Argues that sentimentalism, an eighteenth- and nineteenth-century literary mode, is alive and well in the modern era. By examining working-class literature that adopts the rhetoric of ï¿¿feeling rightï¿¿ in order to promote a proletarian or humanist ideology as well as neo-slave narratives that wrestle with the legacy of slavery and cultural definitions of African American families, it explores the ways contemporary authors engage with familiar sentimental clichés and ideals.
Argues that sentimentalism, an eighteenth- and nineteenth-century literary mode, is alive and well in the modern era. By examining working-class literature that adopts the rhetoric of ï¿¿feeling rightï¿¿ in order to promote a proletarian or humanist ideology as well as neo-slave narratives that wrestle with the legacy of slavery and cultural definitions of African American families, it explores the ways contemporary authors engage with familiar sentimental clichés and ideals.
Acknowledgments 1. Introduction 2. Grace Lumpkin's To Make My Bread: Standing Together, Side by Side 3. Josephine Johnson's Now in November: Not Plough-Shares but People 4. Caretaking, Domesticity, and Gender in John Steinbeck's The Grapes of Wrath: "His Home Is Not the Land" 5. Margaret Walker's Jubilee: "Forged in a Crucible of Suffering" 6. Octavia Butler's Kindred: "My Face Was Too Wet with Tears" 7. Toni Morrison's Beloved: "Feeling How It Must Have Felt to Her Mother" 8. Conclusion Notes Works Cited Index
Acknowledgments 1. Introduction 2. Grace Lumpkin's To Make My Bread: Standing Together, Side by Side 3. Josephine Johnson's Now in November: Not Plough-Shares but People 4. Caretaking, Domesticity, and Gender in John Steinbeck's The Grapes of Wrath: "His Home Is Not the Land" 5. Margaret Walker's Jubilee: "Forged in a Crucible of Suffering" 6. Octavia Butler's Kindred: "My Face Was Too Wet with Tears" 7. Toni Morrison's Beloved: "Feeling How It Must Have Felt to Her Mother" 8. Conclusion Notes Works Cited Index
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