Titlebook: African, Native, and Jewish American Literature and the Reshaping of Modernism; Alicia A. Kent Book 2007 Alicia A. Kent 2007 America.Ameri

slow-wave-sleep

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Bhabani Shankar Nayak,Philip Powell Arthur Schomburg offered this call in “The Negro Digs Up His Past” (1925): “The American Negro must remake his past in order to make his future. […] History must restore what slavery took away, for it is the social damage of slavery that the present generation must repair and offset” (937–38). Scho

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Abhijeet Guha Roy,Siddhaling Urolaginnineteenth century also faced harmful stereotypes constructed through minstrelsy performances and other popular portrayals. From the middle of the nineteenth century to the Civil War, minstrel shows took particular interest in Native Americans—not as objects of satire, as was the case for African Am

Evolve

BAIL

Robert D. Friedberg,Erica V. Rozmidthe term “modernity” in their speculations about the underlying causes of that day’s violence.. Regardless of the merits to their arguments, “modernity,” a word that was once restricted to scholarly debate, has now infiltrated mainstream parlance. The growing usage of this word, as in the case of an

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Introduction,to go out into the night. “The Love Song of J. Alfred Prufrock” (1915), seen by many critics as the first full-fledged Modernist poem in English, begins with an invitation to go out into the night, the journey framed by the majestic beauty of the evening sky. The elegance of a rhyming couplet reinfo

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African Americans: Moving from Caricatures to Creators, Charles Chesnutt and Zora Neale Hurston, Arthur Schomburg offered this call in “The Negro Digs Up His Past” (1925): “The American Negro must remake his past in order to make his future. […] History must restore what slavery took away, for it is the social damage of slavery that the present generation must repair and offset” (937–38). Scho

Commission

Colonoscopy

Jewish Americans: Moving from Exile to Authorship, Abraham Cahan and Anzia Yezierska,ar signs emanating from their mouths as they ride the train. As in the cover art for “All Coons Look Alike to Me” (see Chapter 2), the drawing renders these men ludicrous in their failed imitation of proper American behavior and dress. Their large noses, bulging eyes, and dark unshaven faces look in