Carson McCullers’s ‘Look Homeward, Americans’ (1940)

Chapter 11 takes a short essay by Carson McCullers as the basis for a discussion of America’s national trait of being ‘homesick most for the places we have never known’. It considers this phenomenon with reference to the writings of Mark Twain, Thomas Wolfe, and F. Scott Fitzgerald who made nostalgic wonder part of the American vernacular. It also draws a comparison between the forward-looking nostalgia McCullers analyses and Robert Sherwood’s 1935 play The Petrified Forest in which the young heroine dreams of returning to a home she has never known. The chapter ends with a brief discussion of Ralph Ellison’s Invisible Man—‘a veritable Ulysses of the black experience’—and a short story by McCullers called ‘The Aliens’, both of which urge a mature, hopeful, and inward-facing quest for ‘the homeness of home’.

Retratos da vida

O Impressionismo não constitui estilo exclusivo das estéticas plásticas, pois outras manifestações artísticas da etapa finissecular oitocentista e da Modernidade são tocadas pela tendência. Na Belle Époque, praticamente todos os artistas, literários ou não, são-lhe tributários. Entre os literatos lusófonos, destacamos Raul Pompeia, o último Machado de Assis e Eça de Queirós; Graça Aranha e Adelino Magalhães; todos no gênero narrativo. De línguas estrangeiras e mesmo gênero, mencionamos Edmond e Jules Goncourt, a pintar descrições cromático-verbais; Marcel Proust e Thomas Wolfe, num memorialismo das sensações; e Henry James, da perspectiva do impreciso. No teatro, citamos Anton Tchekhov, identificado com uma filosofia do momento. Dessa maneira, no presente artigo, abordamos o gênero dramático, sobretudo na Modernidade, em relação à pintura impressionista, mais exatamente numa visada sobre criações tchekhovianas para representação no palco, e detemo-nos por fim, com mais vagar, numa abordagem da peça As três irmãs (1901), obra-prima universal do Impressionismo cênico.

Wiley Cash

Born in Fayetteville, North Carolina, Wiley Cash grew up in Gastonia, North Carolina. He earned a BA from the University of North Carolina at Asheville, an MA from the University of North Carolina at Greensboro, and a PhD from the University of Louisiana at Lafayette. At Louisiana, he studied with Ernest Gaines, an influence on his thinking about the importance of place in fiction. Cash identifies early twentieth-century Appalachian author Thomas Wolfe and southern authors William Faulkner, Flannery O’Connor, and Bobbie Ann Mason as other sources of his interest in place....

Thomas Wolfe

Both critically acclaimed and widely popular during his lifetime, Thomas Wolfe provided readers in the 1930s and 1940s with a vision of urban southern mountain life markedly different from the rural- and wilderness-based Appalachia depicted by local color writers in the last decades of the nineteenth century. Today, Wolfe is most remembered for his semi-autobiographical novel ...

Kino, czytelnik i czytający. O Geniuszu Michaela Grandage’a

Zwierzchowski Piotr, Kino, czytelnik i czytający. O Geniuszu Michaela Grandage’a [The Cinema and Two Types of Readers. About Michael Grandage’s Genius]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 371–381. ISSN 1644-6763. DOI 10.14746/pt.2019.32.20. In Genius (2016) by Michael Grandage books are present in many ways. The main characters are William ‘Max’ Perkins, an editor of the Charles Scribner’s Sons publishing house and Thomas Wolfe, a writer starting out at the time. The film is concerned with their relationship and the creation of the novel. The book functions as both a work and an artefact (also as typescript). Literature is a conversation topic and a way of living. One of the most important spaces is the publishing house building. Piotr Zwierzchowski, however, analyses Genius primarily as a contribution to reflections on the act of reading and its film visualization, referring to the distinction introduced by Alberto Manguel(modelled on Barthes’ écrivain and écrivant) between the reader as someone who reads “with no ulterior motive” and one “for whom the text is a vehicle towards another function”.