The early United States was a culture of the episode. In Episodic Poetics, Matthew Garrett merges narrative theory with social and political history to explain the early American fascination with the episodic, piecemeal plot. Since Aristotle's Poetics, the episode has been a vexed category of literary analysis, troubling any easy view of the subsumption of unwieldy narrative parts into well-plotted wholes. Garrett puts forward a new, dialectical theory of episodic form to recast this peculiar object of literary history, looking to the episode as a narrative unit smaller than the genre in order to give an account of all the period's major prose genres. Garrett shows how, in ways both magisterial and mundane, episodic forms gave variegated shape to the social, political, and economic conflicts that defined the moment of national formation. Episodic Poetics proposes a new method of reading and a new way of conceiving of literary history. The book asks how we might understand the cultural role of the episode as a literary micro-unit, one that forces us to read individual narratives in terms of an always partial and fraught development toward plot. Episodic Poetics combines theoretical reflection and historical rigor with careful readings of texts from the early American canon such as The Federalist, Benjamin Franklin's Autobiography, and the novels of Charles Brockden Brown, along with hitherto understudied texts and ephemera such as Washington Irving's Salmagundi, Susanna Rowson's Trials of the Human Heart and the memoirs of the metalworker and failed entrepreneur John Fitch. Garrett recounts literary history not as the easy victory of grand nationalist ambitions, but rather as a series of social struggles expressed through writers' recurring engagement with incompletely integrated forms.

The early United States was a culture of the episode. In Episodic Poetics, Matthew Garrett merges narrative theory with social and political history to explain the early American fascination with the episodic, piecemeal plot. Since Aristotle's Poetics, the episode has been a vexed category of literary analysis, troubling any easy view of the subsumption of unwieldy narrative parts into well-plotted wholes. Garrett puts forward a new, dialectical theory of episodic form to recast this peculiar object of literary history, looking to the episode as a narrative unit smaller than the genre in order to give an account of all the period's major prose genres. Garrett shows how, in ways both magisterial and mundane, episodic forms gave variegated shape to the social, political, and economic conflicts that defined the moment of national formation. Episodic Poetics proposes a new method of reading and a new way of conceiving of literary history. The book asks how we might understand the cultural role of the episode as a literary micro-unit, one that forces us to read individual narratives in terms of an always partial and fraught development toward plot. Episodic Poetics combines theoretical reflection and historical rigor with careful readings of texts from the early American canon such as The Federalist, Benjamin Franklin's Autobiography, and the novels of Charles Brockden Brown, along with hitherto understudied texts and ephemera such as Washington Irving's Salmagundi, Susanna Rowson's Trials of the Human Heart and the memoirs of the metalworker and failed entrepreneur John Fitch. Garrett recounts literary history not as the easy victory of grand nationalist ambitions, but rather as a series of social struggles expressed through writers' recurring engagement with incompletely integrated forms.

Class, Whiteness, and Southern Literature explores the role that representations of poor white people play in shaping both middle-class American identity and major American literary movements and genres across the long twentieth century. Jolene Hubbs reveals that, more often than not, poor white characters imagined by middle-class writers embody what better-off people are anxious to distance themselves from in a given moment. Poor white southerners are cast as social climbers during the status-conscious Gilded Age, country rubes in the modern era, racist obstacles to progress during the civil rights struggle, and junk food devotees in the health-conscious 1990s. Hubbs illuminates how Charles Chesnutt, William Faulkner, Flannery O'Connor, Dorothy Allison, and Barbara Robinette Moss swam against these tides, pioneering formal innovations with an eye to representing poor white characters in new ways.

The Pace of Fiction redefines the literary history of the novel by analyzing its most elaborate feature: its pace. It moves from the rise of the novel to realism and modernism. It starts by tracing the evolution of two narrative units: scenes ("shown" slowly) and summaries ("told" swiftly). These units emerge from the conflict of epic and drama, gain shape in the commentaries of Fielding and Goethe, and become dynamically opposed in nineteenth-century realism. In Middlemarch, they rotate in regular sequence: summaries move swiftly until scenes slow them down; scenes play out dramatically until summaries sweep them forward; their movement imitates the conflict of fate and free will. Over the course of the nineteenth century, however, scenic impulses overtake summary storytelling. The reader sees the tendency already in Austen's dialogues, Hawthorne's tableaux, or Balzac's battering drama, and finds it in Jane Eyre's placement of summaries in private scenes. When Flaubert extends scenic vividness to all of his summaries, and when Henry James subordinates his summaries to scenic consciousness, the extreme pressure of scene upon summary brings the opposition of realist pacing to collapse. But other oppositions arise in the modernisms that follow. In the alternation of stasis and kinesis, of drifting thoughts and everyday actions, of stories and acts of storytelling—in Proust, Joyce, Woolf, Mann, Hemingway—pace gathers and creates meaning in new ways.

As teachers and readers expand the canon of world literature to include writers whose voices traditionally have been silenced by the dominant culture, fundamental questions arise. What do we mean by "world"? What constitutes "literature"? Who should decide? Reading World Literature is a cumulative study of the concept and evolving practices of "world literature." Sarah Lawall opens the book with a substantial introduction to the overall topic. Twelve original essays by distinguished specialists run the gamut from close readings of specific texts to problems of translation theory and reader response. The sequence of essays develops from re-examinations of traditional canonical pieces through explorations of less familiar works to discussions of reading itself as a "literacy" dependent on worldview. Reading World Literature will open challenging new vistas for a wide audience in the humanities, from traditionalists to avant-garde specialists in literary theory, cultural studies, and area studies.

The early United States was a culture of the episode. In this book, Matthew Garrett merges narrative theory with social and political history to explain the early American fascination with the episodic, piecemeal plot.