Objects of fear and fascination, cannibals have long signified an elemental "otherness," an existence outside the bounds of normalcy. In the American imagination, the figure of the cannibal has evolved tellingly over time, as Jeff Berglund shows in this study encompassing a strikingly eclectic collection of cultural, literary, and cinematic texts. Cannibal Fictions brings together two discrete periods in U.S. history: the years between the Civil War and World War I, the high-water mark in America's imperial presence, and the post-Vietnam era, when the nation was beginning to seriously question its own global agenda. Berglund shows how P. T. Barnum, in a traveling exhibit featuring so-called "Fiji cannibals," served up an alien "other" for popular consumption, while Edgar Rice Burroughs in his Tarzan of the Apes series tapped into similar anxieties about the eruption of foreign elements into a homogeneous culture. Turning to the last decades of the twentieth century, Berglund considers how treatments of cannibalism variously perpetuated or subverted racist, sexist, and homophobic ideologies rooted in earlier times. Fannie Flagg's novel Fried Green Tomatoes invokes cannibalism to new effect, offering an explicit critique of racial, gender, and sexual politics (an element to a large extent suppressed in the movie adaptation). Recurring motifs in contemporary Native American writing suggest how Western expansion has, cannibalistically, laid the seeds of its own destruction. And James Dobson's recent efforts to link the pro-life agenda to allegations of cannibalism in China testify still further to the currency and pervasiveness of this powerful trope. By highlighting practices that preclude the many from becoming one, these representations of cannibalism, Berglund argues, call into question the comforting national narrative of e pluribus unum.

Objects of fear and fascination, cannibals have long signified an elemental "otherness," an existence outside the bounds of normalcy. In the American imagination, the figure of the cannibal has evolved tellingly over time, as Jeff Berglund shows in this study encompassing a strikingly eclectic collection of cultural, literary, and cinematic texts. Cannibal Fictions brings together two discrete periods in U.S. history: the years between the Civil War and World War I, the high-water mark in America's imperial presence, and the post-Vietnam era, when the nation was beginning to seriously question its own global agenda. Berglund shows how P. T. Barnum, in a traveling exhibit featuring so-called "Fiji cannibals," served up an alien "other" for popular consumption, while Edgar Rice Burroughs in his Tarzan of the Apes series tapped into similar anxieties about the eruption of foreign elements into a homogeneous culture. Turning to the last decades of the twentieth century, Berglund considers how treatments of cannibalism variously perpetuated or subverted racist, sexist, and homophobic ideologies rooted in earlier times. Fannie Flagg's novel Fried Green Tomatoes invokes cannibalism to new effect, offering an explicit critique of racial, gender, and sexual politics (an element to a large extent suppressed in the movie adaptation). Recurring motifs in contemporary Native American writing suggest how Western expansion has, cannibalistically, laid the seeds of its own destruction. And James Dobson's recent efforts to link the pro-life agenda to allegations of cannibalism in China testify still further to the currency and pervasiveness of this powerful trope. By highlighting practices that preclude the many from becoming one, these representations of cannibalism, Berglund argues, call into question the comforting national narrative of e pluribus unum.

The Cannibal was John Hawkes's first novel, published in 1949. The Cannibal was John Hawkes's first novel, published in 1949.

The Cannibal was John Hawkes's first novel, published in 1949.

A comprehensive study of cannibalism in literature and film, spanning colonial fiction, Gothic texts and contemporary American horror. Amidst the sharp teeth and horrific appetite of the cannibal, this book examines real fears of over-consumerism and consumption that trouble an ever-growing modern world.

"They raped me and ate my friend alive." Thus starts this work of erotic horror fiction filled with 'sacrilege, blasphemy, and crime' -- written in a style that is part H P Lovecraft, part Marquis de Sade, and part Octave Mirbeau -- "The Cannibal Within" is literally 'wet with sin, slippery with blood, and slimy with fornication.' The novel's central character is part Lara Croft part Sarah Connor. She/We has a choice: the evil may be patiently borne or savagely resisted. We may think we are special -- holy, honoured, valued -- God's chosen primates -- but that is a fraud. The dupes of superhuman forces, we are misfits and abominations. We have no higher purpose -- no saviour god died for our sins--we exist, only because our masters are infatuated with our meat.