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This anthology brings together a wide variety of both well-known and more obscure writing from and about the Civil War, along with supplementary appendices to facilitate its use in courses. The selections include short fiction, poetry, public addresses, diary entries, song lyrics, and essays from such figures as Walt Whitman, Ambrose Bierce, Stephen Crane, and Louisa May Alcott, as well as Abraham Lincoln, Frederick Douglass, Jefferson Davis, and Ulysses S. Grant. The writing not only includes those directly involved in the war, but also those writing about the war afterward, to include the perspective of historical memory. This collection makes a perfect addition to any course on Civil War history or literature as well as courses on popular memory.
"One of the few really helpful words I ever heard from an older writer," Willa Cather declared in 1922, "I had from Sarah Orne Jewett when she said to me: 'Of course, one day you will write about your own country. In the meantime, get all you can. One must know the world so well before one can know the parish.'" Although Cather's first novel about her own country, O Pioneers!, did not appear until 1913, the process of knowing the world and of mastering her craft, so far as it can be traced in her published writing, already had been going on for some twenty years. The World and the Parish: Willa Cather's Articles and Reviews, 1893-1902, is the fourth in a series collecting the work of these years of experiment and discovery. More specifically, it offers a representative collection of Cather's nonfiction writing for newspapers and periodicals during her first decade as a professional writer. Selected from 520 articles and columns, the text is divided into three parts corresponding to major developments in Cather's career?the period from 1893 to 1896 when she first began to write regularly for Lincoln newspapers; the years in Pittsburgh when she was working for the Home Monthly and the Leader and sending her famous "Passing Show" column back to Nebraska; and the period from the spring of 1900 to 1903, when she freelanced in Pittsburgh and Washington, taught in a Pittsburgh high school, and made her first trip abroad. The text has been edited with three main objectives: 1) to enable the reader to trace Cather's development as a writer; 2) to group the material so that the reader interested in a particular subject?the theatre, or music, or literature, for example?can readily locate pertinent selections; and 3) to provide a context sufficient to relate these pieces to Willa Cather's life and to the times, and to suggest some of their connections with the body of her work. Chronologies have been included for each of the three parts; and the Bibliography is the most complete yet available for the for the nonfiction writing up to 1903. Not the least remarkable feature of this collection is the range and variety of forms and subject matter?reviews (of books, plays, operas, concerts, art exhibits, lectures), feature stories, interviews, straight reportage, columns of miscellaneous comment, and travel letters. Seemingly, with no apparent effort Willa Cather could adjust her sights to any assignment and any audience. And if it is astonishing that she could write so much about so many matters at so many levels, it is perhaps even more astonishing that so much of it was so good. Undeniably, however, the chief interest to the general reader and the peculiar value to the scholar of these journalistic writings reside in their manifold and crucial connections with Cather's later work and in the unparalleled insights they afford into the process by which a gifted writer becomes a great artist.
The awarding of the Nobel Prize in Literature to the Canadian writer Alice Munro in 2013 confirmed her position as a master of the short story form. This book explores Munro's work from a full range of critical perspectives, focussing on three of her most popular and important published collections: Hateship, Friendship, Courtship, Loveship, Marriage (2001), Runaway (2004), and her final collection Dear Life (2012). With chapters written by the world's leading critics of Munro's work, the short story form and contemporary Canadian writing, this book explores such themes as love and marriage, sex, fate, gender and humor in her writings as well as her approaches to narrative form and autobiography. In these three late collections Munro sharply articulates, again and again, the mysteries of being itself.
Willa Cather's Modernism challenges the assumption that Cather was an old-fashioned exponent of styles of fiction, demonstrating instead that Cather was clearly aware of the experimentation within the modernist movement. Illustrative chapters deal with three central novels: A Lost Lady, The Professor's House, and My Mortal Enemy.
In this collection of essays, contributors investigate the various connections between Willa Cather’s fiction and her aesthetic beliefs and practices. Including multiple perspectives and critical approaches—derived from the Aesthetic Movement, the visual arts, modernism, and the relationship between art and religion—this collection will increase our understanding of Cather’s aesthetic and lead to a better comprehension of her work and her life.
To attract readers, journalists have long trafficked in the causes of trauma--crime, violence, warfare--as well as psychological profiling of deviance and aberrational personalities. Novelists, in turn, have explored these same subjects in developing their characters and by borrowing from their own traumatic life stories to shape the themes and psychological terrain of their fiction. In this book, Doug Underwood offers a conceptual and historical framework for comprehending the impact of trauma and violence in the careers and the writings of important journalist-literary figures in the United States and British Isles from the early 1700s to today. Grounded in the latest research in the fields of trauma studies, literary biography, and the history of journalism, this study draws upon the lively and sometimes breathtaking accounts of popular writers such as Charles Dickens, Ernest Hemingway, Dorothy Parker, Graham Greene, and Truman Capote, exploring the role that trauma has played in shaping their literary works. Underwood notes that the influence of traumatic experience upon journalistic literature is being reshaped by a number of factors, including news media trends, the advance of the Internet, the changing nature of the journalism profession, the proliferation of psychoactive drugs, and journalists' greater self-awareness of the impact of trauma in their work. The most extensive scholarly examination of the role that trauma has played in the shaping of our journalistic and literary heritage, Chronicling Trauma: Journalists and Writers on Violence and Loss discusses more than a hundred writers whose works have won them fame, even at the price of their health, their families, and their lives.