By Lee Clark Mitchell
First released in 1895, The crimson Badge of braveness discovered speedy luck and taken its writer quick reputation. In his advent to this quantity, Lee Clark Mitchell discusses how Crane broke with the conventions of either fiction and journalism to create a uniquely 'disruptive' prose variety. The 5 essays that stick with every one discover varied facets of the unconventional. One stories the matter of building the actual textual content; one other examines it as a struggle novel; a 3rd considers it as a critique of the emerging temper of militant imperialism within the Nineties; a fourth specializes in the double viewpoint of the unconventional - its shift among the hero's point of view and a bigger, 'cosmic' one; and the ultimate essay examines the novel's deconstruction of courage/cowardice. Written in a hugely obtainable kind, those essays characterize the simplest of modern scholarship and supply scholars with an invaluable creation to this significant novel.
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Additional info for New Essays on The Red Badge of Courage (The American Novel)
Is the Harlem Y (like the B/Be of the title another pun suggesting questioning Y/Why) a stable place to write? By the late 1940s most readers of Hughes’s poetry considered him to be a long way from the author who wrote “Put one more ‘S’ in the USA,” but “Theme for English B” recovers his once dormant but now festering radicalism. The radical nature of “Theme” is especially evident if we understand the white instructor to be a synecdoche representing in condensed form a version of the many privileged white figures in the private and public spheres of the poet’s life.
Williams’s creative encounter with Demuth’s watercolor, I argue, evidences what Mitchell terms “resistance or counterdesire” to the poet’s libidinal investment in his queer colleague’s work. In his poem, Williams mediates ekphrastic fear through the language of formalism. Commenting on Demuth’s abstract design features, Williams seeks to restrain the vertiginous blurring of self and other, viewer and artist, that, ironically, he manifests through a reading 40 LYRIC ENCOUNTERS of the watercolor that exceeds an account of its formal contours.
Exploring Ginsberg’s conversation with Time also allows me to examine questions about the relation between literature and popular culture. ” By contrast, Time and Life, in their ripostes to his texts, attempt to reduce Ginsberg to the mono-conceptual frame. He is cast in Time as deviant in a contemporaneous book review concerning the Beats, and treated in Life as an ironically pro-American Cold Warrior via his advocacy for free speech and individualism. In the 1980s, when Ginsberg had signed a six-figure contract with Harper & Row, Time regards his commercial success as a sign that the “Culture Industry” had thoroughly absorbed one of its most notorious critics.