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• W2034693761 abstract "Studies in American Fiction127 The Professor's House illustrates: Tom has a yellow aura, Cather's frequent signifier of the erotic. That color suggests another possible signifier for St. Peter: his Methodist mother. The latter's religious affiliation suggests that his parents had entered into ... a mixed marriage . . . . Was the Methodist mother of Northern-European stock and, thus, did she resemble Tom Outland? The text ofthe novel is not revealing on this score. However, to the extent that Tom Outland is also of Northern-European stock and also a non-Catholic, it is possible that in St. Peter's homosexual troping towards him Tom is, psychically if not physically, a signifier for St. Peter in Freud's sense (emphasis added) (p. 94). Willa Cather and France is the product of a potentially helpful thesis marred by casual acquaintance with the significant body of criticism on Cather, even more casual reading of the texts, and a compulsion to be intellectually stylish. Brigham Young UniversityJohn J. Murphy Gilmore, Michael T. American Romanticism and the Marketplace. Chicago: The Univ. of Chicago Press, 1988. 177 pp. Paper: $9.95. West, James L. W, III. American Authors and the Literary Marketplace Since 1900. Philadelphia: Univ. of Pennsylvania Press, 1988. 172 pp. Cloth: $24.95. Just what does the literary market mean to an author? Conveniently ignored by many critics, that question seems always to have been of considerable interest to readers of Studies in American Fiction, who long ago learned to applaud as useful the pioneering studies of William Charvat and others. In attempting to answer for many American authors, however, we have been forced to rely chiefly on their biographies, which too often provide inconsistent and uneven information, book by book and author by author. The coast of publishing has never been clear, no matter how well charted the voyage of an author's imagination may seem. Yet in recent years, this unsatisfactory reading situation has begun to change dramatically as the marketplace increasingly assumes a life and role of its own. Now, these two slim volumes add important dimensions to the sketchy outlines of our education in literary marketing. Both books provide good value. Michael T. Gilmore's American Romanticism and the Marketplace combines a series of individual case studies with a general Afterword. Gilmore's purpose remains corrective throughout; yet his pages display the charm of a disarming modesty that never seems to claim too much. His selected authors include Emerson, Thoreau, Hawthorne, and Melville; his literary cases, Waiden, The Scarlet Letter, The House of Seven Gables, Moby-Dick, Bartleby, the Scrivener. His Afterword, in its final paragraph, signals the larger value of following Gilmore's directions through what might well have become a maze of possibilities: Hawthorne and Melville move toward authorial poses of distance and impersonality because of their estrangement from the market system; but in doing so, they are complicit in its ethos. The same observation can be made about Thoreau's retreat into intelligibility, his uncompromising attitude toward the nineteenth-century reading public. The disappearance of the author from his art is a literary corollary to the passing of the household order, with its face-to-face relations and hand-made goods. . . . Like the modernist novel, market society thrives on indirection and impersonality. Is it unreasonable to suppose, then, that the perdurability of American romanticism is itself a testimony to the power of the market? 128Reviews At this point, of course, Gilmore has already provided his own negative answer, in a series of studies described by the Introduction as illustrative rather than exhaustive. Indeed, just enough about the period gets written here to whet our appetite; and finally we are left awaiting Gilmore's further demonstration that many of the conflicts troubling Hawthorne and Melville in particular, as novelists in search of a national audience, were shared by other writers of the period from 1820 to 1860. In American Authors and the Literary Marketplace Since 1 900, James L. W. West, III, directs attention to the authorial profession and away from the individuals who claimed it for their own. This shift is surely timely and the transition easily made. Several of his chapters are based on earlier public..." @default.
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• W2034693761 title "American Romanticism and the Marketplace by Michael T. Gilmore, and: American Authors and the Literary Marketplace Since 1900 by James L. W. West" @default.
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