This incisive book traces the attack on American provincialism that ended the myth of the Happy Village. Replacing the idyllic life as a theme, American writers in revolt turned to a more realistic interpretation of the town, stressing its repressiveness, dullness, and conformity. This book analyzes the literary technique employed by these writers and explores their sensibilities to evaluate both their artistic accomplishments and their contributions to American thought and feeling. Originally published 1969. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

White contends that The Great American Man was constructed in the 1920s as a response to the appearance of The Flapper and to the same crumbling of Victorian culture that freed her. Previously, men were expected to acquire character and become Christian gentlemen; since then, they have been expected to acquire personality and to become a performing self. Paper edition (9258- 8), $15. Annotation copyright by Book News, Inc., Portland, OR

During the half-century after the Civil War, intellectuals and politicians assumed the Midwest to be the font and heart of American culture. Despite the persistence of strong currents of midwestern regionalism during the 1920s and 1930s, the region went into eclipse during the post–World War II era. In the apt language of Minnesota’s F. Scott Fitzgerald, the Midwest slid from being the “warm center” of the republic to its “ragged edge.” This book explains the factors that triggered the demise of the Midwest’s regionalist energies, from anti-midwestern machinations in the literary world and the inability of midwestern writers to break through the cultural politics of the era to the growing dominance of a coastal, urban culture. These developments paved the way for the proliferation of images of the Midwest as flyover country, the Rust Belt, a staid and decaying region. Yet Lauck urges readers to recognize persisting and evolving forms of midwestern identity and to resist the forces that squelch the nation’s interior voices.

The innovative free verse collection of small-town life that made Edgar Lee Masters a legend A literary sensation when it appeared in 1915, Spoon River Anthology earned Edgar Lee Masters comparisons to T. S. Eliot and Walt Whitman. The characters who speak here tarnish the pure image of their Midwestern hamlet by holding forth from the grave with tales of illicit love affairs, betrayed confidences, political corruption, and miserable marriages. The first serious work of psychological naturalism, this artful indictment of small-town hypocrisy influenced Theodore Dreiser, William Faulkner, and other luminaries. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

William Dudley Pelley was one of the most important figures of the anti-Semitic radical right in the twentieth century. Best remembered as the leader of the paramilitary "Silver Shirts," Pelley was also an award-winning short story writer, Hollywood screenwriter, and religious leader. During the Depression Pelley was a notorious presence in American politics; he ran for president on a platform calling for the ghettoization of American Jews and was a defendant in a headlinegrabbing sedition trial thanks to his unwavering support for Nazi Germany. Scott Beekman offers not only a political but also an intellectual and literary biography of Pelley, greatly advancing our understanding of a figure often dismissed as a madman or charlatan. His belief system, composed of anti-Semitism, economic nostrums, racialism, neo-Theosophical channeling, and millenarian Christianity, anticipates the eclecticism of later cult personalities such as Shoko Asahara, leader of Aum Shinrikyo, and the British conspiracy theorist David Icke. By charting the course of Pelley's career, Beekman does an admirable job of placing Pelley within the history of both the anti-Semitic right and American occult movements. This exhaustively researched book is a welcome addition to the growing body of scholarship on American extremism and esoteric religions.

The 1930s are routinely considered sound film's greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade's most popular type of comedy--the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context. While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today's connoisseur of comedy. Even this book's more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It's a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).