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Increasing literacy rates and advanced printing technology gave rise to the pulp magazine in the late 19th century. Affordable, disposable, and commercially in-demand, the fiction magazines remained popular through the mid 20th century, and are now frequently cited by researchers as culturally and historically significant documents. This work is a comprehensive index of American pulp magazines. Entries are organized alphabetically by magazine title, and offer bibliographic data including author, volume/issue numbers, dates of publication, publisher, and a brief categorization. Each entry also includes a helpful list of current library holdings, if any, among American, Canadian, and European libraries.
The legacy of the relationship between African American writers and Communism in the US is a contested one. Bergin argues that in three novels, by seminal mid-century authors (Wright, Himes and Ellison) Communism is not dismissed as incapable of meeting the demands of black political identity but is castigated for its refusal to do so. A detailed focus on the political milieu in which these texts operate challenges many of the presumptions about the ‘inability’ of Communism to comprehend racial oppression, which dominate literary critical approaches to these novels. She draws on the complex formations black political agency presumed and reproduced by American Communism during the Depression.
The barnyard animals decide to escape the cold winter by vacationing in sunny Florida.
The Oxford History of the Novel in English is a twelve-volume series presenting a comprehensive, global, and up-to-date history of English-language prose fiction, written by a large, international team of scholars. The series is concerned with novels as a whole, not just the 'literary' novel, and each volume includes chapters on the processes of production, distribution, and reception, and on popular fiction and the fictional sub-genres, as well as outlining the work of major novelists, movements, and tendencies. This book offers an account of US fiction during a period demarcated by two traumatic moments: the eve of the entry of the United States into the Second World War and the onset of the Covid-19 pandemic. The aftermath of the Second World War was arguably the high point of US nationalism, but in the years that followed, US writers would increasingly explore the possibility that US democracy was a failure, both at home and abroad. For so many of the writers whose work this volume explores, the idea of "nation" became suspect as did the idea of "national literature" as the foundation for US writing. Looking at post-1940s writing, the literary historian might well chart a movement within literary cultures away from nationalism and toward what we would call "cosmopolitanism," a perspective that fosters conversations between the occupants of different cultural spaces and that regards difference as an opportunity to be embraced rather than a problem to be solved. During this period, the novel has had significant competition for the US public's attention from other forms of narrative and media: film, television, comic books, videogames, and the internet and the various forms of social media that it spawned. If, however, the novel becomes a "residual" form during this period, it is by no means archaic. The novel has been reinvigorated over the past eighty years by its encounters with both emergent forms (such as film, television, comic books, and digital media) and the emergent voices typically associated with multiculturalism in the United States.
Even well-meaning fiction writers of the late Jim Crow era (1900-1955) perpetuated racial stereotypes in their depiction of black characters. From 1918 to 1952, Octavus Roy Cohen turned out a remarkable 360 short stories featuring Florian Slappey and the schemers, romancers and ditzes of Birmingham's Darktown for The Saturday Evening Post and other publications. Cohen said, "I received a great deal of mail from Negroes and I have never found any resentment from a one of them." The black readership had to be satisfied with any black presence in the popular literature of the day. The best known white writers of black characters included Booth Tarkington (Herman and Verman in the Penrod books), Irvin S. Cobb (Judge Priest's houseman Jeff Poindexter), Roark Bradford (Widow Duck, the plantation matriarch), Hugh Wiley (Wildcat Marsden, the war veteran who traveled the country in the company of his goat) and Charles Correll and Freeman Gosden (radio's Amos 'n' Andy). These writers deservedly declined in the civil rights era, but left a curious legacy that deserves examination. This book, focusing on authors of series fiction and particularly of humorous stories, profiles 29 writers and their black characters in detail, with brief entries covering 72 others.
DigiCat Publishing presents to you this special edition of "The Old Man and the Sea" by Ernest Hemingway. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Space-opera heroines, gender-bending aliens, post-apocalyptic pregnancies, changeling children, interplanetary battles of the sexes, and much more: a groundbreaking new collection of classic American science fiction by women from the 1920s to the 1960s SF-expert Lisa Yaszek presents the biggest and best survey of the female tradition in American science fiction ever published, a thrilling collection of twenty-five classic tales. From Pulp Era pioneers to New Wave experimentalists, here are over two dozen brilliant writers ripe for discovery and rediscovery, including Leslie F. Stone, Judith Merril, Leigh Brackett, Kit Reed, Joanna Russ, James Tiptree Jr., and Ursula K. Le Guin. Imagining strange worlds and unexpected futures, looking into and beyond new technologies and scientific discoveries, in utopian fantasies and tales of cosmic horror, these women created and shaped speculative fiction as surely as their male counterparts. Their provocative, mind-blowing stories combine to form a thrilling multidimensional voyage of literary-feminist exploration and recovery. CONTENTS Introduction by LISA YASZEK CLARE WINGER HARRIS The Miracle of the Lily (1928) LESLIE F. STONE The Conquest of Gola (1931) C. L. MOORE The Black God’s Kiss (1934) LESLIE PERRI Space Episode (1941) JUDITH MERRIL That Only a Mother (1948) WILMAR H. SHIRAS In Hiding (1948) KATHERINE MACLEAN Contagion (1950) MARGARET ST. CLAIR The Inhabited Men (1951) ZENNA HENDERSON Ararat (1952) ANDREW NORTH All Cats Are Gray (1953) ALICE ELEANOR JONES Created He Them (1955) MILDRED CLINGERMAN Mr. Sakrison’s Halt (1956) LEIGH BRACKETT All the Colors of the Rainbow (1957) CAROL EMSHWILLER Pelt (1958) ROSEL GEORGE BROWN Car Pool (1959) ELISABETH MANN BORGESE For Sale, Reasonable (1959) DORIS PITKIN BUCK Birth of a Gardner (1961) ALICE GLASER The Tunnel Ahead (1961) KIT REED The New You (1962) JOHN JAY WELLS & MARION ZIMMER BRADLEY Another Rib (1963) SONYA DORMAN When I Was Miss Dow (1966) KATE WILHELM Baby, You Were Great (1967) JOANNA RUSS The Barbarian (1968) JAMES TIPTREE JR. The Last Flight of Dr. Ain (1969) URSULA K. LE GUIN Nine Lives (1969)