Re Writing America

With his first book, American Literature and the Experience of Vietnam, Philip Beidler offered a pioneering study of the novels, plays, poetry, and "literature of witness" that sprang from the United States involvement in the Vietnam War. Reviewing the book, the journal American Literature declared, "[It is] more than just an introductory act. It also sets forth what are sure to be lasting types of American literary response to Vietnam, and of the scholarly response to the emerging literature of the war." In Re-Writing America, Beidler charts the ongoing achievements of the men and women who first gained public notice as Vietnam authors and who are now recognized as major literary interpreters of our national life and culture at large. These writers--among them Tim O'Brien, Philip Caputo, Winston Groom, David Rabe, John Balaban, Robert Stone, Michael Herr, Gloria Emerson, and Frances Fitzgerald--have applied in their later efforts, says Beidler, "many of the hard-won lessons of literary sense-making learned in initial works attempting to come explicitly to terms with Vietnam." Beidler argues that the Vietnam authors have done much to reenergize American creative writing and to lead it out of the poststructuralist impasse of texts as endless critiques of language, representation, and authority. With their direct experience of a divisive and frustrating war--"a war not of their own making but of the making of politicians and experts, a war of ancient animosities that cost nearly everything for those involved and settled virtually nothing"--these writers in many ways resemble the celebrated generation of poets and novelists who emerged from World War I. Like their forebears of 1914-18, those of the Vietnam generation have undertaken a common project of cultural revision: to "re-write America," to create an art that, even as it continues to acknowledge the war's painful memory, projects that memory into new dimensions of mythic consciousness for other--and better--times. Beidler fills his book with detailed, illuminating analyses of the writers' works, which, as he notes, have moved across an almost infinite range of subject, genre, and mode. From David Rabe, for example, have come innovative plays in which overt statements on the traumas of Vietnam (The Basic Training of Pavlo Hummel, Streamers) have made way for broader commentaries on sex, power, and violence in American life (In the Boom Boom Room, HurlyBurly). Winstom Groom has moved from Better Times Than These, a rather traditional (even anachronistic) war novel, to further reaches of rambunctious humor in Forrest Gump. And journalist Michael Herr, whose Dispatches memorably defined a Vietnam landscape at once real and hallucinatory, carried his vision into collaborations on the films Apocalypse Now and Full Metal Jacket. As Beidler notes, the immense price that Vietnam exacted from the American soul continues to draw a plethora of interpretations and depictions. Vietnam authors remind us, in Tim O'Brien's words, of "the things they carried." But as Beidler makes clear, they now command us not only to remember but to imagine new possibilities as well.

Winner of the John S. Tuckey 2017 Lifetime Achievement Award for Mark Twain Scholarship from The Center for Mark Twain Studies American novelist E.L. Doctorow once observed that literature “endows places with meaning.” Yet, as this wide-ranging new book vividly illustrates, understanding the places that shaped American writers’ lives and their art can provide deep insight into what makes their literature truly meaningful. Published on the eve of the 50th anniversary of the Historic Preservation Act, Writing America is a unique, passionate, and eclectic series of meditations on literature and history, covering over 150 important National Register historic sites, all pivotal to the stories that make up America, from chapels to battlefields; from plantations to immigration stations; and from theaters to internment camps. The book considers not only the traditional sites for literary tourism, such as Mark Twain’s sumptuous Connecticut home and the peaceful woods surrounding Walden Pond, but also locations that highlight the diversity of American literature, from the New York tenements that spawned Abraham Cahan’s fiction to the Texas pump house that irrigated the fields in which the farm workers central to Gloria Anzaldúa’s poetry picked produce. Rather than just providing a cursory overview of these authors’ achievements, acclaimed literary scholar and cultural historian Shelley Fisher Fishkin offers a deep and personal reflection on how key sites bore witness to the struggles of American writers and inspired their dreams. She probes the global impact of American writers’ innovative art and also examines the distinctive contributions to American culture by American writers who wrote in languages other than English, including Yiddish, Chinese, and Spanish. Only a scholar with as wide-ranging interests as Shelley Fisher Fishkin would dare to bring together in one book writers as diverse as Gloria Anzaldúa, Nicholas Black Elk, David Bradley, Abraham Cahan, S. Alice Callahan, Raymond Chandler, Frank Chin, Elizabeth Cook-Lynn, Countee Cullen, Frederick Douglass, Paul Laurence Dunbar, Jessie Fauset, William Faulkner, F. Scott Fitzgerald, Allen Ginsberg, Jovita González, Rolando Hinojosa, Langston Hughes, Zora Neale Hurston, Lawson Fusao Inada, James Weldon Johnson, Erica Jong, Maxine Hong Kingston, Irena Klepfisz, Nella Larsen, Emma Lazarus, Sinclair Lewis, Genny Lim, Claude McKay, Herman Melville, N. Scott Momaday, William Northup, John Okada, Miné Okubo, Simon Ortiz, Américo Paredes, John P. Parker, Ann Petry, Tomás Rivera, Wendy Rose, Morris Rosenfeld, John Steinbeck, Harriet Beecher Stowe, Henry David Thoreau, Mark Twain, Yoshiko Uchida, Tino Villanueva, Nathanael West, Walt Whitman, Richard Wright, Hisaye Yamamoto, Anzia Yezierska, and Zitkala-Ša. Leading readers on an enticing journey across the borders of physical places and imaginative terrains, the book includes over 60 images, and extended excerpts from a variety of literary works. Each chapter ends with resources for further exploration. Writing America reveals the alchemy though which American writers have transformed the world around them into art, changing their world and ours in the process.

