World Chaos

This chapter investigates how leading ecumenists like Henry Smith Leiper and fundamentalists such as J. Frank Norris and Gerald Winrod responded to a series of crises that swept over the transatlantic world in the early 1930s, including the global Great Depression, Hitler’s seizure of power, the German Church Struggle, and Nazi persecution of the Jews. It documents how ecumenical and fundamentalist Protestants in the United States developed dramatically different interpretations of these events. While ecumenists called for a new global order of democracy and ecumenism, fundamentalists undertook crusades against evil both at home and abroad. In sum, their respective responses to these challenges further fractured their churches and their nation.

Naturalist Smellscapes and Environmental Justice

Chapter 2 traces formal and thematic connections between naturalist fiction and environmental justice narratives by analyzing their pervasive, underexamined references to smell. In representative works by Frank Norris, Ann Petry, and Helena María Viramontes, descriptions of noxious odors indicate spaces and experiences of atmospheric intoxication as characters take airborne particulates into their bodies. Thus, olfactory references—whether they take the form of extensive or offhand descriptions, and whether or not characters are fully conscious of their implications—stage the biopolitical effects of unevenly distributed atmospheric risks.

The Stock Ticker in the Garden: Frank Norris, American Literary Naturalism, and Capitalocene Aesthetics

This essay argues that American literary naturalism engages with the Anthropocene at the moment it began to be visible, the turn of the twentieth century, and specifically identifies the role of finance in precipitating the crisis. Frank Norris’s The Octopus (1901) and The Pit (1903) offer a case study of a naturalist Capitalocene aesthetics, one capable of capturing global capitalism’s destructive planetary agency. As a student at the University of California at Berkeley, Frank Norris was exposed to Joseph LeConte’s influential theory of the Psychozoic era, a proto-Anthropocene theory from 1877 that named a new unit of geologic time in light of humanity’s status as a transformative planetary force. Norris adapted this theory into a critique of a rapidly globalizing capitalism’s effects on the planet and the natural world, particularly the structures of agricultural capitalism in which complex financial transactions led to destructive wheat monocultures. This critique anticipated the Capitalocene, a contemporary offshoot of the Anthropocene theory arguing that capitalism (rather than humanity per se) is responsible for the present planetary crisis. The vehicle of Norris’s critique is his multimedia landscape descriptions, which invoke and subvert Romantic landscape aesthetics through painterly language and visual paradox. At the center of this aesthetics is a contradiction in individual and collective agency that is also central to life and art in the Capitalocene: confronted with an anthropogenic landscape that is both destroyed and made sublime by the structures of capitalism, individual viewers both feel powerless in the face of the force it represents and feel themselves implicated in its creation, despite different levels of responsibility.

Aesthetic Slippage in Realism and Naturalism

This chapter considers slippages in realist and naturalist aesthetics that transcend traditionally defined genres, terrains, and time periods. It examines realism’s and naturalism’s fluctuating acceptances and critiques of the “natural” order, bringing nineteenth-century imperialist discourse into dialogue with Darwinian themes typical of literary naturalism. The chapter proposes better understanding of the relation between realistic and naturalistic modes by examining inclusion and exclusion based on assumptions about the “natural” in analysis of slippages between representations of civilization and savagery in Jack London and Zitkala-Ša; restraint, compulsion, and the beast within the divided self in Frank Norris, Henry James, and Theodore Dreiser; and evolutionary discourse and environmental determinism in Angelina Weld Grimké, Nella Larsen, and Ann Petry. Finally, TV’s Breaking Bad and The Wire suggest that we are still grappling with the intersectional forces of race, class, and gender that define territories of privilege and limitations of the American dream.

West of Eden with B. H. Carroll, George W. Truett, and J. Frank Norris: The lifelong feud between the First Baptist pastors of Dallas and Fort Worth

For the first half of the twentieth century, two Baptist pastors “squared off” with one another from the First Baptist Church pulpits of two rival Texas towns. In Dallas, George W. Truett led what would arguably become the flagship church of Southern Baptists. Across the Trinity River in Fort Worth, J. Frank Norris, also known as the “Texas Tornado,” packed auditoriums preaching sensational sermons. Mentoring both men was B. H. Carroll, founder of Southwestern Baptist Theological Seminary. And like James Dean and Richard Davalos in the movie adaptation of John Steinbeck’s novel, East of Eden, the two men feuded with one another, in part over the right to be Carroll’s heir. This article summarizes the rivalry as it played out in the lifelong conflict between J. Frank Norris and George W. Truett, and demonstrates how both the unifying statesman and the sectarian fundamentalist sides of B. H. Carroll are apparent in the struggle.

Uncanny Encounters

The emergence of affect theory has returned the body to cultural theory by stressing the phenomenological impact of bodies on other bodies. Chapter 6 opens with a reading of Baudelaire’s “Une Passante” that offers one such instance. Despite its emphasis on what Lauren Berlant calls the “messy dynamics of attachment,” affect theory has not attended to disability where the encounter with the non-traditional body incites emotions of anxiety, confusion, and in some cases solidarity. This chapter explores a structure of feeling around dynamic historical changes in the late nineteenth and early twentieth centuries through works by Sigmund Freud, Frank Norris, Henry James, Virginia Woolf, and Jean Toomer. Each illustrates stages in what Sara Ahmed calls “dramas of contingency” by which world historical changes are registered through quotidian moments of attention and confrontation. These stages mark a trajectory in the novel, from Realism and Naturalism to the modernism of Woolf and Toomer.