Pub Date : 2022-01-12DOI: 10.1093/obo/9780199827251-0019
Royall Tyler (b. 1757–d. 1826) was born to a prominent merchant family in Boston and came of age in the decades leading up to the American Revolution. He entered Harvard College in 1771 and earned his bachelor of arts degree three months after the Declaration of Independence was signed in 1776. Tyler then enlisted in the Revolutionary Army, although he remained in Boston and Cambridge studying law. His active military service seems to have been limited to serving as a brigade major during the unsuccessful 1778 attempt to capture Newport, Rhode Island. As the war continued, Tyler earned his master of arts degree from Harvard in 1779 and engaged in a failed courtship of Abigail Adams, the daughter of future president John Adams. After the war, Tyler became involved in the suppression of Shays’ Rebellion in 1786. When Daniel Shays fled to Vermont, Tyler was assigned to negotiate with authorities in New York, which still laid claim to the territory, to ensure that the rebel did not find safe harbor. In New York City Tyler launched his literary career; in April 1787, The Contrast began its run in New York as the first professionally produced American comic drama and one of the first successful American plays. Months later Tyler produced a second play, May Day in Town, that is no longer extant. In 1790, Tyler returned to Boston and married Mary Palmer, who would later publish the first American manual for infant care. They relocated to Vermont, where the couple remained for the rest of their lives. In the years to follow, Tyler published numerous poems and essays, including a popular series of essays in collaboration with Joseph Dennie under the title of “Colon & Spondee.” In 1797, Tyler published the novel The Algerine Captive, which achieved moderate success and was one of the first American books to be republished in Great Britain. In the 1800s and 1810s Tyler served for six years as the chief justice of the Vermont Supreme Court and launched a failed bid for the U.S. Senate. He completed several new plays, including his biblical dramas and the epistolary satire The Yankey in London (1809). At the time of his death in 1826 he was rewriting the first half of The Algerine Captive as a New England picaresque titled The Bay Boy, which would remain unpublished until 1968.
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Pub Date : 2021-11-23DOI: 10.1093/obo/9780199827251-0009
Winnifred Eaton Babcock Reeve (b. 1875–d. 1954) was a Chinese North American author best known for fiction published under the faux-Japanese penname “Onoto Watanna.” In her forty-year career, Eaton published nineteen novels, many of which were critically acclaimed and translated into many languages. Eaton also published hundreds of stories, poems, and articles in US, Canadian, Jamaican, and English magazines and newspapers. She was born in Montreal to a white British father and a Chinese mother who married in China and, after brief stays in England and the United States, emigrated to Canada. Whereas Winnifred pretended to be Japanese, Eaton’s older sister Edith wrote sympathetically about diasporic Chinese using the pen name “Sui Sin Far”; with her sister Sara, Winnifred co-wrote Chinese-Japanese Cook Book (1914), one of the first Asian American cookbooks. Sara’s experiences also inspired Winnifred Eaton’s novel Marion (1916). In 1895, Eaton began her writing career working as a reporter in Jamaica. Soon afterward, she moved to Cincinnati, where she first assumed the identity of a half-Japanese, and then to Chicago. Writing as “Onoto Watanna,” Eaton published prolifically about Japanese life, exploring romantic encounters between Americans and Japanese and the experiences of mixed-race children and interracial kinship. Her Miss Numè of Japan (1898) is the first novel in English by a writer of Asian descent published in North America. In 1901, when she was living in New York, Eaton married journalist Bertrand Babcock and published her novel A Japanese Nightingale, which skyrocketed her to fame, inspiring a play, a film, and an opera. After reviewers expressed doubts about her Japanese identity, however, Eaton tried to leave Japanese subjects behind her. She submitted Diary of Delia (1907) to publishers under another pseudonym, published Me (1915) and Marion (1916) anonymously, and published one final Japanese-themed text, Sunny-San, in 1922. In 1917, after divorcing Babcock, Eaton married American businessman Francis Reeve, moved to Alberta, and rebranded herself as “Winnifred Reeve,” rancher’s wife and Canadian literary nationalist. There, Eaton wrote Cattle, a powerful naturalist novel about a girl raped by her employer, and His Royal Nibs, a romance between an English aristocrat and a young Alberta woman, and tried her hand at writing screenplays. Eaton received her first film credit in 1921 on Universal’s “False Kisses.” When the Reeves’ ranch failed, Eaton joined the East Coast scenario department of Universal, a then-minor film producer, and soon afterward was made its Hollywood editor-in-chief and literary advisor. Eaton collaborated on dozens of screenplays and adaptations, translating her experience writing Japanese romances into scripts featuring exotic locales and peoples, as well as commissioned scripts during Universal’s transition from “silents” to “talkies”. She also ghostwrote scripts for Metro-Goldwyn-Mayer (MGM). Eaton left Holly
