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"Chronicles the life and career of the acerbic author, from his youth, through his experiences during the Civil War, to his 1913 disappearance in revolution-torn Mexico"-OCLC
Treasury of ninety-three short works includes horror stories, realistic narratives of war, and tall tales of the old West
A true-life tale of ruthless ambition, staggering greed, and the making of a nation. Four men--Collis Huntington, Leland Stanford, Charles Crocker, and Mark Hopkins--rose from their position as middle-class merchants to become the force behind the transcontinental railroad.
How two of America's greatest authors took on the Central Railroad monopoly The notorious Central Pacific Railroad riveted the attention of two great American writers: Ambrose Bierce and Frank Norris. In The Great American Railroad War, Dennis Drabelle tells a classic story of corporate greed vs. the power of the pen. The Central Pacific Railroad accepted US Government loans; but, when the loans fell due, the last surviving founder of the railroad avoided repayment. Bierce, at the behest of his boss William Randolph Hearst, swung into action writing over sixty stinging articles that became a signal achievement in American journalism. Later, Norris focused the first volume of his trilogy, The Octopus, on the freight cars of a thinly disguised version of the Central Pacific. The Great American Railroad War is a lively chapter of US history pitting two of America's greatest writers against one of America's most powerful corporations. "Readers with interests in western American history or the origins of today’s political quagmires will find much to relish. " - Publishers Weekly
The leading critic of supernatural literature here examines the roots of the "weird tale" (as Lovecraft called it) through detailed examinations of five "founding fathers" of the genre: Arthur Machen, Lord Dunsany, Algernon Blackwood, M.R. James, and H.P. Lovecraft. The result is a thorough study of the art, craft, philosophy, and aesthetics of an enduring genre of fantastic literature.
An account of California journalist and wit Ambrose Bierce and his struggle with the railroad octopus controlled by the Big Four (Collis P. Huntington, Leland Stanford, Charles Crocker, and Mark Hopkins). This is the first book to look at Bierce's early muckraking campaign in depth through Bierce's acid journalism and the railroad's private and public reactions. After a brief literature review and biography of Bierce, one of America's greatest wits, journalists, and short-story writers, the study turns to his thirty-year battle with the Central Pacific Railroad, which controlled much of California's economy and politics, often through bribery of politicians and newspaper editors and publishers. Lindley looks at the initial funding of the railroad through the U.S. government, the development of railroads as symbols of hope and progress, and the eventual corruption of that optimistic outlook by railroad owners and politicians. Bierce attacked the railroads in his columns during his tenure at three San Francisco periodicals, the Argonaut, the Wasp, and the Examiner. His efforts culminated in a trip to Washington, D.C., in 1896 to cover the funding bill debate in Congress, during which railroad officials attempted to avoid repaying millions of dollars in government loans. Bierce did not consider himself a muckraker. He derided the generation of Progressive journalists who followed him a decade after he ended his campaign against the railroad. Yet, Bierce's journalism was a precursor of what is popularly known as the muckraking period, 1902-1914.
Decadent Culture in the United States traces the development of the decadent movement in America from its beginnings in the 1890s to its brief revival in the 1920s. During the fin de siècle, many Americans felt the nation had entered a period of decline since the frontier had ended and the country's "manifest destiny" seemed to be fulfilled. Decadence—the cultural response to national decline and individual degeneracy so familiar in nineteenth-century Europe—was thus taken up by groups of artists and writers in major American cities such as New York, Boston, Chicago, and San Francisco. Noting that the capitalist, commercial context of America provided possibilities for the entrance of decadence into popular culture to a degree that simply did not occur in Europe, David Weir argues that American-style decadence was driven by a dual impulse: away from popular culture for ideological reasons, yet toward popular culture for economic reasons. By going against the grain of dominant social and cultural trends, American writers produced a native variant of Continental Decadence that eventually dissipated "upward" into the rising leisure class and "downward" into popular, commercial culture.