1601; And, Is Shakespeare Dead?

Fishkin, Shelley Fisher

FIEDLER, Leslie A.

JONG, ERICA

TWAIN,MARK

Oxford University Press

This leading, two-volume anthology represents America's literary heritage from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Alice Walker. This anthology is best known for its solid headnotes and introductions as well as a balance approach to selections.

Anthology of American Literature, Volume I (Anthology of American Literature)

Literature & Fiction

Leonard, James S.

Bradley, David

Nelson, Dana D.

Csicsila, Joseph

United States

Pearson College Div

Anthology of American Literature Volume II (Anthology of American Literature)

McMichael, George L.

ALERT: Before you purchase, check with your instructor or review your course syllabus to ensure that you select the correct ISBN. Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. In addition, you may need a CourseID, provided by your instructor, to register for and use Pearson's MyLab & Mastering products.      Packages   Access codes for Pearson's MyLab & Mastering products may not be included when purchasing or renting from companies other than Pearson; check with the seller before completing your purchase.      Used or rental books   If you rent or purchase a used book with an access code, the access code may have been redeemed previously and you may have to purchase a new access code.      Access codes   Access codes that are purchased from sellers other than Pearson carry a higher risk of being either the wrong ISBN or a previously redeemed code. Check with the seller prior to purchase.     -- Anthology of American Literature is available in two-volume and concise editions.  The carefully selected works introduce readers to America's literary heritage, from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Toni Morrison.   Volume II includes literary works from the late nineteenth century through the twenty-first century.  There is a new section on Literature of the Twenty-first Century with increased emphasis on current authors and context as well as a separate period introduction and timeline.  Period introductions and headnotes have been revised and updated and new selections have been added from a diverse group of writers.        

Anthology of American Literature, Volume 1 Plus MyLiteratureLab --Access Card Package (10th Edition)

McMichael, George

History & Criticism

Pearson

ALERT: Before you purchase, check with your instructor or review your course syllabus to ensure that you select the correct ISBN. Several versions of Pearson's MyLab & Mastering products exist for each title, including customized versions for individual schools, and registrations are not transferable. In addition, you may need a CourseID, provided by your instructor, to register for and use Pearson's MyLab & Mastering products.    Packages  Access codes for Pearson's MyLab & Mastering products may not be included when purchasing or renting from companies other than Pearson; check with the seller before completing your purchase.    Used or rental books  If you rent or purchase a used book with an access code, the access code may have been redeemed previously and you may have to purchase a new access code.    Access codes  Access codes that are purchased from sellers other than Pearson carry a higher risk of being either the wrong ISBN or a previously redeemed code. Check with the seller prior to purchase.   -- Anthology of American Literature is available in two-volume and concise editions.  The carefully selected works introduce readers to America's literary heritage, from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Toni Morrison.   Volume II includes literary works from the late nineteenth century through the twenty-first century.  There is a new section on Literature of the Twenty-first Century with increased emphasis on current authors and context as well as a separate period introduction and timeline.  Period introductions and headnotes have been revised and updated and new selections have been added from a diverse group of writers.  

Anthology of American Literature, Volume II Plus MyLiteratureLab --Access Card Package (10th Edition)

Ernest Hemingway asserted, "All modern American literature comes from one book by Mark Twain called Huckleberry Finn." Lionel Trilling said the novel was "not less than definitive in American literature." Published in 1884, Huck Finn has become one of the most widely taught novels in American curricula. But where did Huckleberry Finn come from, and what made it so distinctive? Shelley Fisher Fishkin suggests that in Huckleberry Finn, more than in any other work, Mark Twain let African-American voices, language, and rhetorical traditions play a major role in the creation of his art. In Was Huck Black?, Fishkin combines close readings of published and unpublished writing by Twain with intensive biographical and historical research and insights gleaned from linguistics, literary theory, and folklore to shed new light on the role African-American voices played in the genesis of Huckleberry Finn. Given that book's importance in American culture, her analysis illuminates, as well, how African-American voices have shaped our sense of what is distinctively "American" about American literature. Fishkin shows that Mark Twain was surrounded, throughout his life, by richly talented African-American speakers whose rhetorical gifts Twain admired candidly and profusely. A black child named Jimmy whom Twain called "the most artless, sociable and exhaustless talker I ever came across" helped Twain understand the potential of a vernacular narrator in the years before he began writing Huckleberry Finn, and served as a model for the voice with which Twain would transform American literature. A slave named Jerry whom Twain referred to as an "impudent and satirical and delightful young black man" taught Twain about "signifying"--satire in an African-American vein--when Twain was a teenager (later Twain would recall that he thought him "the greatest man in the United States" at the time). Other African-American voices left their mark on Twain's imagination as well--but their role in the creation of his art has never been recognized. Was Huck Black? adds a new dimension to current debates over multiculturalism and the canon. American literary historians have told a largely segregated story: white writers come from white literary ancestors, black writers from black ones. The truth is more complicated and more interesting. While African-American culture shaped Huckleberry Finn, that novel, in turn, helped shape African-American writing in the twentieth century. As Ralph Ellison commented in an interview with Fishkin, Twain "made it possible for many of us to find our own voices." Was Huck Black? dramatizes the crucial role of black voices in Twain's art, and takes the first steps beyond traditional cultural boundaries to unveil an American literary heritage that is infinitely richer and more complex than we had thought.

