Jack London, one of the most read and recognized figures in American literature, produced an immense body of work, including 22 novels, 200 short stories, memoirs, newspaper articles, book reviews, essays, and poems. A significant and revealing feature of London's literary life lies in his introspective observations on the craft of writing, brought together in this collection of essays, reviews, letters, and autobiographical writings. London's public role as a daring, carefree man of action has obscured the shrewd, disciplined, and methodical writer whose practical reflections and meditations on his profession provide a vivid portrait of the literary industry in turn-of-the-century America. For this edition, a significant amount of new material has been added.
"Reviews of the First Edition"
"Dale Walker has rendered a valuable service in his painstaking collection of London's writings about writers. He has included 43 selections, 20 of which are previously uncollected: 13 essays, and excerpts from London's two autobiographical works. The result is a remarkably comprehensive view of London 'the writer's writer.'"
--"American Literary Realism"
"An absorbing account of how hard the writer worked to learn his craft. . . . We find a master prose stylist concerned with problems of selectivity and concrete issues of tone, form, atmosphere, and point of view."
--"Modern Philology"
"A remarkable collection. . . . This is a firsthand look at a writer's honest and forthright opinions on his craft."
--"Los Angeles Times"

Jack London has long been recognized as one of the most colorful figures in American literature. He is America's most widely translated author (into more than eighty languages), and although his works have been neglected until recently by academic critics in the United States, he is finally winning recognition as a major figure in American literary history.
The breadth and depth of new critical study of London's work in recent decades attest to his newfound respectability. London criticism has moved beyond a traditional concerns of realism and naturalism as well as beyond the timeworn biographical focus to engage such theoretical approaches as race, gender, class, post-structuralism, and new historicism. The range and intellectual energy of the essays collected here give the reader a new sense of London's richness and variety, especially his treatment of diverse cultures. Having in the past focused more on London's personal "world," we are now afforded an opportunity to look more closely at his art and the numerous worlds it uncovers.

Jack London, one of the most read and recognized figures in American literature, produced an immense body of work, including 22 novels, 200 short stories, memoirs, newspaper articles, book reviews, essays, and poems. A significant and revealing feature of London's literary life lies in his introspective observations on the craft of writing, brought together in this collection of essays, reviews, letters, and autobiographical writings. London's public role as a daring, carefree man of action has obscured the shrewd, disciplined, and methodical writer whose practical reflections and meditations on his profession provide a vivid portrait of the literary industry in turn-of-the-century America. For this edition, a significant amount of new material has been added.
"Reviews of the First Edition"
"Dale Walker has rendered a valuable service in his painstaking collection of London's writings about writers. He has included 43 selections, 20 of which are previously uncollected: 13 essays, and excerpts from London's two autobiographical works. The result is a remarkably comprehensive view of London 'the writer's writer.'"
--"American Literary Realism"
"An absorbing account of how hard the writer worked to learn his craft. . . . We find a master prose stylist concerned with problems of selectivity and concrete issues of tone, form, atmosphere, and point of view."
--"Modern Philology"
"A remarkable collection. . . . This is a firsthand look at a writer's honest and forthright opinions on his craft."
--"Los Angeles Times"

American Designs addresses three major literary critical issues: the hermeneutics of the novel genre; the intense importance of this genre for American literature; and the way James and Faulkner; by writing within hermeneutic traditions of the modern American novel, explore further than any other writers the particular functions of the novelistic designs they inherited and transformed. Jeanne Campbell Reesman contends that in the late fiction of James and Faulkner the search for knowledge of the self and others is presented as a metafictive issue of power, authority, and freedom. While their own interests lead characters in the novels to enact designs on other characters, the novels themselves undermine the validity of any single, imposed design. American writers, Reesman argues, develop narrative structures that fail to close. Theirs is an open-ended search for American identity. Structures remain unfinished or unresolved or "disunified" in order to allow human beings a certain freedom from closed design, and they do this out of a dual reaction against both Old World tradition and New World Puritanism. Reesman probes the relationship between narrative design and "the problem of knowledge" in American literature in her resonant readings the The Ambassadors, Absalom, Absalom!, The Golden Bowl, and Go Down, Moses. James and Faulkner, of course, never knew each other, but in this first book-length comparison of these major authors, Reesman convinces her reader that they would have had a great deal to say to each other. American Designs will be of interest to scholars and students of American literature.

