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American literature is set apart from other literatures from around the
world because of the political and socioeconomically driven themes that are
such as Willa Cather, William Faulkner, and John Steinbeck, who portray both
the successes and devastating failures of characters who are bound to their
African American authors Richard Wright and Zora Neale Hurston utilize
regional dialects to accurately and often painfully portray characters who are
Literature, with countless novels, plays, and poems being based on the
formerly strict rules of poetry and prose, to depict the horrors of the
whose personal tragedies take center stage in poetry that tears down the
popular in the American media, and reveals a personal pain that results from
the inability to conform to the American ideal of the perfect woman. Truman
Capote’s In Cold Blood departs from traditional non-fiction with the author’s
The genius of William Faulkner lies in his ability to articulate the voices
of rural Americans who are set apart from Americans in other parts of the
Dying follows a family in their pursuit to bury their dead; crippled by poverty,
however, they are forced to live with the dead body through storms both
literal and metaphorical in scenes familiar to the poor and uneducated in the
Deep South. The Deep South is, in fact, an icon in American Literature. The
Civil War, slavery, racism, and the Civil Rights Movement, are all unique to
the American experience, and tales of life in the Deep South are featured in
American author Richard Wright examines the terrors of racism in the Deep
South, with characters who are lynched, beaten, and burned to death, often
for crimes that they did not commit, but more accurately, simply because
they were black. In “The Man Who Was Almost A Man,” Wright presents the
reality of inequality in the American South for a young black boy who dreams
under his pillow for the gun. In the gray light of dawn he held it
in his hand, nobody could run over him; they would have to
respect
him
(Wright 2070-2071).
promise of freedom is all too often broken, and the future is as bleak as any
Zora Neale Hurston, like Richard Wright, depicts black life in the
characters, but she places her people in the all-black town of Eatonville,
Florida, where blacks rule their own community with little intrusion from
(1711-1712).
Hurston and Wright, like Faulkner, equip their characters with regional
dialects that are instrumental to both the theme and tone of their work. The
their speech makes known the vast differences between blacks and whites at
Racism and oppression abound in the American literary canon and they
are also prevalent in the works of Modernist poets Langston Hughes and
Countee Cullen; poets who are typically identified with the Harlem
Renaissance Movement. Hughes is well known for his use of jazz and the
blues in his poetry, both of which are American musical innovations created
focus on racism and injustice; in his poem “Incident,” the speaker of the
smiled, but he poked out / His tongue, and called me, “Nigger”
(Cullen 2061).
and colored with black culture forms of jazz, blues, and spirituals. Hughes,
like Cullen and Wright, exposes racism as an impenetrable evil that stalks
African Americans who dream of one day being free. “The Weary Blues” is
one of many Hughes poems that read like a song, with beats born from the
Negro sing, that old piano moan / “Ain’t nobody in this world /
War,” critic Jonathan Scott explores Hughes political views, especially his
links to Communism, to present not only his poetic methods, but also the
literary methods reveals that, “he served as a Black national advocate for
the level of national popular culture and through the formation of national
one wrought with political oppression and the struggle of black Americans to
tear down the boundaries that imprison them in segregation and Jim Crow
laws.
Americans. Poverty and lack of education are the driving forces behind
oppression against all Americans and this is made painfully clear in John
Steinbeck’s The Grapes of Wrath. The Joad family is forced off their land
and onto the American highway in the search of the American Dream in
California. Like the Deep South, the American Dream is a literary icon that
But the American Dream is typically an unattainable one, especially for the
hunger, death, and disappointment. The American West, like the Deep
South, is a character in itself, one that fails to keep its promises, whether of
gold or of glory. The Grapes of Wrath reveals the reality that the American
Dream is not simply up for grabs, a free-for-all, or a legal right. The Joad
family is duped by propaganda and they take to the road believing that the
Joad’s realize early on in their journey that they have been deceived, but
they choose to move forward in their travels because they have nothing at
home for which to return. Steinbeck, having personally visited the migrant
camps, provides insight into the desperation and despair of the thousands of
Americans who left their dusty lands in search of the American Dream:
They were hungry, and they were fierce. And they had hoped to
find a home, and they found only hatred… The owners hated
them.
