Over the course of his decades-long career as a respected and influential man of letters, he also wrote an extensive collection of critical essays. In such piece, “A Southern Mode of Imagination,” he argues that the renascence of Southern letters occurred because of a shift in the way Southerners thought; a change from what he termed the extroverted “rhetorical mode” of tall-tales and politicking, to the introspective and hitherto primarily Northern “dialectical mode.” From his unique position as both a critic of the Renaissance and one of its vanguards, Tate posits that the antebellum Southern mind lacked the self-consciousness necessary to produce great writing because it was wholly occupied with defending slavery against the attacks of the North upon the ‘peculiar institution.’ The mind of the South focused outwards in response to those attacks, seeking to justify itself with one foot “upon the neck of a Negro Slave” ; that is to say, Southerners were rhetorical in defense of the indefensible. Their all-consuming and unwinnable defensive stance absorbed any potential for great literature even well after the cause was lost: Southern literature was practically non-existent prior to the publication of the first issue of The Fugitive in 1922. According to Tate’s theory, it was not until the South underwent a shift in its “mode of the imagination” that it was capable of producing writers like those of the Renaissance. Tate theorizes that this change occurred in part because the South ended its self-imposed isolation with the advent of World War I and “saw for the first time since 1830 that the Yankees were not to blame for everything.” The South’s mental energies were no longer entirely engrossed in resistance to Northerners ... ... middle of paper ... ...versation without regard for his audience. One might allow, then, that Wolfe is perhaps not the example Tate would use to support his own theory. Tate could hardly object, however, to the application of the rhetorical/dialectical model to his own writing. Works Cited Tate, Allen. “A Southern Mode of the Imagination.” In Essays of Four Decades. Chicago: Swallow Press, 1968; (Third Edition) Wilmington, De: ISI Press, 1999. _____. “Longinus.” In The Hudson Review 1, number 3 (1948): 344-361. Wolfe, Thomas. “Boom Town.” American Mercury 64, number 125. Reprinted in The Complete Short Stories of Thomas Wolfe, edited by Francis E. Skipp. New York: Scribner’s, 1987. _____. “The Child by Tiger.” Saturday Evening Post 210, number 11. Reprinted in The Complete Short Stories of Thomas Wolfe, edited by Francis E. Skipp. New York: Scribner’s, 1987.
Cobb, James C. Away Down South: A History of Southern Identity. Oxford University Press. 2005. Print.
Bobbie Ann Mason and Sherman Alexie are two modern authors who write about their different childhood experiences and their hopes and desires for futures outside of the customs they were accustomed to. In her 1999 excerpt “Being Country” from her book Clear Springs: A Memoir, author and essayist Mason describes her childhood on a farm in rural Kentucky. Despite her childhood being pleasant, she rebelled against the simplistic confines that type of lifestyle demanded (106). Alexie writes in his essay from 1997 “The Joy of Reading and Writing: Superman and Me” of life on the Spokane Indian Reservation where he was born. He tells us how he used his love of reading as a way to escape from the Indian world and found success outside of the reservation. Even though they came from different cultures, Alexie and Mason were exposed at a young age to similar outside influences that helped shape their self-identities. As a result, they both envisioned futures that were not only ambitious but different from the lives they had been born into.
David Foster Wallace, author of the essay “Authority and American Usage*,” praises and advocates for “good” writers who have a strong rhetorical ability, which he defines as “the persuasive use of language to influence the thoughts and actions of an audience” (Wallace 628). To have a strong rhetorical ability, an author needs to be aware of whom their audience is, in order to present their information in a way that will be influential on their audience. Wallace recognizes that an author who applies a strong rhetorical ability will be able to connect with the audience so that they respond “not just to [their] utterance but also to [them]” (Wallace 641). An author needs to take into consideration not just content, syntax and grammatical structure (their “utterance”) but also how their character will be perceived by their audience. A positive tone will make the author seem more pleasant and relatable, whereas a negative tone connotes arrogance and pretentiousness. That is why it is crucial for an author to recognize that an audience will respond to “them” and not just their “utterance,” as an author’s appearance to their readers can also shape how impactful their writing is.
Every great civilization or country has had at least one dirty little time in their history that all would rather forget. America knows this feeling well, especially within the 19th century, the slave era. America was divided, the North was generally against slavery and all for letting the African Americans roam free in a colony in Africa. The South on the other hand viewed African Americans as tools, essential to the economy and work, however still just tools. Tools to be bought a sold and driven until the breaking point just like every other implement in the shed. Fast-forward to the 21st century, slavery is gone from America and has become that dirty period of time that is spoken about in whispers. A question of immeasurable proportions arises, how were the incredibly difficult slave owners of the South get convinced that slavery was bad? The largest answer is the power of rhetoric, otherwise known as the written word. Two books played the largest role in molding of American society, Uncle Tom’s Cabin by Harriet Beecher Stowe and The Narrative of the Life of Frederick Douglas by none other than Frederick Douglas himself. Important stylistic and rhetorical choices made by Douglas and Stowe greatly affected change in the major political and moral issue of slavery in 19th century America in two different ways, through politics via the male society (Douglas) and through the home front via religious and moral cases made to women (Stowe).
“The Child By Tiger” inlays a sense of good with evil tailing it as its shadow. In the beginning, Blake’s stanza questions “…who could frame thy fearful symmetry?” Dick Prosser appears to be kind and moral, but later reveals his vengeful side as he chaotically kills people. His conflicts with society inspire the evil to spring forward and divulge himself. The reference to “tiger!” in Blake’s stanza indirectly relates to the fact that Prosser is referred to as a cat through Wolfe’s story. Prosser’s evil self is illustrated as stealthily and smartly stalking his prey; pretending to be the same amongst the others. This evil, Prosser himself, exhibits tendencies of moral goodness as he tries to suppress his situational conflict. Evil stalks a prey smartly; it takes notice of every slight move, and every attempt to through it off fails because it always lands back on its feet.