Intended as a reader for writing and critical thinking courses, this volume presents a collection of writings promoting cultural diversity, encouraging readers to grapple with the real differences in perspectives that arise in our complex society.

In this lively and provocative study, Geoff Ward puts forward the bold claim that the founding documents of American identity are essentially literary. America was invented, not discovered, and it remains in thrall to the myth of an earthly Paradise. This is Paradise, and American ideology imprisons as it inspires. The Writing of America shows the tension between these forces in a wide range of literary and other texts, from Puritan sermons and the Declaration of Independence, through nineteenth-century classics, to folk and blues lyrics and the popular novel. Alongside his provocative reassessments of canonical writers, Ward offers new material on lost or neglected figures from the world of literature, film and music. His acute and often startling analyses of American literature and culture make this an essential guide to what Lincoln termed the last best hope of earth.

This practical volume addresses teachers' most immediate and constant wish to engage students in meaningful learning. Written by teachers affiliated with the National Writing Project, this engrossing collection presents examples of classroom-based community studies projects that showcase teachers' reflective practice in action, models for professional growth, collaborative staff development programs, and much more. It features: replicable projects emphasizing approaches to doing research and writing that are both engaging for students and academically rigorous; comprehensive curricular models for building energetic, public connections between the classroom and the larger community; chapters that connect the standards-based classroom work to teacher professional development and to emerging trends in American Studies and literacy instruction.

Established in 1935, the Federal Writers' Project (FWP) sent around 6,500 unemployed historians, teachers, writers, and librarians out to document America's past and present in the midst of the Great Depression. The English poet W. H. Auden referred to this New Deal program as "one of the noblest and most absurd undertakings ever attempted by any state." Featuring original work by scholars from a range of disciplinary perspectives, this edited collection provides fresh insights into how this extraordinary program helped transform American culture. In addition to examining some of the major twentieth-century writers whose careers the FWP helped to launch--including Ralph Ellison, Richard Wright, and Margaret Walker--Rewriting America presents new perspectives on the role of African Americans, Mexican Americans, Asian Americans, and women on the project. Essays also address how the project's goals continue to resonate with contemporary realities in the midst of major economic and cultural upheaval. Along with the volume editor, contributors include Adam Arenson, Sue Rubenstein DeMasi, Racheal Harris, Jerrold Hirsch, Kathi King, Maiko Mine, Deborah Mutnick, Diane Noreen Rivera, Greg Robinson, Robert Singer, James Sun, and David A. Taylor.

This edition explores the history of musical contact, interaction, and exchange between American Indians and Euramericans, as documented in musical transcriptions, notations, and arrangements. The volume contributes to an understanding of American music that reflects our cultural reality, depicting reciprocal influences among Native Americans, scholars, composers, and educators, and illustrating consequences of those encounters for American musical life in general. Culled from a published record of over 8,000 songs, the edition contains 116 musical examples reproduced in facsimile. Included in the volume are the earliest attempts to represent tribal music in European notation, archetypal transcriptions in the scholarly literature of ethnomusicology, and recent contributions by contemporary scholars. Some of the notations shown here inspired composers in search of a distinctively American musical idiom to write works based on American Indian melodies. Others captured the imagination of American school children, whose concept of cultural and musical identity came to be linked with American Indians. Indigenous notations, the work of native scholars and educators, and recent compositions by native composers working in the classical vein also appear in this volume. As a compendium of historic materials, the edition illustrates the development of Euramerican attitudes and approaches to American Indian musics, the infusion of native musics into American musical culture, and native responses to and participation in the enterprise.

Today, the long-assumed belief in the permanence of an enlightened world is suddenly open to challenge. Human rights, participatory government, and social justice are losing global influence, and the world of ordinary people is pushing back against Enlightenment conceits. Accumulated anger links Taliban, Tea Party, and Trump, threatening women's rights, social justice, and democracy. To understand and counteract the threat to these ideas, we must set aside embedded explanations and embrace a new frame of observation and tolerance grounded in the power of belief, legend, and tradition. In Rebuilding an Enlightened World, Bill Ivey explores how folklore offers a unique and compelling new way to understand the underlying forces disrupting the world today. If we are to salvage the best of the Enlightenment dream and build a better future, we must begin to listen, patiently and inquisitively, in order to interpret the customs, norms, and traditional practices that shape all human behavior.