23- ] American Literature - Toni Marrison

 23- ] American Literature

Toni Morrison 1931 – 2019

Toni Morrison’s novels are known for their vivid dialogue, their detailed characters and epic themes. Her most famous novel is the 1987 novel, Beloved. She was awarded both the Pulitzer Prize and the American Book Award in 1988 for Beloved, and the Nobel Prize for Literature in 1993.

Toni Morrison is one of the most celebrated authors in the world. In addition to writing plays, and children’s books, her novels have earned her countless prestigious awards including the Pulitzer Prize and the Presidential Medal of Freedom from President Barack Obama. As the first African-American woman to win the Nobel Prize in Literature, Morrison’s work has inspired a generation of writers to follow in her footsteps.

Toni Morrison was born on February 18, 1931 in Lorain, Ohio. The second of four children, Morrison’s birth name was Chloe Anthony Wofford. Although she grew up in a semi-integrated area, racial discrimination was a constant threat. When Morrison was two years old, the owner of her family’s apartment building set their home on fire while they were inside because they were unable to afford the rent. Morrison turned her attention to her studies and became an avid reader. She was able to use her intellect on the debate team, her school’s yearbook staff, and eventually as a secretary for the head librarian at the Lorain Public Library. When she was twelve years old, she converted to Catholicism and was baptized under the name Anthony after Saint Anthony of Padua. She later went by the nickname “Toni” after this saint. She developed her own reputation as an author in the 1970s and '80s. Her work Beloved was made into a film in 1998. Morrison's works are praised for addressing the harsh consequences of racism in the United States and the Black American experience.

Her first novel, The Bluest Eye, was published in 1970. The critically acclaimed Song of Solomon (1977) brought her national attention and won the National Book Critics Circle Award. In 1988, Morrison won the Pulitzer Prize for Beloved (1987); she was awarded the Nobel Prize in Literature in 1993.

In 1949, Morrison decided to attend a historically black institution for her college education. She moved to Washington, D.C. to attend Howard University. While in college, Morrison experienced racial segregation in a new way. She joined the university’s theatrical group called the Howard University Players, and frequently toured the segregated south with the play. In addition, she witnessed how racial hierarchy divided people of color based on their skin tone. However, the community at Howard University also allowed her to make connections with other writers, artists, and activists that influenced her work. After graduating with a bachelor’s degree in English, Morrison attended Cornell University to earn the Master of Arts in English. When she graduated in 1955, she began teaching English at Texas Southern University but returned to Howard University as a professor. While back at the university, Morrison taught the young civil rights activist Stokely Carmichael, and met her husband Harold Morrison. The couple had two children, Harold and Slade.

First writings and teaching, 1970–1986

Morrison had begun writing fiction as part of an informal group of poets and writers at Howard University who met to discuss their work. She attended one meeting with a short story about a Black girl who longed to have blue eyes. Morrison later developed the story as her first novel, The Bluest Eye, getting up every morning at 4 am to write, while raising two children on her own.

The Bluest Eye was published by Holt, Rinehart, and Winston in 1970, when Morrison was aged 39. It was favorably reviewed in The New York Times by John Leonard, who praised Morrison's writing style as being "a prose so precise, so faithful to speech and so charged with pain and wonder that the novel becomes poetry ... But The Bluest Eye is also history, sociology, folklore, nightmare and music." The novel did not sell well at first, but the City University of New York put The Bluest Eye on its reading list for its new Black studies department, as did other colleges, which boosted sales. The book also brought Morrison to the attention of the acclaimed editor Robert Gottlieb at Knopf, an imprint of the publisher Random House. Gottlieb later edited most of Morrison's novels.

In 1975, Morrison's second novel Sula (1973), about a friendship between two Black women, was nominated for the National Book Award. Her third novel, Song of Solomon (1977), follows the life of Macon "Milkman" Dead III, from birth to adulthood, as he discovers his heritage. This novel brought her national acclaim, being a main selection of the Book of the Month Club, the first novel by a Black writer to be so chosen since Richard Wright's Native Son in 1940. Song of Solomon also won the National Book Critics Circle Award.

At its 1979 commencement ceremonies, Barnard College awarded Morrison its highest honor, the Barnard Medal of Distinction.

Morrison gave her next novel, Tar Baby (1981), a contemporary setting. In it, a looks-obsessed fashion model, Jadine, falls in love with Son, a penniless drifter who feels at ease with being Black

In 1983, Morrison left publishing to devote more time to writing, while living in a converted boathouse on the Hudson River in Nyack, New York.  She taught English at two branches of the State University of New York (SUNY) and at Rutgers University's New Brunswick campus.[30] In 1984, she was appointed to an Albert Schweitzer chair at the University at Albany, SUNY.

Morrison's first play, Dreaming Emmett, is about the 1955 murder by white men of Black teenager Emmett Till. The play was commissioned by the New York State Writers Institute at the State University of New York at Albany, where she was teaching at the time. It was produced in 1986 by Capital Repertory Theatre and directed by Gilbert Moses Morrison was also a visiting professor at Bard College from 1986 to 1988.