At once criminal and savior, clown and creator, antagonist and mediator, the character of trickster has made frequent appearances in works by writers the world over. As Margaret Atwood observed, trickster gods ""stand where the door swings open on its hinges and the horizon expands; they operate where things are joined together and, thus, can also fall apart."" A shaping force in American literature, trickster has appeared in such characters as Huckleberry Finn, Rinehart, Sula, and Nanapush. Usually a figure both culturally specific and transcendent, trickster leads the way to the unconscious, the concealed, and the seemingly unattainable. Trickster Lives offers thirteen new and challenging interpretations of trickster in American writing, including essays on works by African American, Native American, Pacific Rim, and Latino writers, as well as an examination of trickster politics. This innovative collection of work conveys the trickster's unmistakable imprint on the modern world.

Jack London (1876-1916), known for his naturalistic and mythic tales, remains among the most popular and influential American writers in the world. "Jack London's Racial Lives" offers the first full study of the enormously important issue of race in London's life and diverse works, whether set in the Klondike, Hawaii, or the South Seas or during the Russo-Japanese War, the Jack Johnson world heavyweight bouts, or the Mexican Revolution. Jeanne Campbell Reesman explores his choices of genre by analyzing racial content and purpose and judges his literary artistry against a standard of racial tolerance. Although he promoted white superiority in novels and nonfiction, London sharply satirized racism and meaningfully portrayed racial others--most often as protagonists--in his short fiction.

Why the disparity? For London, racial and class identity were intertwined: his formation as an artist began with the mixed "heritage" of his family. His mother taught him racism, but he learned something different from his African American foster mother, Virginia Prentiss. Childhood poverty, shifting racial allegiances, and a "psychology of want" helped construct the many "houses" of race and identity he imagined. Reesman also examines London's socialism, his study of Darwin and Jung, and the illnesses he suffered in the South Seas.

With new readings of "The Call of the Wild," "Martin Eden," and many other works, such as the explosive Pacific stories, Reesman reveals that London employed many of the same literary tropes of race used by African American writers of his period: the slave narrative, double-consciousness, the tragic mulatto, and ethnic diaspora. Hawaii seemed to inspire his most memorable visions of a common humanity.

This title presents the first thorough examination of race in London's life and writing.Jack London (1876-1916), known for his naturalistic and mythic tales, remains among the most popular and influential American writers in the world. Jack London's ""Racial Lives"" offers the first full study of the enormously important issue of race in London's life and diverse works, whether set in the Klondike, Hawaii, or the South Seas or during the Russo-Japanese War, the Jack Johnson world heavyweight bouts, or the Mexican Revolution. Reesman explores his choices of genre by analyzing racial content and purpose and judges his literary artistry against a standard of racial tolerance. Although he promoted white superiority in novels and nonfiction, London sharply satirized racism and meaningfully portrayed racial others - most often as protagonists - in his short fiction.Why the disparity? For London, racial and class identity were intertwined: his formation as an artist began with the mixed 'heritage' of his family. His mother taught him racism, but he learned something different from his African American foster mother, Virginia Prentiss. Childhood poverty, shifting racial allegiances, and a 'psychology of want' helped construct the many 'houses' of race and identity he imagined. Reesman also examines London's socialism, his study of Darwin and Jung, and the illnesses he suffered in the South Seas.With new readings of ""The Call of the Wild and Martin Eden"", and many other works, such as the explosive Pacific stories, Reesman reveals that London employed many of the same literary tropes of race used by African American writers of his period: the slave narrative, double-consciousness, the tragic mulatto, and ethnic diaspora. Hawaii seemed to inspire his most memorable visions of a common humanity.