{"title":"Winnifred Eaton","authors":"","doi":"10.1093/obo/9780199827251-0009","DOIUrl":"https://doi.org/10.1093/obo/9780199827251-0009","url":null,"abstract":"Winnifred Eaton Babcock Reeve (b. 1875–d. 1954) was a Chinese North American author best known for fiction published under the faux-Japanese penname “Onoto Watanna.” In her forty-year career, Eaton published nineteen novels, many of which were critically acclaimed and translated into many languages. Eaton also published hundreds of stories, poems, and articles in US, Canadian, Jamaican, and English magazines and newspapers. She was born in Montreal to a white British father and a Chinese mother who married in China and, after brief stays in England and the United States, emigrated to Canada. Whereas Winnifred pretended to be Japanese, Eaton’s older sister Edith wrote sympathetically about diasporic Chinese using the pen name “Sui Sin Far”; with her sister Sara, Winnifred co-wrote Chinese-Japanese Cook Book (1914), one of the first Asian American cookbooks. Sara’s experiences also inspired Winnifred Eaton’s novel Marion (1916). In 1895, Eaton began her writing career working as a reporter in Jamaica. Soon afterward, she moved to Cincinnati, where she first assumed the identity of a half-Japanese, and then to Chicago. Writing as “Onoto Watanna,” Eaton published prolifically about Japanese life, exploring romantic encounters between Americans and Japanese and the experiences of mixed-race children and interracial kinship. Her Miss Numè of Japan (1898) is the first novel in English by a writer of Asian descent published in North America. In 1901, when she was living in New York, Eaton married journalist Bertrand Babcock and published her novel A Japanese Nightingale, which skyrocketed her to fame, inspiring a play, a film, and an opera. After reviewers expressed doubts about her Japanese identity, however, Eaton tried to leave Japanese subjects behind her. She submitted Diary of Delia (1907) to publishers under another pseudonym, published Me (1915) and Marion (1916) anonymously, and published one final Japanese-themed text, Sunny-San, in 1922. In 1917, after divorcing Babcock, Eaton married American businessman Francis Reeve, moved to Alberta, and rebranded herself as “Winnifred Reeve,” rancher’s wife and Canadian literary nationalist. There, Eaton wrote Cattle, a powerful naturalist novel about a girl raped by her employer, and His Royal Nibs, a romance between an English aristocrat and a young Alberta woman, and tried her hand at writing screenplays. Eaton received her first film credit in 1921 on Universal’s “False Kisses.” When the Reeves’ ranch failed, Eaton joined the East Coast scenario department of Universal, a then-minor film producer, and soon afterward was made its Hollywood editor-in-chief and literary advisor. Eaton collaborated on dozens of screenplays and adaptations, translating her experience writing Japanese romances into scripts featuring exotic locales and peoples, as well as commissioned scripts during Universal’s transition from “silents” to “talkies”. She also ghostwrote scripts for Metro-Goldwyn-Mayer (MGM). Eaton left Holly","PeriodicalId":45756,"journal":{"name":"AMERICAN LITERATURE","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45066241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-27DOI: 10.1093/obo/9780199827251-0227
Henry Roth (b. 1906–d. 1995) was an American novelist and short-story writer whose autobiographically based fiction helped define immigrant fiction and American Jewish literature. Born in Tysmenitz, Galicia, then part of the Austro-Hungarian Empire, he resettled in the United States with his family in 1908. They at first lived in Brooklyn before moving to the Lower East Side of Manhattan. In 1914 they moved uptown to Harlem, where Roth attended City College of New York. While still an undergraduate, he was befriended by and moved in with Eda Lou Walton, a poet and an instructor at New York University. With her support, he wrote Call It Sleep, a powerful account of life on the Lower East Side as experienced by a little immigrant Jewish boy. The novel was published in 1934, to critical acclaim but few sales. By the early 1940s, disillusioned with the New York literary scene, he moved with his new wife, the musician Muriel Parker, whom he had met at the artists’ colony Yaddo, to Maine, where he made a subsistence living raising and slaughtering waterfowl. Call It Sleep had meanwhile fallen out of print and public awareness until a paperback edition was published in 1964 and hailed as a neglected masterpiece. Suddenly a bestselling author, Roth, who had written only a few short stories and essays—later collected in Shifting Landscape: A Composite (1987)—during the interim, slowly returned to writing. However, it was only after moving to New Mexico and the death of his beloved wife that Roth felt free to pour forth in fiction drawn closely from his own life. During his final decade, often in pain and longing for death, the octogenarian tapped out thousands of manuscript pages from which his assistant, Felicia Steele, and his editor, Robert Weil, carved out a tetralogy filled with painful personal revelations. In 1994, sixty years after his first novel, Call It Sleep, Roth was back in print with his second, the first volume of a series that took the title Mercy of a Rude Stream. The tetralogy consisted of A Star Shines over Mt. Morris Park (1994), A Diving Rock on the Hudson (1995), From Bondage (1996), and Requiem for Harlem (1998). The last two of the four volumes were published posthumously, as was an additional novel—excavated from the final manuscripts—titled An American Type (2010).