After teaching at Howard University for seven years, Morrison moved to Syracuse, New York to become an editor for the textbook division of Random House publishing. Within two years, she transferred to the New York City branch of the company and began to edit fiction and books by African-American authors. Although she worked for a publishing company, Morrison did not publish her first novel called The Bluest Eye until was she was 39 years old. Three years later, Morrison published her second novel called Sula, that was nominated for the National Book Award. By her third novel in 1977, Toni Morrison became a household name. Song of Solomon earned critical acclaim as well as the National Book Critics Circle Award. The success of her books encouraged Morrison to become a writer full time. She left publishing and continued to write novels, essays, and plays. In 1987, Morrison released her novel called Beloved, based on the true story of an African-American enslaved woman. This book was a Bestseller for 25 weeks and won countless awards including the Pulitzer Prize for Fiction. In 1993, Morrison became the first Black woman to win the Nobel Prize in Literature. Three years later, she was also chosen by the National Endowment for the Humanities to give the Jefferson Lecture, and was honored with the National Book Foundation’s Medal of Distinguished Contribution to American Letters.

Morrison’s work continued to influence writers and artists through her focus on African American life and her commentary on race relations. In 1998, Oprah Winfrey co-produced and starred in the film adaptation of Morrison’s book, Beloved. The film also starred major Hollywood actors including Danny Glover, Thandie Newton, and Kimberly Elise. Following this, Morrison’s books were featured four times as selections for Oprah’s Book Club. While writing and producing, Morrison was also a professor in the Creative Writing Program at Princeton University. Her work earned her an honorary Doctorate degree from the University of Oxford, and the opportunity to be a guest curator at the Louvre museum in Paris. In 2000, she was named a Living Legend by the Library of Congress. Morrison also wrote children’s books with her son until his death at 45 years old. Two years later, Morrison published the last book they were working on together and received the Presidential Medal of Freedom in that same month. In June of 2019, director Timothy Greenfield-Sanders released a documentary of her life called Toni Morrison: The Pieces I Am. Morrison passed away two months later from complications of pneumonia.

The Beloved Trilogy and the Nobel Prize: 1987–1998

In 1987, Morrison published her most celebrated novel, Beloved. It was inspired by the true story of an enslaved African-American woman, Margaret Garner,] whose story Morrison had discovered when compiling The Black Book. Garner had escaped slavery but was pursued by slave hunters. Facing a return to slavery, Garner killed her two-year-old daughter but was captured before she could kill herself. Morrison's novel imagines the dead baby returning as a ghost, Beloved, to haunt her mother and family.

Beloved was a critical success and a bestseller for 25 weeks. The New York Times book reviewer Michiko Kakutani wrote that the scene of the mother killing her baby is "so brutal and disturbing that it appears to warp time before and after into a single unwavering line of fate." Canadian writer Margaret Atwood wrote in a review for The New York Times, "Ms. Morrison's versatility and technical and emotional range appear to know no bounds. If there were any doubts about her stature as a pre-eminent American novelist, of her own or any other generation, Beloved will put them to rest."

Not all critics praised Beloved, however. African-American conservative social critic Stanley Crouch, for instance, complained in his review in The New Republic that the novel "reads largely like a melodrama lashed to the structural conceits of the miniseries," and that Morrison "perpetually interrupts her narrative with maudlin ideological commercials."

Despite overall high acclaim, Beloved failed to win the prestigious National Book Award or the National Book Critics Circle Award. Forty-eight Black critics and writers, among them Maya Angelou, protested the omission in a statement that The New York Times published on January 24, 1988. "Despite the international stature of Toni Morrison, she has yet to receive the national recognition that her five major works of fiction entirely deserve," they wrote. Two months later, Beloved won the Pulitzer Prize for Fiction. It also won an Anisfield-Wolf Book Award.

Beloved is the first of three novels about love and African-American history, sometimes called the Beloved Trilogy. Morrison said that they are intended to be read together, explaining, "The conceptual connection is the search for the beloved – the part of the self that is you, and loves you, and is always there for you." The second novel in the trilogy, Jazz, came out in 1992. Told in language that imitates the rhythms of jazz music, the novel is about a love triangle during the Harlem Renaissance in New York City. That year she also published her first book of literary criticism, Playing in the Dark: Whiteness and the Literary Imagination (1992), an examination of the African-American presence in white American literature. (In 2016, Time magazine noted that Playing in the Dark was among Morrison's most-assigned texts on U.S. college campuses, together with several of her novels and her 1993 Nobel Prize lecture.)

Before the third novel of the Beloved Trilogy was published, Morrison was awarded the Nobel Prize in Literature in 1993. The citation praised her as an author "who in novels characterized by visionary force and poetic import, gives life to an essential aspect of American reality." She was the first Black woman of any nationality to win the prize. In her acceptance speech, Morrison said: "We die. That may be the meaning of life. But we do language. That may be the measure of our lives."

In her Nobel lecture, Morrison talked about the power of storytelling. To make her point, she told a story. She spoke about a blind, old, Black woman who is approached by a group of young people. They demand of her, "Is there no context for our lives? No song, no literature, no poem full of vitamins, no history connected to experience that you can pass along to help us start strong? ... Think of our lives and tell us your particularized world. Make up a story."

In 1996, the National Endowment for the Humanities selected Morrison for the Jefferson Lecture, the U.S. federal government's highest honor for "distinguished intellectual achievement in the humanities." Morrison's lecture, entitled "The Future of Time: Literature and Diminished Expectations," began with the aphorism: "Time, it seems, has no future." She cautioned against the misuse of history to diminish expectations of the future. Morrison was also honored with the 1996 National Book Foundation's Medal of Distinguished Contribution to American Letters, which is awarded to a writer "who has enriched our literary heritage over a life of service, or a corpus of work."

The third novel of her Beloved Trilogy, Paradise, about citizens of an all-Black town, came out in 1997. The following year, Morrison was on the cover of Time magazine, making her only the second female writer of fiction and second Black writer of fiction to appear on what was perhaps the most significant U.S. magazine cover of the era.

