By George Parker Anderson
American Modernism: 1914-1945 covers American literature throughout the time of warfare and melancholy within the first half the 20 th century. This new study advisor brings this significant literary interval to existence, offering scholars with techniques for learning and writing.
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Additional info for American Modernism, 1914-1945 (Research Guide to American Literature)
Collects one hundred essays on art, music, politics, and literature from the period 1892 through 1938 by such writers as W. E. B. : Belknap Press of Harvard University Press, 1995). Contextualizes the Harlem Renaissance within a broader, pluralistic cultural context, focusing on interracial exchange, nationalism, and the genesis of literary Modernism. indd 31 4/6/10 9:23:13 AM 32 American Modernism, 1914–1945 Sharon L. : Greenwood Press, 2002). A comprehensive overview of Harlem Renaissance history and aesthetics focusing on how Fauset, Hurston, and Dorothy West resist race, class, and gender oppression and how their work defies reductive categorizations.
Indd 35 4/6/10 9:23:14 AM 36 American Modernism, 1914–1945 “The Essence of a Continent”: The Lyricists of Tin Pan Alley In F. Scott Fitzgerald’s Tender Is the Night (1934) Nicole Warren, a young, beautiful recovering mental patient, plays records on her phonograph for Dr. Richard Diver. The year is 1919, when phonographs had become an affordable luxury for Americans. ” Fitzgerald combines the lyrics from then-popular songs to suggest the music: They were so sorry, dear; they went down to meet each other in a taxi, honey; they had preferences in smiles and had met in Hindustan, and shortly afterward they must have quarreled, for nobody knew and nobody seemed to care—yet finally one of them had gone and left the other crying, only to feel blue, to feel sad.
Jessie Fauset’s The Plum Bun (1929) and Nella Larsen’s Passing (1929) are both thematically centered on “passing” for white. indd 30 4/6/10 9:23:13 AM African American Literature and the Harlem Renaissance 31 and struggles for selfhood? See Cheryl Wall’s Women of the Harlem Renaissance (1995) and Sharon L. Jones’s Rereading the Harlem Renaissance: Race, Class, and Gender in the Fiction of Jessie Fauset, Zora Neale Hurston, and Dorothy West (2002) for background on race and gender, and James Weldon Johnson’s novel from an earlier period, The Autobiography of an Ex-Colored Man (1912), for another literary treatment of this subject.