And in the towns, the storekeepers hated them because they had
no
there was nothing to gain from them. They had nothing. And
the laboring
The Joad family, like millions of Americans, will never see the American
Dream come to fruition, and they watch in terror as their dreams, like their
The short stories and novels of F. Scott Fitzgerald often focus on the
achieving the American Dream, but rather the failure of morals in those
people who have, financially, realized this dream. Critic John F. Callahan
loss felt when the dream fails in one or another of its guises” (Callahan 374).
wild success. Like the author himself, Fitzgerald’s characters often succumb
character: she is beautiful and mesmerizing, and with few other qualities
ever cared for him at all. She had beckoned him and beckoned
(Fitzgerald 1833).
Fitzgerald’s women often slowly and painfully unravel the men who love
them, men who have achieved economic success, (the American Dream) but
who lack the ability to refuse the advances of beautiful women who are also
American Woman
The Grapes of Wrath presents the family matriarch as the soul of the
family unit; a woman who cannot be buried by the oppression of her husband
or her sons, and who leads her family on their journey west, in the hopes of
finding work amidst the hunger and desperation of the Dust Bowl migrations.
Ma Joad begins as a motherly figure, one who spends most of her time
cooking and caring for her family, yet she manages to take over the role that
from failure and the inhumane treatment his family receives from political
forces. The Joad family represents the stock Midwestern American family,
for whom education was forgone in favor of tilling their land, and family was
hardship after hardship and leads her family by powerful female intuition and
the unwavering love of a wife and mother. Critic Nellie Y. McKay examines
the role of the wife and mother in American literature. McKay contends that
Ma Joad represents the typical American woman, a woman who spends her
life catering to the emotional and physical needs of her husband and her
children, regardless of her own needs; she cooks, cleans, nurses, and
submits. McKay writes that the “equation of the American land with
between the biological and the social functions of women” (McKay 50).
McKay, however, fails to credit Ma Joad for her triumphant victory over the
will of her husband, as she demonstrates the ability to lead her family just as
well, if not more effectively, than Pa Joad. McKay states that, in the work of
Steinbeck, “women, without whom the men would have no world, have no
independent identity of their own” (50). In fact, Ma Joad, although driven by
the necessity to provide for her children, does indeed develop the identity of
a woman whose input is valuable, and whose guidance averts even further
catastrophe. Ma Joad arises from beyond the shadow of her husband, and
Jones of “Winter Dreams” and the lead female characters in Tender is the
Night are, with few exceptions, both financially and emotionally independent
women who lead men by their sexual prowess and powers of manipulation.
This was a new idea in American Literature; gone were the days of the
kitchen slaves, forever bound by the strings of their aprons, who singularly
Plath defined what it meant to be a wife and a mother, and she did not
pioneered by the likes of Allen Ginsberg, and she revealed to readers her
private pain and disappointment with leading the life of a wife and a mother.
Plath’s intellect, combined with artistic passions, was, in her own words,
asphyxiated by her matrimonial and motherly duties. In her poetry, Plath
love, and reveals that American women are, in fact, often unfulfilled by this
marginalization of women: “To fill it and willing / To bring teacups and roll
away headaches / And do whatever you tell it / Will you marry it?” (Plath
2710, 11-14). Plath likens women to dolls who are playthings for men and
who must fulfill their roles as wives and mothers as they have been so long
media: “…In twenty-five years she’ll be silver / In fifty, gold. / A living doll,
everywhere you look. / It can sew, it can cook / It can talk, talk, talk” (2710,
31-35). Plath’s intimate poems, in concert with her private and personal
suffered by African Americans in the 20th Century, but it also offers poems
with feminine themes and, like Plath, she does not agree with or submit to
the American female ideal. In “the Mother,” Brooks’ brutal honesty about
the realities of abortion both defends women’s rights, and reveals the agony
and the aftermath of making such a decision: “You will never neglect or
beat / Them, or silence or buy with a sweet / You will never wing up the
sucking-thumb / Or scuttle off ghosts that come” (Brooks 2411, 5-8). Brooks
and Plath share distaste for the expectancies of motherhood in America and
the constraints that it puts on modern women. Ultimately, these poets lift
the veil of domesticity and reveal the face of the modern woman, one who
Literature.
But Tom Joad is not a soldier or a saint, he is a criminal who spent five years
in prison for second degree murder, and a man who refuses to be battered
by the system that not only placed him in prison, but also abuses his family
as well as thousands of others, who seek, but do not find, aid during the
man who fights, drinks, loves, and fails gracefully and without complaint.