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Pub Date : 2021-10-27DOI: 10.1093/obo/9780199827251-0224
佐藤 健一
Bernard Malamud (1914–1986) was born of Russian Jewish immigrant parents and raised in Brooklyn, New York. He attended Erasmus Hall High School, City College (BA, 1936), and then Columbia University. A high school teacher in New York City in the 1940s, he was hired by Oregon State College (today OSU) in 1949 to teach freshman composition. From 1961 to 1966, already an acclaimed writer, he taught creative writing at Bennington College, Vermont. The long Oregon decade (1949–1961) produced his first three novels, and some of his most acclaimed short fiction—a career that granted him a significant place in the American postwar literary canon, along with Saul Bellow and Philip Roth often labeled as a “Jewish American” generation. Malamud was critically acclaimed for his stylistic mastery of language infused with poetic images, the contrast of American English and Yiddish undertones, and his rendering of understated immigrant characters, often failing Jews who embody a humanist ethos or a mythical self-transcendence. Between 1952 and 1982, Malamud published seven novels and four volumes of stories, with a remarkably broad fictional range, both in terms of genre and themes. They include romance, social realism, historical fiction and fantasy, broaching subjects as diverse as American mythmaking (The Natural [1952]), urban immigrant realities (The Assistant [1957]), a campus romance (A New Life [1961]), historical anti-Semitism (The Fixer [1966], a Pulitzer Prize and National Book Award winner), Black-Jewish relations (The Tenants [1971]), a writerly self-reflection (Dubin’s Lives [1979]), and a post-apocalyptic dystopia (God’s Grace [1982]). The stories in the volumes The Magic Barrel (1958, a National Book Award winner) and Idiots First (1963), for most readers and critics his greatest achievement, often focus on the hardships of store life, based on his immigrant father, and feature relationships between characters who redeem each other or discover their shared humanity. These often involve folk-tale, parable-like elements from Yiddish tradition, and some of the most memorable employ magical realism or the supernatural. From the mid-1960s, Malamud’s fiction became bleaker, more despairing and solipsistic, as in the novels The Tenants (1971) and God’s Grace (1982), and the stories in Rembrandt’s Hat (1974). Malamud also reflected his Italian experience (1956–1957, on a Rockefeller Grant) in eleven stories set in Italy, six of which feature the protagonist Fidelman. These were collected as the episodic novel Pictures of Fidelman: An Exhibition (1969). At his death in 1986, Malamud was starting work on a new novel, published in draft form in the posthumous volume The People and Uncollected Stories (1989).