Was Huck Black?: Mark Twain and African-American Voices

Biographies & Memoirs

Community & Culture

Published in 1884, Huck Finn has become one of the most widely taught novels in American curricula. But where did Huckleberry Finn come from, and what made it so distinctive? Shelley Fisher Fishkin suggests that in Huckleberry Finn, more than in any other work, Mark Twain let African-American voices, language, and rhetorical traditions play a major role in the creation of his art. In Was Huck Black?, Fishkin combines close readings of published and unpublished writing by Twain with intensive biographical and historical research and insights gleaned from linguistics, literary theory, and folklore to shed new light on the role African-American speech played in the genesis of Huckleberry Finn. Given that book's importance in American culture, her analysis illuminates, as well, how the voices of African-Americans have shaped our sense of what is distinctively "American" about American literature. Fishkin shows that Mark Twain was surrounded, throughout his life, by richly talented African-American speakers whose rhetorical gifts Twain admired candidly and profusely. A black child named Jimmy whom Twain called "the most artless, sociable and exhaustless talker I ever came across" helped Twain understand the potential of a vernacular narrator in the years before he began writing Huckleberry Finn, and served as a model for the voice with which Twain would transform American literature. A slave named Jerry whom Twain referred to as an "impudent and satirical and delightful young black man" taught Twain about "signifying"--satire in an African-American vein--when Twain was a teenager (later Twain would recall that he thought him "the greatest man in the United States" at the time). Other African-American voices left their mark on Twain's imagination as well--but their role in the creation of his art has never been recognized. Was Huck Black? adds a new dimension to current debates over multiculturalism and the canon. American literary historians have told a largely segregated story: white writers come from white literary ancestors, black writers from black ones. The truth is more complicated and more interesting. While African-American culture shaped Huckleberry Finn, that novel, in turn, helped shape African-American writing in the twentieth century. As Ralph Ellison commented in an interview with Fishkin, Twain "made it possible for many of us to find our own voices." Was Huck Black? dramatizes the crucial role of black voices in Twain's art, and takes the first steps beyond traditional cultural boundaries to unveil an American literary heritage that is infinitely richer and more complex than we had thought.

Was Huck Black?: Mark Twain and African-American Voices (Oxford Paperbacks)

Featuring 27 sketches the author wrote while living in California and Nevada, Mark Twain's first book, The Celebrated Jumping Frog of Calaveras County, was published in May 1867, and has been out of print for well over a century. As Roy Blount Jr. observes in his introduction, "Jumping Frog is not just the seed from which the Mark Twain empire sprang, it is his most devilish and quicksilver book, the one that made the fewest concessions to the book-buying market of the day--the work of a man who had profited, artistically, from the company of roughnecks." In his Afterword, Richard Bucci notes that "Mark Twain rebelled against everything that was obscure in art, and everywhere sought to deepen and broaden his audience. His cause was not merely to deflate and criticize, but to create, in a new and democratic artistic language. The Jumping Frog book is only a small moment on his path to remaking American fiction, but it is the beginning moment--reason enough to justify the book's reappearance now, after one hundred twenty five years. Grand historical significance aside, however, not a few of the sketches in this book still sparkle with their original humor and insight into the human condition."

The Celebrated Jumping Frog of Calaveras County, and Other Sketches (1867) (The ^AOxford Mark Twain)

The Innocents Abroad (1869) (The ^AOxford Mark Twain)

In 1867, Mark Twain set out from New York City for Europe and the Holy Land on the paddle-steamer Quaker City. The result of that trip was The Innocents Abroad, a travel book unlike any that had gone before it. Irreverent and irrepressible, Twain pokes fun at officious tour guides and offensive tourists alike. The book offers a glimpse of a major writer when he was young and just beginning to flex his muscles, and also serves as an enduring no-nonsense guide for the first-time traveler to Europe and the Holy Land. The trip stimulates Twain to meditate on how the "new world" is different from the "old" and engenders reflections on what a society must be like to be thought of as genuinely "civilized." The Innocents Abroad is alternately profound and profoundly entertaining. Twain may find himself exasperated or exhausted--but the story he tells is never dull. It is no wonder that the book was a hit on both sides of the Atlantic.

Roughing It (1872) (The ^AOxford Mark Twain)

"It wasn't clear in 1870 what sort of sequel Twain might devise after the triumph of The Innocents Abroad, but all indications suggest that he would continue to excel as a writer of humorous travelogue. Instead, he surprised readers and himself by taking an enormous step in the direction of literary fiction, creating a book that continues to dazzle with the variety of its many idioms and the sheer exuberance of its depiction of frontier life," Henry Wonham tells us in his afterword. Marking a crucial phase in the author's life and career, Roughing It vividly recounts Twain's adventures in the West. Twain blends autobiography and tall tale to produce this engaging humorous account of six boisterous years in Nevada, San Francisco, and Hawaii. Genteel culture meets frontier culture head-on in this wildly inventive, high-spirited book, and neither will ever be the same.

Humor & Satire

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