A History of American Literature: 1950 to the Present by Linda Wagner?Martin(auth.), Alfred Bendixen, Richard

By Linda Wagner?Martin(auth.), Alfred Bendixen, Richard Gray(eds.)

  • The heritage of yankee Literature from 1950 to the current offers a entire research of the big variety of literary works that extends into the twenty first century
  • Covers drama, poetry, fiction, non-fiction, memoirs, technology fiction, and detective novels
  • Features dialogue of yank works in the context of such 21st-century matters as globalization, drugs, gender, schooling, and different topics

Chapter 1 finding modern Literature (pages 1–45):
Chapter 2 The Sixties and the prerequisites of switch (pages 47–78):
Chapter three Conventions and Eruptions (pages 79–138):
Chapter four New a long time and previous (pages 139–173):
Chapter five The Nineteen Eighties, Ethnicity and alter (pages 175–224):
Chapter 6 The Nineties and the Sexual (pages 225–276):
Chapter 7 The Twenty?First Century (pages 277–351):

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Crowded, hot, stained with the residue of a brutal life, Giovanni’s room is what David thinks he must escape. In fact what he attempts to escape is his realization of his homosexuality. The novel makes clear Baldwin’s anti-American attitudes. As he shows how naturally passion comes to Giovanni, he draws the ultra clean and upwardly mobile David in frequent unflattering scenes. It is David’s inability to recognize Giovanni’s pain that leads to the 38 Locating Contemporary Literature precipitous ending.

In the Capote novel, the author leaves Joel’s specific sexual experiences undescribed; he instead weaves a fabric of desire that is convincing. In contrast, Vidal tells a fairly predictable tale of homosexual attraction, an attraction that began with the protagonists as boys and ends with one murdering the other after their return from war. By the time James Baldwin’s Giovanni’s Room appeared in 1956, his poignant story of two light-skinned lovers was better accepted. Geographically separated from United States mainstream readers, Baldwin’s novel emphasizes the exotic setting – Italy.

Still formal in structure, Sexton’s poems were dominated by the sound – and appearance – of a character’s voice. Sexton’s poems reminded her readers that she wrote like O’Hara, or like Creeley, or like Ginsberg. Her characters sounded like the voice of Frank O’Hara in its particular focus on an apparently living person or a concrete object and, similarly, like the voices of Creeley or Olson in cryptic and usually intimate conversation, and like the Ginsberg apostrophe to Whitman. Bewilderment at Sexton’s Locating Contemporary Literature 23 achievement was only an intermediate stage.

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