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Pub Date : 2021-10-27DOI: 10.1017/chol9780521301053.030
鈴木 大輔
The preeminent American novelist of the first half of the 19th century, James Fenimore Cooper (b. 1789–d. 1851) was a prolific writer best known for his five-novel saga The Leatherstocking Tales. Cooper’s productivity from 1820 to 1851 is virtually unrivaled, publishing thirty-two novels, several books of nonfiction, a few histories, and sundry other works. Cooper’s popularity in the United States and Europe skyrocketed in the 1820s with his first ventures in spy, sea, American Revolution, and frontier fictions, not the least of which was the trilogy that began the Leatherstocking series. Cooper’s sales in the United States dipped quite dramatically in the early 1830s when he published political nonfiction and three European novels, all with strong political overtones. Reviving the Leather-Stocking Tales in 1840 with The Pathfinder and, in 1841, with The Deerslayer vaulted him into popularity once again. His productivity crested in his last full decade, when he published fifteen novels, thereby cementing his reputable place in literary history. From 1960 to the present, critical interest in Cooper has been steadily fruitful, particularly in biography, sociohistorical criticism, and cultural studies. Cooper’s Leather-Stocking Tales remain his most visited writings among scholars and teachers, with more attention shifting recently to his many other novels. Since 1960, four major Cooper projects have undergirded a sustained interest in Cooper’s writings. The first has been the compilation of Cooper’s Letters and Journals edited by James Franklin Beard in 1960–1968 (see Cooper 1960–1968 [cited under Letters]). The collection’s easy accessibility to Cooper’s lively epistles and journals renewed interest in the writer, and the compilation has since become a staple of Cooper studies. Second is another project spearheaded by Beard, who founded “The Writings of James Fenimore Cooper,” or the Cooper Edition (see Beard and Schachterle 1980– [cited under Editions and In the Classroom]). With the publication of its first scholarly edition approved by the Committee on Scholarly Editions of the Modern Language Association in 1980, the Cooper Edition launched its ongoing effort to establish clear texts of Cooper’s writings and publish them for scholarly and pedagogical purposes. Third is the James Fenimore Cooper Society (cited under Bibliographies), founded by Hugh C. MacDougall in 1989, which quickly grew into an international community of Cooper scholars and enthusiasts. The society has published many papers about Cooper’s writings in newsletters, conference proceedings, and its principal publication, the James Fenimore Cooper Society Journal (cited under Journals). Fourth is the two-volume Cooper biography by Wayne Franklin, published in 2007 and 2017 (Franklin 2007b and Franklin 2017 [both cited under Biographies]). Franklin’s authoritative biography is informed, in part, by Cooper’s personal papers, which the novelist had requested his family to keep priva
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Pub Date : 2021-10-27DOI: 10.1093/obo/9780199827251-0230
Music of the American Revolution produced powerful effects. More than a mere backdrop to revolutionary events or a simple reflection of revolutionary spirit, music forged common cause and division, imbued political sentiments with emotional resonance, infused secular and political ideals with sacred and religious overtones, animated ideas about political allegiance, and conveyed a range of contested and evolving national identities. Music also connected Anglo-American colonists to a wider transatlantic culture, was bound up with projects of empire and settler colonialism, spoke to shifting gender ideals, and helped racialize the soundscape of the Revolution. As a topic that cuts across many disciplines, a definitive treatment of music in the American Revolution remains elusive. In fact, beyond debates occurring within specific disciplinary subfields, studies on different aspects of American Revolutionary music are not often in conversation with each other. However, evaluations of 18th-century American music demand attention not only to sound but also to literary practices, performance cultures, and transatlantic connections. Cumulatively, scholars have begun to challenge unduly nostalgic interpretations of music’s contribution to the Revolution. Yet there is still significant opportunity for future studies to adopt more expansive definitions of revolutionary music to better integrate minority musical experiences and expressions into American Revolutionary history. As such, this bibliography includes citations to works that may lack either a strong musical or Revolutionary-era focus to advance research on this vital subject. For example, scholars of music of the African diaspora and Indigenous First Nations typically do not center their narratives on the American Revolution but awareness of their research is essential to build a more accurate and comprehensive understanding of the role of music, songs, and singing in this conflict.
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Pub Date : 2021-10-22DOI: 10.1215/00029831-9520208
Ira Halpern
The literary and cultural dimensions of the longstanding US political debate over public versus private health care have been critically underexplored. How did early twentieth-century US writers portray the business of medical care within a stratified US economy? In Robert Herrick’s The Healer (1911), Wallace Thurman and A. L. Furman’s The Interne (1932), and Frank G. Slaughter’s That None Should Die (1941), the problems of inequality, profit, and corruption plague the practice of professional medicine. The writers of these novels do not, for the most part, blame the trouble with care on individual nurses, doctors, or other medical staff. Instead of exposing the power of individual medical practitioners to exploit bodies, these novels call attention to the power of capitalism and inequality to distort and derange the mission of medicine. Yet, the political critiques offered by health care fictions are foreclosed by anxieties about collective reform and government intervention in health care. So, this article asks why some of the most sustained literary treatments of capitalist medicine in US literature ultimately retreat from the structural critiques that they themselves raise.
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Pub Date : 2021-10-22DOI: 10.1215/00029831-9520194
Arielle Zibrak
The article describes the impact of two popular fin de siècle philosophical movements—Arts and Crafts and New Thought—on both well-known authors like Frank Norris and Charlotte Perkins Gilman and the lesser-known writers it reads more closely: Ella Wheeler Wilcox and Madeline Yale Wynne. Although their values were antithetical, Arts and Crafts and New Thought shared striking similarities in the ways they yoked consumption habits to personal well-being and used fiction to understand and endorse popular secular philosophies. These women-led movements shaped enduring national ideologies and the literature of their period, which tends to either synthesize the beliefs of both movements or represent one as patently superior to the other through satire or protest. The recovery of the history of these movements and their contribution to American literature not only retraces a lost genealogy of popular ideas that have shaped our culture, but also demonstrates the centrality of female thinkers and writers to the development of our present-day notions about how to transcend the grinding forces of consumer capitalism in everyday life.
