Focusing on Sexton's poems rather than on the life she led, this fresh critique of her work restarts the debate about her poetry 30 years after her death. McGowan argues that Sexton's poetry collections develop a three-way investigation into the possibilities of language to convey an individual's response to her own existence, to the project of defining love (by physical, human, and divine standards) and to the purpose of the aesthetic in our understanding of these entities. He charts the chronological development of Sexton's poetic aesthetic and provides a new interpretation of this major poet's work.

Informed by the poetic and philosophical works of a number of other writers, McGowan's readings of Sexton's work are detailed and thorough. The work opens with a reconsideration of an early Sexton poem and moves through her other works in a carefully crafted fashion. He argues against the confessional interpretations of earlier readings and resituates the debate into Sexton's poetic territories, concentrating on her words, not her world. Concluding that Sexton's work challenges aesthetic and philosophical issues concerning our existence in this world and how language attempts to respond to such questions, McGowan offers a new approach and a fresh outlook on the poetry Sexton has left us.

Traditionally, the carnival mode in Europe offers a suspension of time and ordinary social conventions; however, through the presentation and representation of that which is deemed exotic and unconventional, American carnival proposes an alternative landscape. While other authors have generally focused on European manifestations of the carnival, McGowan identifies and analyzes a particularly American form of the carnival, which systematically operates to codify race and space within the United States. Through an analysis of overt carnival forms, such as minstrel shows, World's Fairs, and Coney Island, McGowan demonstrates how America reads society and culture through a dualistic vision contoured by race, class, ethnic, and gender concerns. American exhibitions of Otherness are constructed within, and interpreted through, an economy of spectacular display and punishment, in which the normative position of whiteness is opposed by manipulated representations of Other identities, such as freaks and monsters, blacks, Native Americans, and other minority groups.

The volume explores how such carnivalizations of America's racial faces and social spaces extend beyond overt spectacles and constitute a continuous process of encoded readings of social position. The book examines a range of texts and cultural events from the 19th and 20th centuries to identify the operations and mutations of American carnival forms, including literary works by such authors as Fitzgerald, Hawthorne, Hemingway, Faulkner, and Bellow.

The wise writer, I think, writes for the youth of his own generation, the critic of the next, and the schoolmasters of ever afterward. Following the education and young life of Amory Blaine, from indulged only child to disillusioned war veteran, This Side of Paradise is a thinly veiled account of Fitzgerald's time as a Princeton undergraduate and an aspiring writer set against the turbulent background of adolescence, first loves, and the outbreak of World War I. Amory moves through a dynamic whirl of exuberant youth, university escapades and adventures home and abroad as one of a new, restless American generation. This Side of Paradise ensured immediate fame as well as notoriety for F. Scott Fitzgerald. Not only Fitzgerald's bestselling novel during his lifetime, it was also the work against which each of his later novels was measured. It is impossible to overestimate the importance of This Side of Paradise: without it, the writing career of one of the twentieth-century's most popular novelists would have been immeasurably different. Brilliant and original in style and structure, brimful of literary experimentalism and fearless originality, it was a spectacular launching for Fitzgerald's career, and instantly stamped him as the bard of the Jazz Age.