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Although a handful of books and articles have been written about American literary Minimalism during the last forty years, the mode remains misunderstood. When in a 2011 interview in The Paris Review author Ann Beattie was asked how she felt about being "classed as a minimalist," she began her answer: "none of us have ever known what that means." Her response brings into focus the lack of agreement or clarity about the sources and definitions of literary Minimalism. Robert C. Clark's American Literary Minimalism fills this significant gap. Clark demonstrates that, despite assertions by many scholars to the contrary, the movement originated in the aesthetic programs of the Imagists and literary Impressionists active at the turn of the twentieth century. The genre reflects the philosophy that "form is thought," and that style alone dictates whether a poem, story, or novel falls within the parameters of the tradition. The characteristics of Minimalist fiction are efficiency, frequent use of allusion, and implication through omission. Organizing his analysis both chronologically and according to lines of influence, Clark offers a definition of the mode, describes its early stages, and then explores six works that reflect its core characteristics: Ernest Hemingway's In Our Time; Raymond Carver's Cathedral; Jay McInerney's Bright Lights, Big City; Susan Minot's Monkeys; Sandra Cisneros's Caramelo; and Cormac McCarthy's The Road. In his conclusion, Clark discusses the ongoing evolution of the category.
Minimalism (Literature) --- American literature --- History and criticism.
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"We all love a good mystery. We are driven by primal instinct to ask why, how, where, and myriad other questions aimed at solving the mysteries that both plague and enrich our lives. Carolina bays are the embodiment of a good mystery. Since their initial description in 1848, when South Carolina State Geologist Michael Tuomey noted their unique shape and orientation, myriad scientists have been fascinated by these features. Tuomey's work cracked the door open to the mystery of Carolina bays, but the advent of aerial photography in the 1930s blew the door off entirely. Since their early discovery and description, they have both intrigued and bewildered us. In fact many early descriptions labeled them "mysterious Carolina bays," leaving no doubt that our understanding of these phenomena was greatly limited. Humans encountered and began describing Carolina bays long before their formal discovery. Native Americans made camps along the sandy rims and edges of them. Early explorers and naturalists mentioned them in their writings, giving them their first "unofficial" name: pocosin. The word pocosin derives from an Algonquin word meaning "swamp on a hill"-and there the mystery begins. The early explorers of our country were accustomed to swamps along rivers, streams, large lakes, and coastal tidelands. Finding a swamp while crossing great stretches of upland was something quite different. No one seems to be sure who originally coined the term "Carolina Bay," but it may have been the early naturalist John Lawson, who in the 1700s noted the abundance of bay trees found in these "swamps on a hill." So even the name, which many associate with an embayment of some sort, is a bit mysterious and may originally have had nothing to do with the embayment or impoundment of water. It wasn't until the advent of aerial photography in the 1930s that the extent of the real mystery associated with Carolina bays became obvious. Yes, we had read the descriptions of Carolina bays offered by Tuomey and other early researchers, but seeing is believing. Early aerial photos, many from the coast of South Carolina, revealed both great and small elliptical and oval-shaped features spread across the landscape. And as if to enrich the mystery further, these ellipses and ovals all pointed in the same direction: technically speaking, their long axes were all aligned in a northwest-southeast direction. Some of these features had sandy rims outlining their circumference; some did not. Some appeared to overlap other bays, as if they were stacked one upon another. There it was: visual proof that the mysterious Carolina bays were real"--
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A pictorial essay that showcases the natural beauty of the land and its inhabitants
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This series has been designed to offer students and researchers a compact means of orientation in their study of Anglophone literary texts. Each volume will introduce readers to current concepts and methodologies, as well as academic debates, by combining theory with text analysis and contextual anchoring.
Short stories, American --- History and criticism --- American short story. --- Fiction. --- Literary Criticism. --- Publishing. --- History and criticism.
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