Beloved on screen and "the Oprah effect"

Also in 1998, the movie adaptation of Beloved was released, directed by Jonathan Demme and co-produced by Oprah Winfrey, who had spent ten years bringing it to the screen. Winfrey also stars as the main character, Sethe, alongside Danny Glover as Sethe's lover, Paul D, and Thandiwe Newton as Beloved.

The movie flopped at the box office. A review in The Economist suggested that "most audiences are not eager to endure nearly three hours of a cerebral film with an original storyline featuring supernatural themes, murder, rape, and slavery."[59] Film critic Janet Maslin, however, in her New York Times review "No Peace from a Brutal Legacy" called it a "transfixing, deeply felt adaptation of Toni Morrison's novel. ... Its linchpin is of course Oprah Winfrey, who had the clout and foresight to bring 'Beloved' to the screen and has the dramatic presence to hold it together." Film critic Roger Ebert suggested that Beloved was not a genre ghost story but the supernatural was used to explore deeper issues and the non-linear structure of Morrison's story had a purpose.

In 1996, television talk-show host Oprah Winfrey selected Song of Solomon for her newly launched Book Club, which became a popular feature on her Oprah Winfrey Show. An average of 13 million viewers watched the show's book club segments. As a result, when Winfrey selected Morrison's earliest novel The Bluest Eye in 2000, it sold another 800,000 paperback copies. John Young wrote in the African American Review in 2001 that Morrison's career experienced the boost of "The Oprah Effect, ... enabling Morrison to reach a broad, popular audience."

Winfrey selected a total of four of Morrison's novels over six years, giving Morrison's novels a bigger sales boost than they got from her Nobel Prize win in 1993. The novelist also appeared three times on Winfrey's show. Winfrey said, "For all those who asked the question 'Toni Morrison again?'... I say with certainty there would have been no Oprah's Book Club if this woman had not chosen to share her love of words with the world." Morrison called the book club a "reading revolution".

The early 21st century

Morrison continued to explore different art forms, such as providing texts for original scores of classical music. She collaborated with André Previn on the song cycle Honey and Rue, which premiered with Kathleen Battle in January 1992, and on Four Songs, premiered at Carnegie Hall with Sylvia McNair in November 1994. Both Sweet Talk: Four Songs on Text and Spirits In the Well (1997) were written for Jessye Norman with music by Richard Danielpour, and, alongside Maya Angelou and Clarissa Pinkola Estés, Morrison provided the text for composer Judith Weir's woman.life.song commissioned by Carnegie Hall for Jessye Norman, which premiered in April 2000.

Morrison returned to Margaret Garner's life story, the basis of her novel Beloved, to write the libretto for a new opera, Margaret Garner. Completed in 2002, with music by Richard Danielpour, the opera was premièred on May 7, 2005, at the Detroit Opera House with Denyce Graves in the title role.

Love, Morrison's first novel since Paradise, came out in 2003. In 2004, she put together a children's book called Remember to mark the 50th anniversary of the Brown v. Board of Education Supreme Court decision in 1954 that declared racially segregated public schools to be unconstitutional.

From 1997 to 2003, Morrison was an Andrew D. White Professor-at-Large at Cornell University.

In June 2005, the University of Oxford awarded Morrison an honorary Doctor of Letters degree.

In the spring 2006, The New York Times Book Review named Beloved the best work of American fiction published in the previous 25 years, as chosen by a selection of prominent writers, literary critics, and editors. In his essay about the choice, "In Search of the Best," critic A. O. Scott said: "Any other outcome would have been startling since Morrison's novel has inserted itself into the American canon more completely than any of its potential rivals. With remarkable speed, 'Beloved' has, less than 20 years after its publication, become a staple of the college literary curriculum, which is to say a classic. This triumph is commensurate with its ambition since it was Morrison's intention in writing it precisely to expand the range of classic American literature, to enter, as a living Black woman, the company of dead white males like Faulkner, Melville, Hawthorne and Twain."

In November 2006, Morrison visited the Louvre museum in Paris as the second in its "Grand Invité" program to guest-curate a month-long series of events across the arts on the theme of "The Foreigner's Home", about which The New York Times said: "In tapping her own African-American culture, Ms. Morrison is eager to credit 'foreigners' with enriching the countries where they settle."

Morrison's novel A Mercy, released in 2008, is set in the Virginia colonies of 1682. Diane Johnson, in her review in Vanity Fair, called A Mercy "a poetic, visionary, mesmerizing tale that captures, in the cradle of our present problems and strains, the natal curse put on us back then by the Indian tribes, Africans, Dutch, Portuguese, and English competing to get their footing in the New World against a hostile landscape and the essentially tragic nature of human experience."

Princeton years

From 1989 until her retirement in 2006, Morrison held the Robert F. Goheen Chair in the Humanities at Princeton University.[10] She said she did not think much of modern fiction writers who reference their own lives instead of inventing new material, and she used to tell her creative writing students, "I don't want to hear about your little life, OK?" Similarly, she chose not to write about her own life in a memoir or autobiography.

Though based in the Creative Writing Program at Princeton, Morrison did not regularly offer writing workshops to students after the late 1990s, a fact that earned her some criticism. Rather, she conceived and developed the Princeton Atelier, a program that brings together students with writers and performing artists. Together the students and the artists produce works of art that are presented to the public after a semester of collaboration.

Inspired by her curatorship at the Louvre Museum, Morrison returned to Princeton in the fall 2008 to lead a small seminar, also entitled "The Foreigner's Home".

On November 17, 2017, Princeton University dedicated Morrison Hall (a building previously called West College) in her honor.