Jack London (1876-1916) remains one of the most widely read American writers, known for his naturalist fiction, socialist novels and essays, journalism, and the many adventures that he shared with the world. London was also an accomplished photographer, producing nearly twelve thousand photographs during his lifetime. "Jack London, Photographer," the first book devoted to London's photography, reveals a vital dimension of his artistry, barely known until now. London's subjects included such peoples as the ragged homeless of London's East End and the freezing refugees of the Russo-Japanese War, the latter photographed on assignment for the Hearst Syndicate. For "Collier's" magazine, London wrote his eyewitness account of the 1906 San Francisco earthquake and fire and returned two weeks later with his camera to document a city in ruins but slowly recovering. During his voyage aboard the Snark, London produced humane images of the South Seas islanders that contrasted dramatically with the period's stereotypical portraits of indigenous peoples. In 1914 he documented the U.S. invasion of Veracruz during the Mexican Revolution. Although some of his images were used in newspaper and magazine stories and in his books "The People of the Abyss" and "The Cruise of the Snark," the majority have remained unpublished until now. The volume's more than two hundred photographs were printed from the original negatives in the California State Parks collection and from the original photographs in albums at the Huntington Library. They are reproduced here as duotones from silver gelatin prints. The general and chapter introductions place London's photographs in the context of his writings and his times. London lived during the first true mass-media era, when the use of photographic images ushered in a new way of covering the news. With his discerning eye, London recorded historical moments through the faces and bodies of the people who lived them, creating memorable portraits of individuals whose cultural differences pale beside their common humanity.

Exploring a variety of writers over an array of time periods, subject matter, race and ethnicity, sexual preference, tradition, genre, and style, this volume represents the fruits of
the dramatic and celebrated growth of the study of American women writers today. From established figures such as Harriet Beecher Stowe, Edith Wharton, Willa Cather, and Katherine Ann Porter to emerging voices including early American novelist Tabitha Tenney; the first African American novelist, Harriet E. Wilson; modern dramatist Sophie Treadwell; and contemporaries such as Sandra Cisneros, Grace Paley, and June Jordan, the essays present fresh approaches and furnish a wealth of illustrations for the multiple selves created and addressed in women's writing. These selves intersect and connect to embody a multiethnic rhetoric of the "self" that is uniquely feminine and uniquely American. Calling attention to their "American feminist rhetoric," Jeanne Campbell Reesman identifies many connections among different feminist, poststructuralist, narratological, and comparativist strategies. The voices of "Speaking the Other Self "well represent the inner and outer, speaking and hearing, center and frame in women's writing in America, their intersections constructing an ongoing conversation, a borderland of new possibilities--a borderland with no borders, no barriers to thought and response and change, no end of possible voices and selves.

At once criminal and savior, clown and creator, antagonist and mediator, the character of trickster has made frequent appearances in works by writers the world over. As Margaret Atwood observed, trickster gods "stand where the door swings open on its hinges and the horizon expands; they operate where things are joined together and, thus, can also fall apart." A shaping force in American literature, trickster has appeared in such characters as Huckleberry Finn, Rinehart, Sula, and Nanapush. Usually a figure both culturally specific and transcendent, trickster leads the way to the unconscious, the concealed, and the seemingly unattainable.

"Trickster Lives" offers thirteen new and challenging interpretations of trickster in American writing, including essays on works by African American, Native American, Pacific Rim, and Latino writers, as well as an examination of trickster politics. This innovative collection of work conveys the trickster's unmistakable imprint on the modern world.

A prolific and enduringly popular author-and an icon of American fiction-Jack London is a rewarding choice for inclusion in classrooms from middle school to graduate programs. London's biography and the role played by celebrity have garnered considerable attention, but the breadth of his personal experiences and political views and the many historical and cultural contexts that shaped his work are key to gaining a nuanced view of London's corpus of works, as this volume's wide-ranging perspectives and examples attest. The first section of this volume, "Materials," surveys the many resources available for teaching London, including editions of his works, sources for his photography, and audiovisual aids. In part 2, "Approaches," contributors recommend practices for teaching London's works through the lenses of socialism and class, race, gender, ecocriticism and animal studies, theories of evolution, legal theory, and regional history, both in frequently taught texts such as The Call of the Wild, "To Build a Fire," and Martin Eden and in his lesser-known works.