Hemingway, race, and art : bloodlines and the color line /
William Faulkner has long been considered the great racial interrogator of the early-twentieth-century South. In Hemingway, Race, and Art, author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner's racial concerns but extended them beyond the South to encompass the entir...
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Full text (MCPHS users only) |
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
Kent, Ohio :
Kent State University Press,
2011
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| Subjects: | |
| Local Note: | ProQuest Ebook Central |
MARC
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| 245 | 1 | 0 | |a Hemingway, race, and art : |b bloodlines and the color line / |c Marc K. Dudley. |
| 260 | |a Kent, Ohio : |b Kent State University Press, |c ©2011. | ||
| 300 | |a 1 online resource (197 pages) | ||
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| 504 | |a Includes bibliographical references (pages 187-192) and index. | ||
| 505 | 0 | |a Cover -- Title -- Copyright -- Contents -- Introduction: The Specter of Race in Hemingway�s Grave New World -- One -- “Indian Camp� and “The Doctor and the Doctor�s Wife�: Deconstructing the Great (White) Man -- Two -- Beyond the Camp, Behind the Myth: Native American Dissolution and Reconstituted Whiteness in “Ten Indians, � “Fathers and Sons, � and “The Indians Went Away� -- Three -- The Truth�s in the Shadows: Race in “The Light of the World� and “The Battler� | |
| 505 | 8 | |a Four -- Killin� �Em with Kindness: Hemingway�s Racial Recognition in “The Porter�Five -- “The Snows of Kilimanjaro, � “The Short Happy Life of Francis Macomber, � and Green Hills of Africa: (Re)drawing the Color Line, or Reimagining the Continent in Shades of Black and White -- Six -- The First Shall Be Last, the Last Shall Be First: Erasing and Retracing the Color Line in “The Good Lion, � True at First Light, and Under Kilimanjaro -- Epilogue: Contextualizing Hemingway�s Grand Complication -- Notes -- Works Cited -- Index | |
| 520 | |a William Faulkner has long been considered the great racial interrogator of the early-twentieth-century South. In Hemingway, Race, and Art, author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner's racial concerns but extended them beyond the South to encompass the entire nation. Though Hemingway wrote extensively about Native Americans and African Americans, always in the back of his mind was Africa. Dudley sees Hemingway's fascination with, and eventual push toward, the African continent as a grand experiment meant to both placate and comfort the white psyche, and to challenge and unsettle it, too. Twentieth-century white America was plagued by guilt in its dealings with Native Americans; simultaneously, it faced an increasingly dissatisfied African American populace. Marc Kevin Dudley demonstrates how Hemingway's interest in race was closely aligned to a national anxiety over a changing racial topography. Affected by his American pedigree, his masculinity, and his whiteness, Hemingway's treatment of race is characteristically complex, at once both a perpetuation of type and a questioning of white self-identity. Hemingway, Race, and Art expands our understanding of Hemingway and his work and shows how race consciousness pervades the texts of one of America's most important and influential writers. | ||
| 588 | 0 | |a Print version record. | |
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| 600 | 1 | 0 | |a Hemingway, Ernest, |d 1899-1961 |x Criticism and interpretation. |
| 650 | 0 | |a Race in literature. | |
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| 776 | 0 | 8 | |i Print version: |a Dudley, Marc Kevin. |t Hemingway, Race, and Art : Bloodlines and the Color Line. |d Ashland : Kent State University Press, ©2013 |z 9781606350928 |
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