20th-Century American Fiction
(32 lectures, 30 minutes/lecture)
by Arnold Weinstein
Hemingway. Fitzgerald. Faulkner. No first names are needed.
These giants of literature are immediately recognizable to anyone who loves to read fiction and even to many who don’t.
Now, thanks to this course from Brown University’s Professor Arnold Weinstein, you can develop fresh insight into these and eight other great American authors of the 20th century. Professor Weinstein sheds light not only on the sheer magnificence of these writers’ literary achievements but explores their uniquely American character as well. Despite their remarkable variety, each represents an outlook and a body of work that could only have emerged in the United States.
Freedom and Speech
The aim of this course is to analyze and appreciate some of the major works of fiction produced in this country over the past century, using as a focal point the idea of "freedom of speech." The focus on freedom of speech is appropriate for many reasons, particularly:
These texts often invoke the fundamental political freedoms guaranteed by the U.S. Constitution, and many of them take the liberty of articulating the painful ideological conflicts that have punctuated our modern history: war, racism, poverty, drugs, sexism, and the like.
"Freedom of speech" also spells out the key thesis to be presented in these readings: Language itself turns out to be not only "free" but a precious means of becoming free, of experiencing life beyond the constraints of the ordinary workaday world.
The overriding theme in American literature, as in American life, is that of freedom itself, whether expressed in a laissez-faire economy, in upward mobility, or simply in our belief that we can make ourselves and our lives into something beyond the origins and influences of our births, a theme sometimes called the American dream. No other society has ever professed such beliefs, and it is not surprising that our literature has much to tell us about the viability of these notions.
Our Ongoing War for Independence
Why would literature be a privileged record for this special American story about freedom? The answer: American fiction is something of a battleground in the "war of independence" that human beings—white or black or red or yellow, male or female—wage every day of their lives.
Our war consists of achieving a self, making or maintaining an identity, making our particular mark in the world we inhabit. This is a battle because the 20th century American scene is not particularly hospitable to self-making: great forces coerce our lives, forces that are at once economic, biological, political, racial, and ideological.
We are dogged by not only death and taxes but by the influence of family, of business, of society, of all those potent vectors that constitute the real map and landscape of our lives. This vexed and conflicted terrain does not resemble the smooth résumés that are our shorthand for what we have done, but it does correspond to our experiential awareness of what we go through, how we have changed from childhood to adulthood, what our work and friendships and marriages have been and what they have meant to us. Literature enables us to recover this territory—our territory. The texts presented in this course constitute an enlarged repertory of human resources, of the battle for freedom.
The Heroic Self in a Humbling Land
We begin by looking at the great texts and movements of the 19th century, especially our belief in heroic selfhood, and we begin to see and chart the kinds of forces that make up the moving stage we occupy.
Anderson’s Winesburg, Ohio is among the most poignant descriptions of life at the beginning of the century, but the charm of this small-town narrative acquires a deeper hue when we see the amount of repression and inner violence that Anderson chronicles.
Hemingway’s In Our Time and Fitzgerald’s Tender is the Night are both, in their own ways, about American loss of innocence; about how the Great War and the brutality of modern life permanently altered our belief systems. This theme is presented as physical trauma in Hemingway and as madness and decay in Fitzgerald.
Faulkner’s Light in August depicts the ravages of racism in the American South, but it seeks, magnificently, to pair its overt story of carnage and neurosis with another, more elusive fable of love, kinship, and redemption.
We turn to Hurston’s Their Eyes Were Watching God for the first—and perhaps the best—account of growing up black and female in America, a story that is expressed in a kind of language and diction that moves breathlessly from the vernacular to the legendary.
Flannery O’Connor’s stories bring a different agenda to our course: the challenge of perceiving the contours of God, spirit, and grace in a seemingly materialist Southern landscape peopled with the lowest profile folks in American literature.
Burroughs’ Naked Lunch, once censored and then seen as merely a raunchy drug epic, will be studied as a dazzling and disturbing account of the body in culture, a body that is horribly open and defenseless against the takeovers that beset it.
War returns to our course in Vonnegut’s Slaughterhouse-Five, at once poignant and wacky, speaking to us of mass destruction and of extraterrestrials in the same voice, a voice that is hard to forget.
The course will close with a series of lectures on three of the most significant contemporary writers—writers whose works may not yet be familiar to you.
In his sprawling and audacious Public Burning, Robert Coover uses that most popular American code, entertainment, to present a manic account of the Rosenberg execution and the antics of one Richard Nixon.
Toni Morrison’s fascinating Sula is an experimental novel in which Morrison fashions a group of characters whose lives and values make rubble out of the conventions of humanistic culture, whether black or white.
Finally, Don DeLillo’s appealing, absurdist comedy of modern life, White Noise, depicts our encounter with the technological madhouse in which we live but which we have not quite gotten around to seeing.
Lifelines
These American fictions, seen together, tell a composite story about coping, about fashioning both a story and a life. The range of experiences and subcultures to be found here will dwarf the experience of any single reader, and that is how it should be. Much is dark in these stories, but the honesty and integrity of these writers adds pith and richness to our own lives and makes us realize that reading is as much a lifeline as it is entertainment or education.
Course Lecture Titles
1. American Fiction and the Individualist Creed
2. The American Self—Ghost in Disguise
3. What Produces "Nobody"?
4. Sherwood Anderson's Winesburg, Ohio—Writing as the Talking Cure
5. Winesburg—A New American Prose-Poetry
6. Hemingway—Journalist, Writer, Legend
7. Hemingway as Trauma Artist
8. Hemingway's Cunning Art
9. F. Scott Fitzgerald—Tender Is the Night—Fitzgerald's Second Act
10. Fitzgerald's Psychiatric Tale
11. Dick's Dying Fall—An American Story
12. Light in August—Midpoint of the Faulkner Career
13. Light in August—Determinism vs. Freedom
14. Light in August—Novel as Poem, or, Beyond Holocaust
15. Zora Neale Hurston's Their Eyes Were Watching God—Canon Explosion
16. Their Eyes Were Watching God—From Romance to Myth
17. Flannery O'Connor—Realist of Distances
18. O'Connor—Taking the Measure of the Region
19. Williams Burroughs—Bad Boy of American Literature
20. Naked Lunch—The Body in Culture
21. Naked Lunch—Power and Exchange in the Viral World
22. Kurt Vonnegut's Slaughterhouse-Five—Apocalypse Now
23. Vonnegut's World—Tralfamadore or Trauma?
24. Robert Coover—Postmodern Fabulator
25. The Public Burning—Execution at Times Square
26. Robert Coover—Fiction as Fission
27. Toni Morrison's Sula—From Trauma to Freedom
28. Sula—New Black Woman
29. Don DeLillo—Decoder of American Frequencies
30. White Noise—Representing the Environment
31. DeLillo and American Dread
32. Conclusion—Nobody's Home
Labels: fiction, literature, TTC
