Book contents
- Frontmatter
- Introduction
- A Cultural History of the Modern American Novel: Introduction
- 1 A Dream City, Lyric Years, and a Great War
- 1 The Novel as Ironic Reflection
- 2 Confidence and Uncertainty in The Portrait of A Lady
- 3 Lines of Expansion
- 4 Four Contemporaries and the Closing of the West
- 5 Chicago’s “Dream City”
- 6 Frederick Jackson Turner in The Dream City
- 7 Henry Adams’s Education and The Grammar of Progress
- 8 Jack London’s Career and Popular Discourse
- 9 Innocence and Revolt in the “Lyric Years”: 1900–1916
- 10 The Armory show of 1913 and the Decline of Innocence
- 11 The Play of Hope and Despair
- 12 The Great War and The Fate of Writing
- 2 Fiction in a Tme of Plenty
- 3 The Fate of Writing During the Great Depression
- Fictions of the Harlem Renaissance
- Ethnic Modernism
- Chronology
- Bibliography
- Index
4 - Four Contemporaries and the Closing of the West
from 1 - A Dream City, Lyric Years, and a Great War
Published online by Cambridge University Press: 28 March 2008
- Frontmatter
- Introduction
- A Cultural History of the Modern American Novel: Introduction
- 1 A Dream City, Lyric Years, and a Great War
- 1 The Novel as Ironic Reflection
- 2 Confidence and Uncertainty in The Portrait of A Lady
- 3 Lines of Expansion
- 4 Four Contemporaries and the Closing of the West
- 5 Chicago’s “Dream City”
- 6 Frederick Jackson Turner in The Dream City
- 7 Henry Adams’s Education and The Grammar of Progress
- 8 Jack London’s Career and Popular Discourse
- 9 Innocence and Revolt in the “Lyric Years”: 1900–1916
- 10 The Armory show of 1913 and the Decline of Innocence
- 11 The Play of Hope and Despair
- 12 The Great War and The Fate of Writing
- 2 Fiction in a Tme of Plenty
- 3 The Fate of Writing During the Great Depression
- Fictions of the Harlem Renaissance
- Ethnic Modernism
- Chronology
- Bibliography
- Index
Summary
Both the pioneering move into the lands of the West and the urbanizing move back into the cities of the upper Midwest and the East yielded stories in life as well as in fiction. To gauge the force of these contrasting lines of development, which were social, economic, and political as well as cultural, we need to keep three facts before us: first, that Henry Adams (1838–1918) and Henry James (1843–1916) were younger contemporaries of the great Sioux leader Sitting Bull (1834–90) and Buffalo Bill Cody (1846–1917), as well as older contemporaries of Isabel Archer, Ántonia Shimerda, Jim Burden, and Carrie Meeber; second, that the same Congress that devised Radical Reconstruction in order to secure the rights of black people of the South also enacted and funded a policy of radical subjugation and segregation of the original inhabitants of the West in order to conquer and dispossess them; and third, that the same group of Eastern industrial and banking interests that underwrote the cultural achievements of the Northeast became the chief beneficiaries of these policies as well as of the Homestead Act, which was rationalized as a reading and implementation of Thomas Jefferson’s agrarian dream.
In the summer of 1868, three years and a few months after the Palm Sunday, April 9, 1865, on which Robert E. Lee and Ulysses S. Grant met in Appomattox to sign the agreement that ended the Civil War, the federal government launched a relentless campaign against Native Americans and appointed General William T. Sherman, one of the deliverers of the black slaves of the South, to head it.
- Type
- Chapter
- Information
- The Cambridge History of American Literature , pp. 34 - 36Publisher: Cambridge University PressPrint publication year: 2002