Realism, the grotesque and impressionism: Hamlin Garland, Ambrose Bierce and Stephen Crane

Author(s):  
Martin Scofield
PMLA ◽  
1948 ◽  
Vol 63 (3) ◽  
pp. 1007-1016
Author(s):  
William C. Frierson ◽  
Herbert Edwards

When Main Street met with a startling good reception in 1920, Lewis was writing for a public that was ready for him. The way had been prepared by Huneker and Mencken and Shaw and George Moore and a self-critical national consciousness induced by idealistic extravagances during a war. Lewis neatly capped a progression. Back of him was Dreiser and back of Dreiser were Frank Norris, Hamlin Garland, Stephen Crane and the French naturalists. This line of development, of course, is sufficiently well known. It is also well known that American novelists of the 'nineties who were influenced by the French naturalists had a hard time getting started, even though they adopted a decorous treatment of sex and unconventional situations. Crane unsuccessfully sought for three years to find a publisher for Maggie before deciding to publish it himself. Hamlin Garland waged war against sentimentality and sensationalism in order to win a public for his own incisive writings of western life. He even tried to make the controversy one between a democratic and fact-loving West and an aristocratic East tied to traditions and sentiments. In order to attract support, Norris sought to emulate the epic qualities of Zola's writings by having each novel centered about some major enterprise or feature of American life, but his novels in the early 1900's had to make their way against a considerable amount of critical disapproval.


Author(s):  
Doug Underwood

This chapter examines the traumatic history of journalist–literary figures as military correspondents and observers of and participants in war, including the part they have played in developing the “code” of courageous conduct that has come to shape the “heroic” ideal of the journalist operating under dangerous conditions. The discussion begins by looking at journalists and novelists who have incorporated trauma into their awareness and their willingness to be candid about war's impact on the psyche, including Ambrose Bierce, Tobias Smollett, Walt Whitman, Kurt Vonnegut, John Hersey, and Vera Brittain. The chapter then considers the expression of the hero's code in the fiction of Stephen Crane, Rudyard Kipling, Ernest Hemingway, and other journalist–literary figures. It also explores the satire and ambivalence in attitudes about war and peace among the journalist–literary figures who have experienced military conflict firsthand.


Life and Limb ◽  
2016 ◽  
pp. 165-192

The two most famous writers to figure in this section are Ambrose Bierce, who actually saw battle, and Stephen Crane. Bierce’s sketches convey the confusion of battle with circumstantial detail which is deployed against glamourizing war. In Crane’s famous Red Badge of Courage the target is once again naïve heroism, here replaced with impressionistic confusion. The section concludes with Stephen C. Kenny’s ‘The Aftermath’, which surveys accounts of the war’s destruction and human cost.


2019 ◽  
Vol 58 (2) ◽  
pp. 237-248
Author(s):  
Julien Weber

This article is about the grotesque in Baudelaire. While Baudelaire's famous essay on laughter plays an important role in contemporary theories of grotesque aesthetics, his own poetic production is often left aside. In this article, I discuss how the grotesque manifests itself in works by Baudelaire that seem a priori irrelevant because of their ostensible use of ‘comique significatif’, a sort of antithesis of the grotesque. Through a discussion of Pauvre Belgique! And ‘Le Chien et le Flacon’, I argue that the baudelairian grotesque most powerfully intervenes in the mode of a distortion of the intended meaning, which leads me to distinguish its reading from a properly ‘aesthetic’ experience.


1964 ◽  
Vol 19 (1) ◽  
pp. 77-86 ◽  
Author(s):  
Warren D. Anderson
Keyword(s):  

1959 ◽  
Vol 14 (3) ◽  
pp. 219-229
Author(s):  
Max Westbrook
Keyword(s):  

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