Final years: 2010–2019

In May 2010, Morrison appeared at PEN World Voices for a conversation with Marlene van Niekerk and Kwame Anthony Appiah about South African literature and specifically van Niekerk's 2004 novel Agaat.

Morrison wrote books for children with her younger son, Slade Morrison, who was a painter and a musician. Slade died of pancreatic cancer on December 22, 2010, aged 45, when Morrison's novel Home (2012) was half-completed.

In May 2011, Morrison received an Honorary Doctor of Letters degree from Rutgers University–New Brunswick. During the commencement ceremony,[81] she delivered a speech on the "pursuit of life, liberty, meaningfulness, integrity, and truth."

In 2011, Morrison worked with opera director Peter Sellars and Malian singer-songwriter Rokia Traoré on Desdemona, taking a fresh look at William Shakespeare's tragedy Othello. The trio focused on the relationship between Othello's wife Desdemona and her African nursemaid, Barbary, who is only briefly referenced in Shakespeare. The play, a mix of words, music and song, premiered in Vienna in 2011.

Morrison had stopped working on her latest novel when her son died in 2010, later explaining, "I stopped writing until I began to think, He would be really put out if he thought that he had caused me to stop. 'Please, Mom, I'm dead, could you keep going ...?'"

She completed Home and dedicated it to her son Slade. Published in 2012, it is the story of a Korean War veteran in the segregated United States of the 1950s who tries to save his sister from brutal medical experiments at the hands of a white doctor.

In August 2012, Oberlin College became the home base of the Toni Morrison Society,[86] an international literary society founded in 1993, dedicated to scholarly research of Morrison's work.

Morrison's eleventh novel, God Help the Child, was published in 2015. It follows Bride, an executive in the fashion and beauty industry whose mother tormented her as a child for being dark-skinned, a trauma that has continued to dog Bride.

Morrison was a member of the editorial advisory board of The Nation, a magazine started in 1865 by Northern abolitionists.[91][68]

Politics, literary reception, and legacy

Morrison was not afraid to comment on American politics and race relations.

In writing about the 1998 impeachment of Bill Clinton, she claimed that since Whitewater, Bill Clinton was being mistreated in the same way Black people often are:

Years ago, in the middle of the Whitewater investigation, one heard the first murmurs: white skin notwithstanding, this is our first black President. Blacker than any actual black person who could ever be elected in our children's lifetime. After all, Clinton displays almost every trope of blackness: single-parent household, born poor, working-class, saxophone-playing, McDonald's-and-junk-food-loving boy from Arkansas.

The phrase "our first Black president" was adopted as a positive by Bill Clinton supporters. When the Congressional Black Caucus honored the former president at its dinner in Washington, D.C. on September 29, 2001, for instance, Rep. Eddie Bernice Johnson (D-TX), the chair, told the audience that Clinton "took so many initiatives he made us think for a while we had elected the first black president."

In the context of the 2008 Democratic Primary campaign, Morrison stated to Time magazine: "People misunderstood that phrase. I was deploring the way in which President Clinton was being treated, vis-à-vis the sex scandal that was surrounding him. I said he was being treated like a black on the street, already guilty, already a perp. I have no idea what his real instincts are, in terms of race."[100] In the Democratic primary contest for the 2008 presidential race, Morrison endorsed Senator Barack Obama over Senator Hillary Clinton,[101] though expressing admiration and respect for the latter.[102] When he won, Morrison said she felt like an American for the first time. She said, "I felt very powerfully patriotic when I went to the inauguration of Barack Obama. I felt like a kid."

In April 2015, speaking of the deaths of Michael Brown, Eric Garner and Walter Scott – three unarmed Black men killed by white police officers – Morrison said: "People keep saying, 'We need to have a conversation about race.' This is the conversation. I want to see a cop shoot a white unarmed teenager in the back. And I want to see a white man convicted for raping a Black woman. Then when you ask me, 'Is it over?', I will say yes."

 

After the 2016 election of Donald Trump as President of the United States, Morrison wrote an essay, "Mourning for Whiteness," published in the November 21, 2016 issue of The New Yorker. In it she argues that white Americans are so afraid of losing privileges afforded them by their race that white voters elected Trump, whom she described as being "endorsed by the Ku Klux Klan", in order to keep the idea of white supremacy alive.

Relationship to feminism

Although her novels typically concentrate on black women, Morrison did not identify her works as feminist. When asked in a 1998 interview, "Why distance oneself from feminism?" she replied: "In order to be as free as I possibly can, in my own imagination, I can't take positions that are closed. Everything I've ever done, in the writing world, has been to expand articulation, rather than to close it, to open doors, sometimes, not even closing the book – leaving the endings open for reinterpretation, revisitation, a little ambiguity."[106] She went on to state that she thought it "off-putting to some readers, who may feel that I'm involved in writing some kind of feminist tract. I don't subscribe to patriarchy, and I don't think it should be substituted with matriarchy. I think it's a question of equitable access, and opening doors to all sorts of things."

In 2012, she responded to a question about the difference between black and white feminists in the 1970s. "Womanists is what black feminists used to call themselves," she explained. "They were not the same thing. And also the relationship with men. Historically, black women have always sheltered their men because they were out there, and they were the ones that were most likely to be killed."

W. S. Kottiswari  writes in Postmodern Feminist Writers (2008) that Morrison exemplifies characteristics of "postmodern feminism" by "altering Euro-American dichotomies by rewriting a history written by mainstream historians" and by her usage of shifting narration in Beloved and Paradise. Kottiswari states: "Instead of western logocentric abstractions, Morrison prefers the powerful vivid language of women of color ... She is essentially postmodern since her approach to myth and folklore is re-visionist."