Tom Joad, however, is not the only proud and fighting man in The Grapes of
“Oh! They talked pretty about it. You know what kinda years
didn’t get a crop to plug up an ant’s ass. An’ ever’body got bills
at the grocery. You know how it is… So they tractored all the
tenants
off the lan.’ All ‘cept me, an’ by God I ain’t goin’
(Steinbeck 64).
of the luckless. Faulkner’s As I Lay Dying, Ralph Ellison’s The Invisible Man,
Hemingway’s The Sun Also Rises, and the combined works of Jack Kerouac,
are “journey” themed novels. Visibly absent in these works is the chivalrous
gentleman, the wealthy romantic, and the sensitive Lord of British Literature.
The new American hero is often without financial stability, void of material
Kerouac’s Big Sur examines both the necessity of escaping the modern
American world, and also embracing the excitement of urban life in America:
… I can see him rubbing his hands in anticipation of another big wild
binge
with me like we had the year before when he drove me back to New
York
from the West Coast, with George Baso the little Japanese Zen master
a terrific trip through Las Vegas, St. Louis, stopping off at expensive
motels and drinking nothing but the best Scotch out of the bottle all
the way—
(Kerouac 2449)
artists that included Allen Ginsberg, and which flourished and was born out
of disillusionment with World War II. The Beat Generation shares features
with the First World War, as characters travel aimlessly throughout the
United States and through Europe, engaging in casual sex, habitual drinking,
But Hemingway’s American male characters are often associated with World
War I, and this gives birth to male characters who have been both physically
and emotionally wounded in the war. Kerouac avoids tales of war, possibly
American war in his work. What Kerouac and Hemingway have most in
common are characters who are always on the move, traveling and
exploring, and paying the price for their volatility. In “The Snows of
Kilimanjaro,” a man on the verge of death muses over a life wasted and
(Hemingway 1988).
experience; restless wanderers seek, and often do not find, love, happiness,
and economic success. The traveling man is often painted as a hero; not
because he triumphs over the challenges on the road, but because he goes
on, and on, and on, and rarely stops to pity himself. Hemingway and
Kerouac’s characters are often a threat only to themselves, and their moral
compasses are not only misaligned, but rarely referred to for direction. The
indifference of these characters cause only minor harm, but the spiritually
American Tragedy
portrait of the American family. This picture, however, did not reveal the
realities of American life outside of these suburbs. Racism was alive and well
American dream being available to anyone who asked after World War II,
was rampant, and young people in America were frustrated and unsatisfied
with the American ideal that did not apply to them. In “Howl,” Ginsberg
reveals, often in horrific detail, those segments of society that are
marginalized and abused; this included homosexuals, blacks, Jews, and the
(2756, 1) and “who sailed out of their windows in despair, fell out of the
subway window, jumped in the Passaic, leaped on Negroes, cried all over the
records… and threw up groaning into the bloody toilet, moans in their ears
administration, but rather was the terrible reality of American life that was
of the hidden streets and alleys of America is, in the words of critic Jason
Shnider, “[r]obust, rude, and tender, with provocatively rhythmic music, the
was born out of the various influences of American jazz, blues and rock n’
roll, formalism and free verse…” (Shnider 1). Ginsberg’s telling of the
ignored and abandoned set the stage for the mass migration of young
people to San Francisco, where hippies, runaways, and artists followed in the
authors responded to the breakdown in the traditional family and its values,
which often resulted in the corruption of the young; many of these young
people no longer believed in the American Dream, and they took matters
into their own hands, often in the form of violence. The death of the all-
heart of the violence in Truman Capote’s In Cold Blood. The brutal crime
committed on the Clutter family is the result of social and familial chaos.
Dick Hickock and Perry Smith, two poor, uneducated, aimless, and heartless
psychology of the two murderers and thoughtfully provides insight into the
unthinkable as it is, the reader has the potential to sympathize with these
murderers because it is clear that family and society plays a role in the
automobile accident, and this disability leads to his criminal prowess. Critic
Roger Berger, in his discussion of In Cold Blood, asserts that “[t]hrough its
presentation of documents, the novel renders invisible the links between the
criminal justice system and its part in producing the chronic delinquent”
(Berger 184). Capote’s ability to arise empathy in the hearts of readers also
brings to light the issue of Capital Punishment in the United States, a judicial
form of homicide that has long been an accepted form of punishment in the
United States.
Blood, and this was a direct result of the aftermath of war and the
1960’s and authors like Capote revealed that these changes were a product
of the death of family values, which then gave birth to delinquents and
murderers who often carried years of abuse and social abandonment with
literatures, and what makes American Literature most unique is the social
climate in which it was created. Slavery, the Civil War, racism, immigration,
the Civil Rights Movement, the Vietnam War, and beyond; these are
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