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Garland's coming-of-age autobiography that established him as a master of American realism.
In recognition of his achievements in literature, Hamlin Garland (1860?1940) received four honorary doctorates and a Pulitzer Prize. Keith Newlin traces the rise of this prairie farm boy with a half-formed ambition to write who then skyrocketed into international prominence before he was forty. His life is a story of ironic contradictions: the radical whose early achievement thrust him to the forefront of literary innovation but whose evolutionary aesthetic principles could not themselves adapt to changing conditions; the self-styled ?veritist? whose credo demanded that he verify every fact but whose credulity led him to spend a lifetime seeking to confirm the existence of spirits. His need for recognition caused him to cultivate rewarding friendships with the leaders of literary culture, yet even when he attained that recognition, it was never enough, and his self-doubt caused him fits of black despair. ø The first and only other biography of Hamlin Garland was published more than forty years ago; since then, letters, manuscripts, and family memoirs have surfaced to provide, along with changing literary scholarship, a more evaluative and critical interpretation of Garland?s life and times. Hamlin Garland: A Life is an exploration of Garland?s contributions to American literary culture and places his work within the artistic context of its time.
This sequel to Garland's acclaimed autobiography, A Son of the Middle Border, continues his story as he sets out for Chicago and settles into a Bohemian encampment of artists and writers. There he meets Zulime Taft, an artist who captures his heart and eventually becomes his wife. The intensity of this romance is rivaled only by Garland's struggle between America's coastal elite and his heartland roots. A Daughter of the Middle Border won the Pulitzer Prize in 1922, forever securing his place in the literary canon.
These short stories are set in Wisconsin, Iowa, and Minnesota, or what Garland called the "Middle Border." They depict an agrarian life of exploitation, misogyny, and poverty. Garland's radical, realist stories refute romantic conceptions of the rural Midwest.
Hamlin Garland’s Main-Travelled Roads is recognized as one of the early landmarks of American literary realism. But Garland’s shift in mid-career from the harsh verisimilitude of Prairie Folks and Prairie Songs to a romanticizing of the Far West, and from ardent espousal of the principles of “veritism” to violent denunciations of naturalism, is a paradox which has long puzzled literary historians. In tracing the evolution of Garland’s work, the various reactions of his stories under the influence of editorial comment and of contemporary critical reaction, Jean Holloway suggests that the Garland apostasy was an illusion produced by his very intellectual immobility amidst the swirling currents of American thought. His extensive correspondence with Gilder of the Century, Alden of Harper’s Monthly, McClure of McClure’s, and Bok of the Ladies’ Home Journal is adduced in support of the thesis that the writer’s choices of subject and of treatment were psychologically forced rather than conditioned primarily by literary theory. As a subject for biography, however, Garland has an appeal far beyond the scope of his literary influence. The friendships of this gregarious peripatetic with the famous began with Howells, Twain, Whitman, and Stephen Crane, stretched down the years to include such younger men as Bret Harte and Carl Van Doren, and crossed the seas to embrace such British literary lions as Barrie, Shaw, and Kipling. Garland’s fervent espousal of “causes”—the Single Tax Movement, psychic experimentation, Indian rights-brought him into close contact with other prominent men—Henry George, Theodore Roosevelt, and William Jennings Bryan. These public figures form the incidental characters in Garland’s spate of autobiographical works. Yet it is the central figure of his own story which has become permanently identified with the “Middle Border,” that region “between the land of the hunter and the harvester” which Augustus Thomas defined as “wherever Hamlin Garland is.” In A Son of the Middle Border Garland nostalgically recreated his boyhood on the frontier and, regardless of the detractions of literary critics, preserved for posterity an important segment of American social history.
Boy Life on the Prairie was first published in 1899, some eighteen years before the appearance of Hamlin Garland?s A Son of the Middle Border. The broad scope of the latter book, as B. R. McElderry, Jr., tells us in the introduction to this new edition of Boy Life, has overshadowed the ?earlier and better book of reminiscence dealing specifically with Garland?s boyhood experiences on an Iowa farm from 1869 to about 1881. When he wrote Boy Life on the Prairie Garland was much closer to the subject than he was in 1917, and he had the advantage of a more restricted aim: to tell directly and specifically what it was like to grow up in northeast Iowa in the years just after the Civil War. It may safely be said that no one else has given so clear and informative an account. When one considers other accounts of boyhood in nineteenth-century America?those of Aldrich, Clemens, Warner, and Howells, for example?one is impressed with the thoroughness and precision of Garland?s book. Aside from Main-Travelled Roads, Boy Life, is probably the best single book that Garland ever wrote.? The Bison Book edition is the first in more than fifty years to reproduce in full the 1899 text. It also includes an introduction addressed ?To My Young Readers? and the ?Author?s Notes? which appeared in the 1926 edition published by Allyn & Bacon. The forty-seven line drawings and six full-page illustrations by E. W. Deming are reproduced from the 1899 edition. In his introduction, Dr. McElderry provides a thorough and interesting analysis of Boy Life and compares it with the sketches written in 1888 which were Garland?s first attempt at reminiscence, as well as with A Son of the Middle Border.