National Memorial for Peace and Justice

The National Memorial for Peace and Justice in Montgomery, Alabama, includes writing by Morrison. Visitors can see her quote after they have walked through the section commemorating individual victims of lynching.

Papers

The Toni Morrison Papers are part of the permanent library collections of Princeton University, where they are held in the Manuscripts Division, Department of Rare Books and Special Collections. Morrison's decision to offer her papers to Princeton instead of to her alma mater Howard University was criticized by some within the historically black colleges and universities community.

‘Beloved’: Her Masterwork

Ms. Morrison published “Beloved,” widely considered her masterwork, in 1987. The first of her novels to have an overtly historical setting, the book — rooted in a real 19th-century tragedy — unfolds about a decade after the end of the Civil War.

Before the war, Sethe, a slave, had escaped from the Kentucky plantation on which she worked and crossed the Ohio River to Cincinnati. She also spirited out her baby daughter, not yet 2.

“Sethe had twenty-eight days — the travel of one whole moon — of unslaved life,” Ms. Morrison wrote. “From the pure clear stream of spit that the little girl dribbled into her face to her oily blood was twenty-eight days. Days of healing, ease and real- talk. Days of company: knowing the names of forty, fifty other Negroes, their views, habits; where they had been and what done; of feeling their fun and sorrow along with her own, which made it better. One taught her the alphabet; another a stitch. All taught her how it felt to wake up at dawn and decide what to do with the day.”

Then a slave catcher tracks Sethe down. Cornered, she cuts her daughter’s throat rather than see her returned to a life of degradation.

Eighteen years pass. Sethe has been saved from the gallows by white Abolitionists and is later freed from jail with their help. She has resumed her life in Cincinnati with her surviving daughter, Denver, with whom she was pregnant when she fled Kentucky.

One day, a strange, nearly silent young woman a little older than Denver materializes at their door. Known only as Beloved, she moves into the house and insinuates herself into every facet of their existence.

“Beloved, she my daughter,” Sethe realizes in a stream-of-consciousness monologue toward the end of the book. “She mine. See. She come back to me of her own free will and I don’t have to explain a thing. I didn’t have time to explain before because it had to be done quick. Quick. She had to be safe and I put her where she would be.”

Widely acclaimed by book critics, “Beloved” was made into a 1998 feature film directed by Jonathan Demme and starring Ms. Winfrey.

For mid-20th-century readers, one of the most striking things about Ms. Morrison’s work was that it delineates a world in which white people are largely absent, a relatively rare thing in fiction of the period.

What was more, the milieu of her books, typically small-town and Midwestern, “offers an escape from stereotyped black settings,” as she said in an interview in “Conversations With Toni Morrison” (1994; edited by Danielle Taylor-Guthrie), adding, “It is neither plantation nor ghetto.”

Ms. Morrison’s fourth novel, “Tar Baby” (1981), deals explicitly with issues of racial and class prejudice among black people. Set on a Caribbean island, it chronicles the love affair of a cosmopolitan, European-educated black woman with a rough-and-tumble local man.

Her other novels include “Jazz” (1992), set in 1920s New York; “A Mercy” (2008), which divorces the institution of slavery from ideas of race by setting the narrative in the 17th century, where servitude, black or white, was apt to be determined by class; and “Home” (2012), about a black Korean War veteran’s struggles on returning to the Jim Crow South.

Ms. Morrison’s volumes of nonfiction include “Playing in the Dark: Whiteness and the Literary Imagination” (1992) and “What Moves at the Margin: Selected Nonfiction” (2008, edited by Carolyn C. Denard).

She wrote the libretto for “Margaret Garner,” an opera by Richard Danielpour that received its world premiere at the Detroit Opera House in 2005 with the mezzo-soprano Denyce Graves in the title role.

In 1989, Ms. Morrison joined the faculty of Princeton, where she taught courses in the humanities and African American studies, and was a member of the creative writing program. She went on emeritus status in 2006.

Ms. Morrison is survived by her son Harold Ford Morrison and three grandchildren. Another son, Slade, with whom she collaborated on the texts of many books for children, died in 2010.

Her other laurels include the National Humanities Medal in 2000 and the Presidential Medal of Freedom, presented in 2012 by President Barack Obama. The Toni Morrison Society, devoted to the study of her life and work, was founded in 1993.

If there is a unifying thread running through Ms. Morrison’s writing, it is perhaps nowhere more vivid than in “Song of Solomon.” At novel’s end, after his odyssey through his ancestral past, Milkman has attained the knowledge that lets him situate himself within his family, the larger community and black America.

And with that, on the book’s final page, he leaps into the air, taking symbolic flight over a world in which he has found his place at last.

22- ] American Literature - Raymond Chandler

 22- ] American Literature

Raymond Chandler 1888 – 1959

Raymond Chandler was a British-American novelist who wrote several screenplays and short stories. He published seven novels during his lifetime. The first, The Big Sleep, was published in 1939. An eighth, Poodle Springs, unfinished at his death, was completed by another great crime writer, Robert B Parker. Six of Chandler’s novels have been made into films, some more than once.

Raymond Thornton Chandler, (born July 23, 1888, Chicago, Illinois, U.S.—died March 26, 1959, La Jolla, California), American author of detective fiction, the creator of the private detective Philip Marlowe, whom he characterized as a poor but honest upholder of ideals in an opportunistic and sometimes brutal society in Los Angeles.

