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Literature, American Style - The Originality of Imitation in the Early Republic (Hardcover)
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Literature, American Style - The Originality of Imitation in the Early Republic (Hardcover)
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Between 1780 and 1800, authors of imaginative literature in the new
United States wanted to assert that their works, which bore obvious
connections to anglophone literature on the far side of the
Atlantic, nevertheless constituted a properly "American" tradition.
No one had yet figured out, however, what it would mean to write
like an American, what literature with an American origin would
look like, nor what literary characteristics the elusive quality of
Americanness could generate. Literature, American Style returns to
this historical moment-decades before the romantic nationalism of
Cooper, the transcendentalism of Emerson and Thoreau, or the
iconoclastic poetics of Whitman-when a fantasy about the unique
characteristics of U.S. literature first took shape, and when that
notion was linked to literary style. While late eighteenth-century
U.S. literature advertised itself as the cultural manifestation of
a radically innovative nation, Ezra Tawil argues, it was not
primarily marked by invention or disruption. In fact, its authors
self-consciously imitated European literary traditions while
adapting them to a new cultural environment. These writers
gravitated to the realm of style, then, because it provided a way
of sidestepping the uncomfortable reality of cultural indebtedness;
it was their use of style that provided a way of departing from
European literary precedents. Tawil analyzes Noah Webster's plan to
reform the American tongue; J. Hector St. John de Crevecoeur's
fashioning of an extravagantly naive American style from well-worn
topoi; Charles Brockden Brown's adaptations of the British gothic;
and the marriage of seduction plots to American "plain style" in
works such as Susanna Rowson's Charlotte Temple and Hannah Webster
Foster's The Coquette. Each of these works claims to embody
something "American" in style yet, according to Tawil, remains
legible only in the context of stylistic, generic, and conceptual
forms that animated English cultural life through the century.
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