Kirjahaku

Richard Wright’s Native Son (1940) is one of the most violent and revolutionary works in the American canon. Controversial and compelling, its account of crime and racism remain the source of profound disagreement both within African-American culture and throughout the world. This guide to Wright's provocative novel offers: an accessible introduction to the text and contexts of Native Son a critical history, surveying the many interpretations of the text from publication to the presenta selection of reprinted critical essays on Native Son, by James Baldwin, Hazel Rowley, Antony Dawahare, Claire Eby and James Smethurst, providing a range of perspectives on the novel and extending the coverage of key critical approaches identified in the survey section a chronology to help place the novel in its historical context suggestions for further reading. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Native Son and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Wright's text.

Richard Wright’s Native Son (1940) is one of the most violent and revolutionary works in the American canon. Controversial and compelling, its account of crime and racism remain the source of profound disagreement both within African-American culture and throughout the world. This guide to Wright's provocative novel offers: an accessible introduction to the text and contexts of Native Son a critical history, surveying the many interpretations of the text from publication to the presenta selection of reprinted critical essays on Native Son, by James Baldwin, Hazel Rowley, Antony Dawahare, Claire Eby and James Smethurst, providing a range of perspectives on the novel and extending the coverage of key critical approaches identified in the survey section a chronology to help place the novel in its historical context suggestions for further reading. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Native Son and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Wright's text.

Picture a familiar scene: long lines of shoppers waiting to check out at the grocery store, carts filled to the brim with the week’s food. While many might wonder what is in each cart, Andrew Warnes implores us to consider the symbolism of the cart itself. In his inventive new book, Warnes examines how the everyday shopping cart is connected to a complex web of food production and consumption that has spread from the United States throughout the world. Today, shopping carts represent choice and autonomy for consumers, a recognizable American way of life that has become a global phenomenon. This succinct and and accessible book provides an excellent overview of consumerism and the globalization of American culture.

Picture a familiar scene: long lines of shoppers waiting to check out at the grocery store, carts filled to the brim with the week’s food. While many might wonder what is in each cart, Andrew Warnes implores us to consider the symbolism of the cart itself. In his inventive new book, Warnes examines how the everyday shopping cart is connected to a complex web of food production and consumption that has spread from the United States throughout the world. Today, shopping carts represent choice and autonomy for consumers, a recognizable American way of life that has become a global phenomenon. This succinct and and accessible book provides an excellent overview of consumerism and the globalization of American culture.

Ever since slaves in America labored to produce food surfeit while enduring personal food shortage, says Andrew Warnes, African American writers have consistently drawn connections between hunger and illiteracy, and by extension between food and reading. This book investigates the juxtaposition of malnutrition and spectacular food abundance as a key trope of African American writing. Focusing on works by Zora Neale Hurston, Richard Wright, and Toni Morrison, Warnes considers how black characters respond with a wide variety of countermaneuvers to whites' attempts at regulating access to nourishment, whether physical or intellectual.What makes this trope so powerful, Warnes argues, is that it implicitly politicizes hunger, revealing it to be an avoidable, imposed condition. In Hurston's scenes of feasting and plenty in the utopian, all-black community of Eatonville; in Wright's refusal of stale bread and spoiled molasses from his white employer; and in Morrison's depiction of her characters' strategies of pilfering and foraging, we witness the implications of a kind of hunger that could be abolished were it not useful as a means of enforcing acquiescence, dependency, and docility. Throughout Hunger Overcome? Warnes relates his readings to the wider culture by drawing on such diverse sources as the slave autobiography Narrative of the Life of Frederick Douglass, Ntozake Shange's cookbook If I Can Cook / You Know God Can, Horace Cayton and St. Clair Drake's sociological study Black Metropolis, and Stanley Kramer's film Guess Who's Coming to Dinner?

Barbecue is a word that means different things to different people. It can be a verb or a noun. It can be pulled pork or beef ribs. And, especially in the American South, it can cause intense debate and stir regional pride. Perhaps, then, it is no surprise that the roots of this food tradition are often misunderstood.In Savage Barbecue, Andrew Warnes traces what he calls America's first food through early transatlantic literature and culture. Building on the work of scholar Eric Hobsbawm, Warnes argues that barbecue is an invented tradition, much like Thanksgiving-one long associated with frontier mythologies of ruggedness and relaxation.Starting with Columbus's journals in 1492, Warnes shows how the perception of barbecue evolved from Spanish colonists' first fateful encounter with natives roasting iguanas and fish over fires on the beaches of Cuba. European colonists linked the new food to a savagery they perceived in American Indians, ensnaring barbecue in a growing web of racist attitudes about the New World. Warnes also unearths the etymological origins of the word barbecue, including the early form barbacoa; its coincidental similarity to barbaric reinforced emerging stereotypes.Barbecue, as it arose in early transatlantic culture, had less to do with actual native practices than with a European desire to define those practices as barbaric. Warnes argues that the word barbecue retains an element of violence that can be seen in our culture to this day. Savage Barbecue offers an original and highly rigorous perspective on one of America's most popular food traditions.

American Tantalus argues that modern US fictions often grow preoccupied by tantalisation. This keyword might seem commonplace; thesauruses, certainly, often lump it in with tease and torment in their general inventories of desire. Such lists, however, mislead. Just as most US dictionaries have in fact long recognised tantalise's origins in The Odyssey, so they have defined it as the unique desire we feel for objects that (like the fruit and water once cruelly placed before Tantalus) lie within our reach yet withdraw from our attempts to touch them. On these terms, American Tantalus shows, tantalise not only describes a particular kind of thwarted desire, but also one that dominates modern US fiction to a remarkable extent. For this term specifically evokes the yearning to touch alienated or virginal objects that we find examined by F. Scott Fitzgerald, Toni Cade Bambara, Richard Wright and Toni Morrison; and it also indicates the insatiable pursuit of the horizon so important to Willa Cather and Edith Wharton among others. This eclectic canon indeed "prefers" the dictionary to the thesaurus: unreachable destinations and untouched commodities here indeed tantalise, inviting gestures of inquiry from which they then recoil. This focus, while lodging cycles of tantalisation at the very heart of American myth, holds profound implications for our understanding of modernity, and, in particular, of the cultural genesis of the commodity as a form.

American Tantalus argues that modern US fictions often grow preoccupied by tantalisation. This keyword might seem commonplace; thesauruses, certainly, often lump it in with tease and torment in their general inventories of desire. Such lists, however, mislead. Just as most US dictionaries have in fact long recognised tantalise's origins in The Odyssey, so they have defined it as the unique desire we feel for objects that (like the fruit and water once cruelly placed before Tantalus) lie within our reach yet withdraw from our attempts to touch them. On these terms, American Tantalus shows, tantalise not only describes a particular kind of thwarted desire, but also one that dominates modern US fiction to a remarkable extent. For this term specifically evokes the yearning to touch alienated or virginal objects that we find examined by F. Scott Fitzgerald, Toni Cade Bambara, Richard Wright and Toni Morrison; and it also indicates the insatiable pursuit of the horizon so important to Willa Cather and Edith Wharton among others. This eclectic canon indeed "prefers" the dictionary to the thesaurus: unreachable destinations and untouched commodities here indeed tantalise, inviting gestures of inquiry from which they then recoil. This focus, while lodging cycles of tantalisation at the very heart of American myth, holds profound implications for our understanding of modernity, and, in particular, of the cultural genesis of the commodity as a form.