From 1896 to 1912 Chandler lived in England with his mother, a British subject of Irish birth. Although he was an American citizen and a resident of California when World War I began in 1914, he served in the Canadian army and then in the Royal Flying Corps (afterward the Royal Air Force). Having returned to California in 1919, he prospered as a petroleum company executive until the Great Depression of the 1930s, when he turned to writing for a living. His first published short story appeared in the “pulp” magazine Black Mask in 1933. From 1943 he was a Hollywood screenwriter. Among his best-known scripts were for the films Double Indemnity (1944), The Blue Dahlia (1946), and Strangers on a Train (1951), the last written in collaboration with Czenzi Ormonde.

Chandler completed seven novels, all with Philip Marlowe as hero: The Big Sleep (1939), Farewell, My Lovely (1940), The High Window (1942), The Lady in the Lake (1943), The Little Sister (1949), The Long Goodbye (1953), and Playback (1958). Among his numerous short-story collections are Five Murderers (1944) and The Midnight Raymond Chandler (1971). The most popular film versions of Chandler’s work were Murder, My Sweet (1944; also distributed as Farewell, My Lovely), starring Dick Powell, and The Big Sleep (1946), starring Humphrey Bogart, both film noir classics.

Chandler had an immense stylistic influence on American popular literature. He is a founder of the hardboiled school of detective fiction, along with Dashiell Hammett, James M. Cain and other Black Mask writers. The protagonist of his novels, Philip Marlowe, like Hammett's Sam Spade, is considered by some to be synonymous with "private detective". Both were played in films by Humphrey Bogart, whom many consider to be the quintessential Marlowe.

At least three of Chandler's novels have been regarded as masterpieces, including Farewell, My Lovely (1940), The Little Sister (1949), and The Long Goodbye (1953). The Long Goodbye was praised in an anthology of American crime stories as "arguably the first book since Hammett's The Glass Key, published more than twenty years earlier, to qualify as a serious and significant mainstream novel that just happened to possess elements of mystery". Four of his novels appear on the British-based Crime Writers Association Poll (1990) of the best 100 crime fiction novels ever published.

As a writer

In straitened financial circumstances during the Great Depression, Chandler turned to his latent writing talent to earn a living, teaching himself to write pulp fiction by analyzing and imitating a novelette by Erle Stanley Gardner. Chandler's first professional work, "Blackmailers Don't Shoot", was published in Black Mask magazine in 1933. According to genre historian Herbert Ruhm, "Chandler, who worked slowly and painstakingly, revising again and again, had taken five months to write the story. Erle Stanley Gardner could turn out a pulp story in three or four days—and turned out an estimated one thousand."

His first novel, The Big Sleep, was published in 1939, featuring the detective Philip Marlowe, speaking in the first person. In 1950, Chandler described in a letter to his English publisher, Hamish Hamilton, why he began reading pulp magazines and later wrote for them:

Wandering up and down the Pacific Coast in an automobile I began to read pulp magazines, because they were cheap enough to throw away and because I never had at any time any taste for the kind of thing which is known as women's magazines. This was in the great days of the Black Mask (if I may call them great days) and it struck me that some of the writing was pretty forceful and honest, even though it had its crude aspect. I decided that this might be a good way to try to learn to write fiction and get paid a small amount of money at the same time. I spent five months over an 18,000 word novelette and sold it for $180. After that I never looked back, although I had a good many uneasy periods looking forward.

His second Marlowe novel, Farewell, My Lovely (1940), became the basis for three movie versions adapted by other screenwriters, including the 1944 film Murder My Sweet, which marked the screen debut of the Marlowe character, played by Dick Powell (whose depiction of Marlowe was applauded by Chandler). Literary success and film adaptations led to a demand for Chandler himself as a screenwriter. He and Billy Wilder co-wrote Double Indemnity (1944), based on James M. Cain's novel of the same title. The noir screenplay was nominated for an Academy Award. Said Wilder, "I would just guide the structure and I would also do a lot of the dialogue, and he (Chandler) would then comprehend and start constructing too." Wilder acknowledged that the dialogue which makes the film so memorable was largely Chandler's.

Chandler's only produced original screenplay was The Blue Dahlia (1946). He had not written a denouement for the script and, according to producer John Houseman, Chandler concluded he could finish the script only if drunk, with the assistance of round-the-clock secretaries and drivers, which Houseman agreed to. The script gained Chandler's second Academy Award nomination for screenplay.

Chandler collaborated on the screenplay of Alfred Hitchcock's Strangers on a Train (1951), an ironic murder story based on Patricia Highsmith's novel, which he thought implausible. Chandler clashed with Hitchcock and they stopped talking after Hitchcock heard Chandler had referred to him as "that fat bastard". Hitchcock made a show of throwing Chandler's two draft screenplays into the studio trash can while holding his nose, but Chandler retained the lead screenwriting credit along with Czenzi Ormonde.

In 1946, the Chandlers moved to La Jolla, an affluent coastal neighborhood of San Diego, California, where Chandler wrote two more Philip Marlowe novels, The Long Goodbye and his last completed work, Playback. The latter was derived from an unproduced courtroom drama screenplay he had written for Universal Studios.

Four chapters of a novel, unfinished at his death, were transformed into a final Philip Marlowe novel, Poodle Springs, by the mystery writer and Chandler admirer Robert B. Parker, in 1989. Parker shares the authorship with Chandler. Parker subsequently wrote a sequel to The Big Sleep entitled Perchance to Dream, which was salted with quotes from the original novel. Chandler's final Marlowe short story, circa 1957, was entitled "The Pencil". It later provided the basis of an episode of the HBO miniseries (1983–86), Philip Marlowe, Private Eye, starring Powers Boothe as Marlowe.

