In a major statement on the relation of art and politics in America, Tom Lutz identifies a consistent ethos at the heart of American literary culture for the past 150 years. Through readings of Sherwood Anderson, Willa Cather, Hamlin Garland, Ellen Glasgow, Sarah Orne Jewett, Sinclair Lewis, Edgar Lee Masters, Claude McKay, Edith Wharton, Anzia Yezierska, and others, Lutz identifies what he calls literary cosmopolitanism: an ethos of representational inclusiveness, of the widest possible affiliation, and at the same time one of aesthetic discrimination, and therefore exclusivity.At the same time that it embraces the entire world, in Lutz's view, literary cosmopolitanism necessitates an evaluative stance, and it is this doubleness, this combination of egalitarianism and elitism, that animates American literature since the Civil War. The nineteenth century's realists and sentimentalists, the writers of the Harlem Renaissance and of the Southern Renaissance, the firebrands who brought in the new canon and the traditionalists who struggled to save the old all ascribe, Lutz argues, to the same cosmopolitan values, however much they disagree on what these values demand of those who hold them.

Mediating Nation: Late American Realism, Globalization, and the Progressive State

Reflecting on his past, President John Adams mused that it was religion that had shaped his family's fortunes and young America's future. For the nineteenth century's first family, the Adamses of Massachusetts, the history of how they lived religion was dynamic and well-documented. Christianity supplied the language that Abigail used to interpret husband John's political setbacks. Scripture armed their son John Quincy to act as father, statesman, and antislavery advocate. Unitarianism gave Abigail's Victorian grandson, Charles Francis, the religious confidence to persevere in political battles on the Civil War homefront. By contrast, his son Henry found religion hollow and repellent compared to the purity of modern science. A renewal of faith led Abigail's great-grandson Brooks, a Gilded Age critic of capitalism, to prophesy two world wars. Globetrotters who chronicled their religious journeys extensively, the Adamses ultimately developed a cosmopolitan Christianity that blended discovery and criticism, faith and doubt. Drawing from their rich archive, Sara Georgini, series editor for The Papers of John Adams, demonstrates how pivotal Christianity--as the different generations understood it--was in shaping the family's decisions, great and small. Spanning three centuries of faith from Puritan New England to the Jazz Age, Household Gods tells a new story of American religion, as the Adams family lived it.

Linking Willa Cather to ?the modern? or ?modernism? still seems an eccentric proposition to some people. Born in 1873, Cather felt tied to the past when she witnessed the emergence of twentieth-century modern culture, and the clean, classical sentences in her fiction contrast starkly with the radically experimental prose of prominent modernists. Nevertheless, her representations of place in the modern world reveal Cather as a writer able to imagine a startling range of different cultures. Divided into two sections, the essays in Cather Studies, Volume 9 examine Willa Cather as an author with an innovative receptivity to modern cultures and a powerful affinity with the visual and musical arts. From the interplay between modern and antimodern in her representations of native culture to the music and visual arts that animated her imagination, the essays are unified by an understanding of Cather as a writer of transition whose fiction meditates on the cultural movement from Victorianism into the twentieth century.ø

Elizabeth Harrower: Critical Essays is the first sustained study of this acclaimed Australian author. It brings together two celebrated novelists and ten noted critics of Australian literature to consider the legacy and continuing importance of this major literary figure. The essays examine all of Harrower’s published fiction, from her first short story to the long-delayed publication of In Certain Circles in 2014. Together they provide an wide ranging introduction to the extraordinary imaginative and intellectual project of her work. They explore her engagement with twentieth-century history and post-war society, with modernism and modernity, and with the personal impacts of mass media, technology and industry. They demonstrate her grasp of the ethical and philosophical challenges confronting her readers and characters in late modernity as seen from a number of distinctive vantage points including the harbourside mansions and commercial centres of post-war Sydney, the suburbs of industrial Newcastle, and the bed-sitters of expatriate London in the 1960s. Together they offer new insights into an Australian writer at the crossroads of modernism and postmodernism, inviting readers to read and re-engage with Harrower’s work in a new light.

A brilliant and insightful exploration of the rise and fall of the American middle class by New York Times bestselling author, Barbara Ehrenreich. One of Barbara Ehrenreich's most classic and prophetic works, Fear of Falling closely examines the insecurities of the American middle class in an attempt to explain its turn to the right during the last two decades of the 20th century. Weaving finely-tuned expert analysis with her trademark voice, Ehrenreich traces the myths about the middle class to their roots, determines what led to the shrinking of what was once a healthy percentage of the population, and how, in its ambition and anxiety, that population has retreated from responsible leadership. Newly reissued and timely as ever, Fear of Falling places the middle class of yesterday under the microscope and reveals exactly how we arrived at the middle class of today.

In this thought-provoking study of nineteenth-century America, J. Samaine Lockwood offers an important new interpretation of the literary movement known as American regionalism. Lockwood argues that regionalism in New England was part of a widespread woman-dominated effort to rewrite history. Lockwood demonstrates that New England regionalism was an intellectual endeavor that overlapped with colonial revivalism and included fiction and history writing, antique collecting, colonial home restoration, and photography. The cohort of writers and artists leading this movement included Sarah Orne Jewett, Alice Morse Earle, and C. Alice Baker, and their project was taken up by women of a younger generation, such as Charlotte Perkins Gilman and Pauline Elizabeth Hopkins, who extended regionalism through the modernist moment. Lockwood draws on a diverse archive that includes fiction, material culture, collecting guides, and more. Showing how these women intellectuals aligned themselves with a powerful legacy of social and cultural dissent, Lockwood reveals that New England regionalism performed queer historical work, placing unmarried women and their myriad desires at the center of both regional and national history.