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Although she enjoyed only modest success during her lifetime, Kate Chopin is now recognised as a unique voice in American literature. Her seminal novel, The Awakening, published in 1899, explored new and startling territory, and stunned readers with its frank depiction of the limits of marriage and motherhood. Chopin's aesthetic tastes and cultural influences were drawn from both the European and American traditions, and her manipulation of her 'foreignness' contributed to the composition of a complex voice that was strikingly different to that of her contemporaries. The essays in this Companion treat a wide range of Chopin's stories and novels, drawing her relationship with other writers, genres and literary developments, and pay close attention to the transatlantic dimension of her work. The result is a collection that brings a fresh perspective to Chopin's writing, one that will appeal to researchers and students of American, nineteenth-century, and feminist literature.
Challenging the conventional understandings of literary naturalism defined primarily through its male writers, Donna M. Campbell examines the ways in which American women writers wrote naturalistic fiction and redefined its principles for their own purposes. Bitter Tastes looks at examples from Edith Wharton, Kate Chopin, Willa Cather, Ellen Glasgow, and others and positions their work within the naturalistic canon that arose near the turn of the twentieth century. Campbell further places these women writers in a broader context by tracing their relationship to early film, which, like naturalism, claimed the ability to represent elemental social truths through a documentary method. Women had a significant presence in early film and constituted 40 percent of scenario writers--in many cases they also served as directors and producers. Campbell explores the features of naturalism that assumed special prominence in women's writing and early film and how the work of these early naturalists diverged from that of their male counterparts in important ways.
Twenty-six stories by Mansfield, Wharton, Woolf, Porter, Lessing, Oates and others illuminate the special experience of being a woman.
This carefully edited collection has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Table of Contents: Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson) A Doll's House (Henrik Ibsen) A Tale of Two Cities (Charles Dickens) Dubliners (James Joyce) A Portrait of the Artist as a Young Man (James Joyce) War and Peace (Leo Tolstoy) Howards End (E. M. Forster) Le Père Goriot (Honoré de Balzac) Sense and Sensibility (Jane Austen) Anne of Green Gables Series (L. M. Montgomery) The Wind in the Willows (Kenneth Grahame) Gitanjali (Rabindranath Tagore) Diary of a Nobody (Grossmith) The Beautiful and Damned (F. Scott Fitzgerald) Moll Flanders (Daniel Defoe) 20,000 Leagues Under the Sea (Jules Verne) Gulliver's Travels (Jonathan Swift) The Last of the Mohicans (James Fenimore Cooper) Peter and Wendy (J. M. Barrie) The Three Musketeers (Alexandre Dumas) Iliad & Odyssey (Homer) Kama Sutra Dona Perfecta (Benito Pérez Galdós) The Divine Comedy (Dante) The Rise of Silas Lapham (William Dean Howells) The Book of Tea (Kakuzo Okakura) Madame Bovary (Gustave Flaubert) The Hunchback of Notre Dame (Victor Hugo) Red and the Black (Stendhal) Rob Roy (Walter Scott) Barchester Towers (Anthony Trollope) Uncle Tom's Cabin (Harriet Beecher Stowe) Three Men in a Boat (Jerome K. Jerome) Tristram Shandy (Laurence Sterne) Tess of the d'Urbervilles (Thomas Hardy) My Antonia (Willa Cather) The Age of Innocence (Edith Wharton) The Awakening (Kate Chopin) Babbitt (Sinclair Lewis) The Four Just Men (Edgar Wallace) Of Human Bondage (W. Somerset Maugham) The Portrait of a Lady (Henry Jame...
Felicitous Space: The Imaginative Structures of Edith Wharton and Willa Cather
The early 1890s through the late 1920s saw an explosion in serious long fiction by women in the United States. Considering a wide range of authors--African American, Asian American, white American, and Native American--this book looks at the work of seventeen writers from that period: Frances Ellen Harper, Charlotte Perkins Gilman, Sarah Orne Jewett, Alice Dunbar-Nelson, Kate Chopin, Pauline Hopkins, Gertrude Stein, Mary Austin, Sui Sin Far, Willa Cather, Humishuma, Jessie Fauset, Edith Wharton, Ellen Glasgow, Anzia Yezierska, Edith Summers Kelley, and Nella Larsen. The discussion focuses on the differences in their work and the similarities that unite them, particularly their determination to experiment with narrative form as they explored and voiced issues of power for women. Analyzing the historical context that both enabled and limited American women writers at the turn of the century, Ammons provides detailed readings of many texts and offers extensive commentary on the interaction between race and gender. This book joins the deepening discussion of modern women writers' creation of themselves as artists and raises fundamental questions about the shape of American literary history as it has been constructed in the academy.