Pike, Gerald. “Excerpts from Criticism of the Works of Short Fiction Writers.” Short Story Criticism. Ed. Thomas Votteler. Vol. 6. Detroit: Gale Research International Limited, 1990. 90. Print.
In Thomas Wolfe's The Child by Tiger (reprinted in Thomas R. Arp and Greg Johnson, Perrine's Literature: Structure, Sound, and Sense, 9th ed. [Boston: Wadsworth, 2006] Page 625). The story as told through the eyes of a child will show many different ways to view Dick Prosser, the main character, as a man. The child Spangler shows how the children feel about Prosser, how he resembles a cat and how he turns from a good person to bad.
Any one who’s ever visited the south has a true appreciation for the writings of William Faulkner. Everything ever written by William Faulkner has a trace of the South that can be felt by just reading his words. Growing up in Mississippi, Faulkner was exposed to the Deep South and everything it had to offer, both good and bad. Through his writings, William tackles some of the most difficult issues of his time period and sheds light to the every day issues going on in the South. William Faulkner set the precedent for future generations, and he will arguably never be contested in his southern style. Without William Faulkner, American literature would be blind to the truth of the South and all its glory.
Imagine a historian, author of an award-winning dissertation and several books. He is an experienced lecturer and respected scholar; he is at the forefront of his field. His research methodology sets the bar for other academicians. He is so highly esteemed, in fact, that an article he has prepared is to be presented to and discussed by the United States’ oldest and largest society of professional historians. These are precisely the circumstances in which Ulrich B. Phillips wrote his 1928 essay, “The Central Theme of Southern History.” In this treatise he set forth a thesis which on its face is not revolutionary: that the cause behind which the South stood unified was not slavery, as such, but white supremacy. Over the course of fourteen elegantly written pages, Phillips advances his thesis with evidence from a variety of primary sources gleaned from his years of research. All of his reasoning and experience add weight to his distillation of Southern history into this one fairly simple idea, an idea so deceptively simple that it invites further study.
Charters, A. (2011). The Story and Its Writer: An Introduction to Short Fiction (8th ed.). Boston: Bedfor/St. Martin's.
Both Coleridge and Ruskin were vocal about their opposition to slavery. Coleridge’s piece from “On the Slave Trade” was presented as a lecture in 1795 and then published in a periodical the following year. Ruskin’s texts were published decades later. His response to Turner’s “The Slave Ship” was published in 1843, and “The Stones of Venice” found publication in 1851. All of these dates are important in relation to the abolition of the slave trade. The bill passed that emancipated over 800,000 slaves was passed in 1833. Coleridge and Ruskin represent slavery in different manners because they both dealt with slavery in vastly different circumstances. In this essay, I will argue that Coleridge plays on the emotions of his audience and their personal, religious beliefs through his tone and language. Furthermore, the context of the lecture indicates the gravity of Coleridge’s argument against slavery. In contrast, Ruskin implicitly proposes to separate the issues of slavery with aestheticism in his response to Turner’s painting “The Slave Ship.” He also perpetuates an argument that indicates that the presence ...
Bain, Robert, Joseph M. Flora, and Louis D. Rubin, Jr., eds. Southern Writers: A Biographical Dictionary. Baton Rouge, LA: Louisiana State University Press, 1979.
The fictional life and death of a twelve year old little boy named Robert is vividly articulated in this moving tale by Thomas Wolfe. The reader learns of the boy’s life through four well developed points of view. The reader’s first glimpse into Robert’s character is expressed through a third person narrative. This section takes place on a particularly important afternoon in the boy’s life. The second and third views are memories of the child, through the eyes of his mother and sister. His mother paints the picture of an extraordinary child whom she loved dearly and his sister illustrates the love that the boy had for others. Finally, an account from the narrator is given in the ending. It is in the last section of this work that the narrator attempts to regain his own memories of his lost brother.
William Faulkner has been credited with having the imagination to see, before other serious writers saw, the tremendous potential for drama, pathos, and sophisticated humor in the history and people of the South. In using this material and, in the process, suggesting to others how it might be used, he has also been credited with sparking the Southern Renaissance of literary achievement that has produced much of the United States best literature in the twentieth century.
Charles Dudley Warner in The Story of Uncle Tom 's Cabin, refers to the question that many modern day critics and scholars ask about the novel’s tremendous success, “Was this only an "event," the advent of a new force in politics; was the book merely an abolition pamphlet, or was it a novel, one of the few great masterpieces of fiction that the world has produced” (311)? Looking back we can see that Uncle Tom’s Cabin wasn’t simply an “event” or political pamphlet, but a full-scale and highly successful literary attack on the evils of slavery that trumped even the power and influence of the politicians and government of the time. It is well-known that Abraham Lincoln even greeted Stowe in 1862 as ‘the little woman who wrote the book that made this great war’, referring to the Civil War, which ended the institution of slavery in the United States. But, Stowe did not write her novel simply for political reasons. As Tompkins explains, Stowe wrote her novel as a tool to turn the world from the rule of force to the rule of “Christian love”, and to bring about the “institution of the kingdom of heaven on earth” (141). This is what the everyday American of Stowe’s time could connect with, instead of just a political plea, but is also what causes