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Pub Date : 2021-10-22DOI: 10.1215/00029831-9520236
M. Scully
By attending to art and writing that interrogates US citizenship and state violence, this essay foregrounds the structural antagonism between democracy as an instituted form of rule, which depends on inegalitarian hierarchies, and democracy’s egalitarian drive. It argues that the realization of democracy as a form of governance (consensus democracy) occurs by substituting the rule of a part for the whole, which violently forces democracy’s constitutive figures to conform to and negotiate its organizing logics. Nari Ward’s We the People (2011) allegorizes this inherent tension in democracy as one between synecdoche and metonymy. The article then theorizes a new form of democratic politics through an engagement with Jacques Rancière before turning to Ocean Vuong’s “Notebook Fragments” (2016) and “Self-Portrait as Exit Wounds” (2016) as articulations of a democratic aesthetics constituted by figures—including metonymy, irony, and catachresis—that interrupt the substitutions of synecdoche. Vuong’s poetry foregrounds the violence enacted by state fantasies and insists on the democratic equality disavowed by consensus democracy. Together, Ward and Vuong locate the political force of aesthetics not in reassuring visions of inclusion but in operations that disturb and resist any form of hierarchy.
通过关注质疑美国公民身份和国家暴力的艺术和写作，本文强调了民主作为一种既定的统治形式，依赖于不平等的等级制度，与民主的平等主义驱动之间的结构性对立。它认为，民主作为一种治理形式（共识民主）的实现是通过用局部规则代替整体来实现的，这暴力地迫使民主的构成人物遵守并协商其组织逻辑。纳里·沃德（Nari Ward）的《我们人民》（We the People）（2011）将民主中这种固有的紧张关系寓言化为提喻和转喻之间的紧张关系。然后，这篇文章通过与雅克·兰齐埃的接触，理论化了一种新形式的民主政治，然后转向Ocean Vuong的《笔记本碎片》（2016）和《出口伤口的自画像》（2016。Vuong的诗歌突出了国家幻想所带来的暴力，并坚持了共识民主所否定的民主平等。Ward和Vuong共同定位了美学的政治力量，而不是在令人放心的包容愿景中，而是在扰乱和抵制任何形式的等级制度的行动中。
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Pub Date : 2021-08-25DOI: 10.1093/obo/9780199827251-0220
The American popular magazine came into being in the 1890s due to advances in marketing, printing, and distribution. These were general interest magazines but they soon splintered into specialty magazine genres, geared at specific audiences or specific interests. In general, magazines are an ecology within the even larger ecologies of print and literary culture. By their very nature they are multivocal and fragmented, singular objects with kaleidoscopic contents. The study of magazines reflects their subject, drawing from many fields and relying upon many critical approaches for a multitude of possible applications. With huge circulations and nationwide distribution, American popular magazines were arguably the first iteration of mass culture. Yet there is a large disjunction between the importance and prevalence of popular magazines of the first half of the 20th century and the amount of critical work devoted to them. One of the central reasons for this disjunction has been the preponderance of scholarly attention paid to literary modernism, which is seen as oppositional to the popular and commercial (an idea that has been more recently revised). Consequentially, studies of small circulation, coterie little magazines vastly outnumber those dedicated to popular periodicals. The study of popular magazines enjoyed an upswing with second-wave feminism. Sociological and literary studies followed which traced the construction of women as passive consumers (of goods, of identity) back to The Ladies Home Journal and forward into contemporary women’s homemaker magazines. The next few decades saw an expansion and complication in the studies of the relationship between audience and magazines, especially as the field of cultural studies gained momentum. Feminist work on imagined reader communities saw popular magazines as potentially empowering and the study of African American Popular Magazines flourished as did the study of how magazines constructed masculinity. In the last twenty years or so, the popular magazines of the first half of the 20th century have frequently become the subject for critical literary scrutiny. This shifting of focus is due in part to the rise of new modernist studies, which has decentralized modernism and largely dispelled the idea that modernism wasn’t available to the masses, along with the rise of modern periodical studies, which has expanded attention beyond little magazines. As a result of these critical practices, middlebrow, genre, and working-class magazines—such as Smart Magazines, Pulp Magazines, and Hollywood Fan Magazines—are emerging as objects of study, spurred by growing digital archives of magazines that were rarely collected in libraries.
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