Featuring 30 of the greatest short stories from the most distinguished writers in the American short-story tradition, this new anthology begins with Washington Irving's tale "Rip Van Winkle" and ranges across more than one hundred years of storytelling, concluding with F. Scott Fitzgerald's classic, "Winter Dreams." Other selections include Poe's "The Fall of the House of Usher," Melville's "Bartleby, The Scrivener," Harte's "The Luck of Roaring Camp," "To Build a Fire," by Jack London, "The Middle Years" by Henry James, plus stories by Mark Twain, Sarah Orne Jewett, Charles Chesnutt, Kate Chopin, Stephen Crane, Willa Cather, Ambrose Bierce, Theodore Dreiser, and others. Perfect for classroom use, this outstanding collection of short stories will also prove popular with fiction readers everywhere.
A Lost Lady is a novel by American author Willa Cather, first published in 1923. It centers on Marian Forrester, her husband Captain Daniel Forrester, and their lives in the small western town of Sweet Water, along the Transcontinental Railroad. However, it is mostly told from the perspective of a young man named Niel Herbert, as he observes the decline of both Marian and the West itself, as it shifts from a place of pioneering spirit to one of corporate exploitation. Exploring themes of social class, money, and the march of progress, A Lost Lady was praised for its vivid use of symbolism and setting, and is considered to be a major influence on the works of F. Scott Fitzgerald. It has been adapted to film twice, with a film adaptation being released in 1924, followed by a looser adaptation in 1934, starring Barbara Stanwyck. A Lost Lady begins in the small railroad town of Sweet Water, on the undeveloped Western plains. The most prominent family in the town is the Forresters, and Marian Forrester is known for her hospitality and kindness. The railroad executives frequently stop by her house and enjoy the food and comfort she offers while there on business. A young boy, Niel Herbert, frequently plays on the Forrester estate with his friend. One day, an older boy named Ivy Peters arrives, and shoots a woodpecker out of a tree. He then blinds the bird and laughs as it flies around helplessly. Niel pities the bird and tries to climb the tree to put it out of its misery, but while climbing he slips, and breaks his arm in the fall, as well as knocking himself unconscious. Ivy takes him to the Forrester house where Marian looks after him. When Niel wakes up, he's amazed by the nice house and how sweet Marian smells. He doesn't't see her much after that, but several years later he and his uncle, Judge Pommeroy, are invited to the Forrester house for dinner. There he meets Ellinger, who he will later learn is Mrs. Forrester's lover, and Constance, a young girl his age.
Overtones of Opera explores the discourse of opera -- both the art form and the social institution -- in selected works of Whitman, Poe, Alcott, Chopin, Cather, James, and Wharton. For some, opera provided a powerful artistic medium for expressing a private aesthetic experience; in opera, they discovered the embodied voice of the artist. Others found not only the spectacle of opera but also its spaces, the opera houses and boxes, perfectly suited for displaying the class-based and commodity driven aspirations of America's new aristocracy. This noteworthy study will inform and enlighten literary scholars, musicologists, and lovers of both opera and literature.
Containing 20 classic short stories by a variety of renowned authors, including Leo Tolstoy, Mark Twain, Kate Chopin, Rudyard Kipling, James Joyce and Edith Wharton, The Anthem Guide to Short Fiction has been designed to offer students and instructors both inspiration and guidance when thinking and writing about literary texts and their construction. Each story is followed by a critical ‘Thinking About the Story’ section, and is accompanied by a set of incisive discussion questions formulated to stimulate insightful literary thought. Similarly, the guide’s creative activities have been devised to engage critical and imaginative thinking, as well as to offer the reader an understanding of authorship and the creative process. Additional features include biographical notes, editorial introductions, and a concise glossary of literary terms.