...Patrick Redding Copyright © Hofstra University 2012 Patrick Redding “One must make a distinction, however”: Marianne Moore and Democratic Taste Patrick Redding The root & seed of democracy is the doctrine Judge for yourself...

...John King One-Way Tickets: Writers and the Culture of Exile , by Borinsky Alicia , Trinity University Press , 2011 . 223 pages. Copyright © Hofstra University 2013 John King One-Way Tickets: Writers and the Culture of Exile by Alicia Borinsky Trinity University Press, 2011...

...Patrick Eichholz Out of the wreckage of the First World War, classicism and dadaism charted two opposing paths forward. While one movement sought to overturn the institutions complicit in prolonging the war, the other sought to buttress these same institutions as a safeguard against the chaos...

...Nathaniel Mills This article challenges long-standing narratives of Ralph Ellison’s response to civil rights-era struggles as one of quietism, conservatism, or apolitical aestheticism. Focusing on a key episode early in Ellison’s Three Days before the Shooting …, in which a jazz musician burns his...

... claims, requires drawing a sharp distinction between the private-intellectual and social-practical realms or, as one of her characters puts it, between the “things you read about” and the “things you do.” Curiosity, if it is to be sanctioned by Wharton, must be quarantined to the former sphere, to one’s...

... maturity and political liberty constitute the core features of a mythologized Anglo-Saxon racial inheritance, one shared by her novel’s white characters, and over the course of the novel, as its protagonist Jean Louise Finch rejects psychologically stunted and politically naive colorblind liberalism, she...

... and solitude were not only compatible but, in fact, depended on one another. Moore had a high view of public (and especially civic) virtue and responsibility, which she brought to bear on her late-life celebrity, but for her it was solitude that made both literary productivity and public life possible...

... to express disquiet with the mechanics of the corporeal, Powell’s camera insists that we look steadily at the bodies of his lead actors—one aging before our eyes, one remaining eternally and impossibly the same—as they are worked on by the trickery of cinema, and to marvel at (rather than being repulsed...

...William Q. Malcuit This article argues for a reconsideration of T. S. Eliot’s early poetry—in particular “The Love Song of J. Alfred Prufrock”—as developing out of a particular American poetic tradition, one that replayed and reinforced important tenets of American liberalism and nationalism...

..., however, that view helps Heaney develop a poetics where form itself—the essential border-making and border-crossing apparatus—is emblematic of a solution to political crisis, making his misreading a highly productive one. © 2021 Hofstra University 2021 American literature criticism gender Irish...

... and affective space for thinking through—if not necessarily beyond—the ubiquity of despair in twentieth-century modernity. Ultimately, morbid vitalism points a way toward a broader conversation between life-oriented modernist scholarship on vitalism and affect, on the one hand, and ongoing inquiries...

... and inexplicable choices, critics tend to blame either Helga’s psyche or her environment. This essay offers an alternative approach, one that troubles the sharp distinctions between interior and exterior on which these readings implicitly rely by arguing that Helga and recalcitrant subjects like her exhibit “wrong...

...Dennis López There are ghosts in the barn, or at least Helena María Viramontes’s Under the Feet of Jesus leads one to believe so. Instances of spectrality abound in the novel, suggesting a fundamental connection between Viramontes’s figurative appeal to the “ghostly” and her more openly political...

...Danielle Christmas In William Styron’s Sophie’s Choice and The Confessions of Nat Turner , and the responses to his novels, two contrasting discourses emerge: a commitment to the idea that histories of slavery and the Holocaust can be explained by economic motives, on one hand, and, on the other...

... on the originality of her own oeuvre, the younger writer took Wharton’s work and made it new. One of Larsen’s most modernist gestures is the manner in which she consistently refers to, echoes, and resituates Wharton. These adaptations of Wharton’s fiction, especially of Sanctuary (1903) and Twilight Sleep (1927...

... and bodily formation, I propose that Huxley’s novel adapts this nonlinear model in order to rethink human development in a modern world beset by overspecialized education and political tyranny. Of particular importance is one of the results of heterochrony: neoteny (the adult retention of juvenile...

...Mary McGlynn Focusing on one of the most frequent and explicit targets of Thatcher’s economic policies, working-class men in traditional heavy industries, I explore representations of the dissolution of both unions and private space under Thatcher. Looking at fiction, films, and screenplays...

...Jordan S. Carroll This essay examines the US literary publisher Grove Press from 1951 to 1970. During this period, Grove promoted an aesthetic that Susan Sontag termed the “new sensibility,” one that valued impersonal sensations over personal expression. Grove thus became a key mediator between...

...Adrienne Brown Beginning with a comparison of Virginia Woolf ’s vision of passing a “fine negress” in “A Room of One’s Own” (1929) to Zora Neale Hurston’s refusal to allow white women to pass her without some roughhousing in her 1928 essay, “How It Feels to Be Colored Me,” this essay grapples...

... subjectivity—a way of telling one’s own scandalous story through someone else’s words, even words intended as hostile, discovering poetic and sexual pleasures where others see only anxiety and dread. Such claims carry a particularly queer resonance, both within the world of Merrill’s poem and in the 1950s...