In 2014, "The Princess and the Pedlar" (1917), a previously unknown comic operetta, with libretto by Chandler and music by Julian Pascal, was discovered among the uncatalogued holdings of the Library of Congress. The work was never published or produced. It has been dismissed by the Raymond Chandler estate as "no more than… a curiosity." A small team under the direction of the actor and director Paul Sand is seeking permission to produce the operetta in Los Angeles.

Later life and death

Cissy Chandler died in 1954, after a long illness. Heartbroken and drunk, Chandler neglected to inter her cremated remains, and they sat for 57 years in a storage locker in the basement of Cypress View Mausoleum.

After Cissy's death, Chandler's loneliness worsened his propensity for clinical depression; he returned to drinking alcohol, never quitting it for long, and the quality and quantity of his writing suffered.[8] In 1955, he attempted suicide. In The Long Embrace: Raymond Chandler and the Woman He Loved, Judith Freeman says it was "a cry for help," given that he called the police beforehand, saying he planned to kill himself. Chandler's personal and professional life were both helped and complicated by the women to whom he was attracted, notably Helga Greene (his literary agent), Jean Fracasse (his secretary), Sonia Orwell (George Orwell's widow), and Natasha Spender (Stephen Spender's wife). Chandler regained his U.S. citizenship in 1956, while retaining his British rights.

After a respite in England, he returned to La Jolla. He died at Scripps Memorial Hospital of pneumonial peripheral vascular shock and prerenal uremia (according to the death certificate) in 1959. Helga Greene inherited Chandler's $60,000 estate, after prevailing in a 1960 lawsuit filed by Fracasse contesting Chandler's holographic codicil to his will.

Chandler is buried at Mount Hope Cemetery, in San Diego, California. As Frank MacShane noted in his biography, The Life of Raymond Chandler, Chandler wished to be cremated and placed next to Cissy in Cypress View Mausoleum. Instead, he was buried in Mount Hope, because he had left no funeral or burial instructions.

On February 14, 2011, Cissy's ashes were conveyed from Cypress View to Mount Hope and interred under a new grave marker above Chandler's, as they had wished. About 100 people attended the ceremony, which included readings by the Rev. Randal Gardner, Powers Boothe, Judith Freeman and Aissa Wayne. The shared gravestone reads, "Dead men are heavier than broken hearts", a quotation from The Big Sleep. Chandler's original gravestone, placed by Jean Fracasse and her children, is still at the head of his grave; the new one is at the foot.

Views on pulp fiction

In his introduction to Trouble Is My Business (1950), a collection of many of his short stories, Chandler provided insight on the formula for the detective story and how the pulp magazines differed from previous detective stories:

The emotional basis of the standard detective story was and had always been that murder will out and justice will be done. Its technical basis was the relative insignificance of everything except the final denouement. What led up to that was more or less passage work. The denouement would justify everything. The technical basis of the Black Mask type of story on the other hand was that the scene outranked the plot, in the sense that a good plot was one which made good scenes. The ideal mystery was one you would read if the end was missing. We who tried to write it had the same point of view as the film makers. When I first went to Hollywood a very intelligent producer told me that you couldn't make a successful motion picture from a mystery story, because the whole point was a disclosure that took a few seconds of screen time while the audience was reaching for its hat. He was wrong, but only because he was thinking of the wrong kind of mystery.

Chandler also described the struggle that writers of pulp fiction had in following the formula demanded by the editors of the pulp magazines:

As I look back on my stories it would be absurd if I did not wish they had been better. But if they had been much better they would not have been published. If the formula had been a little less rigid, more of the writing of that time might have survived. Some of us tried pretty hard to break out of the formula, but we usually got caught and sent back. To exceed the limits of a formula without destroying it is the dream of every magazine writer who is not a hopeless hack.

Critical reception

Critics and writers, including W. H. Auden, Evelyn Waugh and Ian Fleming, greatly admired Chandler's prose. In a radio discussion with Chandler, Fleming said that Chandler offered "some of the finest dialogue written in any prose today". Contemporary mystery writer Paul Levine has described Chandler's style as the "literary equivalent of a quick punch to the gut".Chandler's swift-moving, hardboiled style was inspired mostly by Dashiell Hammett, but his sharp and lyrical similes are original: "The muzzle of the Luger looked like the mouth of the Second Street tunnel"; "He had a heart as big as one of Mae West's hips"; "Dead men are heavier than broken hearts"; "I went back to the seasteps and moved down them as cautiously as a cat on a wet floor"; "He was crazy as a pair of waltzing mice, but I liked him." Chandler's writing redefined the private eye fiction genre, led to the coining of the adjective "Chandleresque", and inevitably became the subject of parody and pastiche. Yet the detective Philip Marlowe is not a stereotypical tough guy, but a complex, sometimes sentimental man with few friends, who attended university, who speaks some Spanish and sometimes admires Mexicans and Blacks, and who is a student of chess and classical music. He is a man who refuses a prospective client's fee for a job he considers unethical.

The high regard in which Chandler is generally held today is in contrast to the critical sniping that stung the author during his lifetime. In a March 1942 letter to Blanche Knopf, published in Selected Letters of Raymond Chandler, he wrote, "The thing that rather gets me down is that when I write something that is tough and fast and full of mayhem and murder, I get panned for being tough and fast and full of mayhem and murder, and then when I try to tone down a bit and develop the mental and emotional side of a situation, I get panned for leaving out what I was panned for putting in the first time."

