, his first book, has won many awards, including the prestigious NPR and radio interviews Viareggio Literary Award. Original author essays Author appearances Antony Shugaar is a writer and translator. -
The Exiled Native. Questions of Cultural Removal and Translocal
Philipp Kneis; Universität Potsdam, Humboldt-Universität zu Berlin The Exiled Native. Questions of Cultural Removal and Translocal American Indian Identity in Novels by Sherman Alexie and James Welch Presentation at the conference “Postcolonial Translocations” (GNEL 20), Münster, May 21–24, 2009 Prese ntation Outline 1. Official Indians: Identity per Blood Quantum 2. Historical Indians: Charging Elk in Europe 3. Experienced Indians: Reservation U.S.A. Conclusions Quotations 2. Historical Indians James Welch, The Heartsong of Charging Elk (2000): He liked this wide street with the rows of knobby trees on the street-side edge of the broad walkway. There were many places where he could look in windows at clothes and sweets and knives and everything a man might want. There were cafés, but he hadn’t the courage yet to enter one for a small cup of the bitter pejuta sapa. But he always stopped at a particular kiosk with a bright green-and- white-striped awning that sold the flimsy papers with wasichu writing on them. Often they had pictures on them, drawings, mostly of men he thought all looked alike, with their beards and stiff collars. (165) [after being shouted at in a restaurant, ] Charging Elk sat for a moment, looking down at his half-eaten meal, confused. He understood why the wasicun miners in Paha Sapa hated him, but why would these sailors hate him in Marseille? There were many people of many colors here. Why would they choose him? He had spent the past three winters making himself invisible, yet they knew him right away. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Writing and Literature: 21 Credits Required
WRITING AND LITERATURE: 21 CREDITS REQUIRED ENG270 Introduction to Poetry [Required Course] 3 credits This course introduces students to the formal conventions of poetry as well as the basic elements that work to create a poem. Poems from different countries and different historical periods will be explored, at times from different critical perspectives. Works by such poets as William Shakespeare, John Donne, Walt Whitman, Emily Dickinson, W.B. Yeats, Langston Hughes, e.e. cummings, Federico Garcia Lorca, Adrienne Rich, Audre Lorde, Leslie Marmon Silko, and Gary Soto will be discussed. ENG295 World Literatures Written in English [Required Course] 3 credits This capstone course introduces students to postcolonial literatures of the Anglophone diaspora. Texts may include literary works from Africa, South and Southeast Asia, Australia, Canada, the Caribbean, Ireland, and New Zealand. Students will examine world literatures in their historical and cultural contexts. In some semesters, the course may focus on one particular geographical region and/or ethnic group. Choose two of the following courses: ENG289 Introduction to Literary Critical Studies 3 credits Students read, discuss and write analytic essays about important texts in literary critical theory. They also learn to apply critical methods to specific literary texts. Some theorists covered might include Aristotle, Immanuel Kant, T.S. Elliot, Mikhail Baktin, Walter Benjamin, Jacques Lacan, Jacques Derrida, Michel Foucault, Elaine Showalter, Helene Cixous, Edward Said, Henry Louis Gates and Judith Butler. ENG290 British Literature I 3 credits This course covers the development of early British Literature from the Anglo-Saxon era to 1660. Authors include, among others, the Beowulf poet, Chaucer, Mary Sidney, Spenser, Shakespeare, Donne, and Milton. -
The Art of Losing POEMS of GRIEF and HEALING
The Art of Losing POEMS OF GRIEF AND HEALING EDITED BY Kevin Young NEW YORK BERLIN LONDON CONTENTS Introduction XV I. Reckoning Between grief and nothing, I will take grief. W. H. Auden Musee des Beaux Arts 3 Robert Pinsky Dying 4 Rita Dove The Wake 6 Emily Dickinson "After great pain, a formal feeling comes—" 7 "My life closed twice before its dose—" 8 Brenda Hillman Secret Knowledge 9 Much Hurrying 10 Sharon Olds The Race n Terrance Hayes The Whale 13 D. H. Lawrence Silence 15 Wilfred Owen Futility 16 Anne Sexton Lament 17 Stevie Smith Not Waving But Drowning 18 Dylan Thomas Do Not Go Gentle into That Good Night 19 Lucie Brock-Broido Pyrrhic Victory 20 Philip Larkin The Mower 21 Mary Jo Bang No More 22 Ruth Stone Loss 24 Brenda Shaughnessy Ever 25 Nick Flynn Sudden 26 Ted Hughes Do Not Pick Up the Telephone 27 Vll W. H. Auden Funeral Blues 29 Natasha Trethewey Graveyard Blues 30 Donald Hall Without 31 Jean Valentine For a Woman Dead at Thirty 33 Adrienne Rich Final Notations 34 Albert Goldbarth One Continuous Substance 35 Jane Cooper Iron 36 Kevin Young Bereavement 37 Li-Young Lee This Hour and What Is Dead 40 Gerard Manley Hopkins [Carrion Comfort] 42 Forrest Hamer from Choir Practice 43 John Berryman To Bhain Campbell 44 Epilogue 45 Derek Walcott Sea Canes 46 Elizabeth Alexander Autumn Passage 47 Jane Kenyon Let Evening Come 49 II. Regret I believe, but what is belief? Robert Frost Nothing Gold Can Stay 53 Joel Brouwer The Spots 54 Frank Bidart Like 56 Anne Stevenson Dreaming of the Dead 57 Stephen Dobyns Grief 59 Theodore Roethke Elegy for Jane 60 Donald Justice On the Death of Friends in Childhood 61 Simon Armitage The Shout 62 Michael S.