This work's 1966 second edition integrated the three extended readings from its third part into the first two. Its later sections note the influence of Nathanael West on the rising success of Jewish fiction and criticize genre works for creating half-believed shocks instead of seeking "the Moor at the back of the cave." It discusses the evolution of Lovelace into the Faust figure, distinguishes between the Gothic and sentimental plots, and, developing on ideas posited in "Come Back to the Raft Ag'in, Huck Honey," claims that frontier landscapes and maternal, Puritan authorities prevent the national literature from dep
This work's 1966 second edition integrated the three extended readings from its third part into the first two. Its later sections note the influence of Nathanael West on the rising success of Jewish fiction and criticize genre works for creating half-believed shocks instead of seeking "the Moor at the back of the cave." It discusses the evolution of Lovelace into the Faust figure, distinguishes between the Gothic and sentimental plots, and, developing on ideas posited in "Come Back to the Raft Ag'in, Huck Honey," claims that frontier landscapes and maternal, Puritan authorities prevent the national literature from depicting heterosexual passion, often redirecting its energies to morbidity. For 10 points, name this critical work by Leslie Fielder.
This work's 1966 second edition integrated the three extended readings from its third part into the first two.
{Love} and {Death} in the {American Novel}