Although his work enjoys general acclaim today, Chandler has been criticized for certain aspects of his writing. The Washington Post reviewer Patrick Anderson described his plots as "rambling at best and incoherent at worst" (notoriously, even Chandler did not know who murdered the chauffeur in The Big Sleep) and Anderson criticized Chandler's treatment of black, female, and homosexual characters, calling him a "rather nasty man at times". Anderson nevertheless praised Chandler as "probably the most lyrical of the major crime writers".

Chandler's short stories and novels are evocatively written, conveying the time, place and ambiance of Los Angeles and environs in the 1930s and 1940s. The places are real, if pseudonymous: Bay City is Santa Monica, Gray Lake is Silver Lake, and Idle Valley a synthesis of wealthy San Fernando Valley communities.

Playback is the only one of his novels not to have been cinematically adapted. Arguably the most notable adaptation is The Big Sleep (1946), by Howard Hawks, with Humphrey Bogart as Philip Marlowe. William Faulkner was a co-writer of the screenplay. Chandler's few screenwriting efforts and the cinematic adaptation of his novels proved stylistically and thematically influential on the American film noir genre. Notable for its revised take on the Marlowe character, transplanting the novel to the 1970s, is Robert Altman's 1973 neo-noir adaptation of The Long Goodbye.

Chandler was also a perceptive critic of detective fiction; his essay "The Simple Art of Murder" is the canonical essay in the field.

In popular culture

British songwriter Robyn Hitchcock paid homage to Chandler in the song "Raymond Chandler Evening" on the 1986 album Element of Light.

In the 11th issue of the influential Cyberpunk fanzine Cheap Truth, Vincent Omniaveritas conducted a fictitious interview with Chandler. The interview opines that Chandler's views towards the potential for respectability in pulp and genre fiction could also be applied to Science Fiction, specifically the Cyberpunk movement. It also derides Chandler's now-famous 1953 caricature of pulp Science Fiction. In the 2012 documentary, The Doors: Mr. Mojo Risin'- The Story of L.A. Woman, keyboardist Ray Manzarek describes Jim Morrison's lyrics to L.A. Woman: “Another lost angel in the city of night.” “The lyrics were so good. So Raymond Chandler, so Nathanael West, so 1930s, '40s, dark seamy side of Los Angeles. A place where Jim would easily go”.

In the season 4 (1993) of the TV series Northern Exposure, episode 16 starts with Chris reading to Ed a book with visible cover showing "Midnight - Raymond Chandler" while sitting in the Brick bar in the fictional town of Cicely, Alaska. Chris reads a passage from a book about the hot dry unnerving desert wind which causes people to act unexpectedly aggressively. The episode itself has a similar premise, namely, the "bad wind" blows through Cicely. After hearing the passage, Ed, impressed, utters "Whoa". Chris winks and says:"Raymond Chandler!"

In season 4, episode 18 of the sitcom Friends, during a debate over whether or not to name one of Phoebe's triplets "Chandler" or "Joey," Joey challenges Chandler to "name one famous person named Chandler." Chandler replies with "Raymond Chandler," to which Joey responds, "Someone you didn't make up!"

The popular Japanese superhero show Kamen Rider referenced Raymond Chandler's The Long Goodbye in the 2009 series Kamen Rider W. Kamen Rider W is a story of two detectives, Shotaro Hidari and Phillip, who become one when they transform into W, and battle criminals who are powered by drug-like USB flash drives called Gaia Memories. Phillip is named after Philip Marlowe; his name was chosen by Narumi Soukichi, Shotaro Hidari's mentor and fan of Chandler's The Long Goodbye. Many episodes of the show reference the hard-boiled style featured in Chandler's works. The Japanese version of the book can be seen prominently in "Kamen Rider X Kamen Rider W & Decade Movie Taisen 2010" as well as throughout the TV series on Shotaro's shelf, next to his desk where he writes his memoirs of cases in a wannabe hard-boiled, half-boiled style.

In the video game Cyberpunk 2077, there is a side quest called Raymond Chandler Evening, in which the protagonist follows the wife of a client who is suspected of cheating, all while the quest is narrated like a private eye from an old noir film.

Works by Raymond Chandler

Novels       

The Big SleepFarewell, My LovelyThe High WindowThe Lady in the LakeThe Little SisterThe Long GoodbyePlaybackPoodle Springs (unfinished)

Characters

Philip Marlowe

Short stories and collections  

"Nevada Gas""Smart-Aleck Kill"The Simple Art of MurderKiller in the Rain

Non-fiction

Raymond Chandler Speaking

Screenplays

Double IndemnityAnd Now TomorrowThe UnseenThe Blue DahliaStrangers on a TrainPlayback

Film adaptations

Time to Kill (1942)The Falcon Takes Over (1942)Murder, My Sweet (1944)The Big Sleep (1946)Lady in the Lake (1947)The Brasher Doubloon (1947)Marlowe (1969)The Long Goodbye (1973)Farewell, My Lovely (1975)The Big Sleep (1978)Poodle Springs (1998)

TV adaptations  

"The Big Sleep" (1950)"The Long Goodbye" (1954)Philip Marlowe, Private Eye (1983–1986)

21- ] American Literature - Ernest Hemingway

 21- ] American Literature 

Ernest Hemingway 1899 – 1961

Ernest Hemingway was a novelist, short story writer, and journalist. He published seven novels, six short story collections, and two non-fiction works, and won the Nobel Prize for Literature in 1954. More works, including three novels, four short story collections, and three non-fiction works, were published posthumously.

Ernest Hemingway, in full Ernest Miller Hemingway, (born July 21, 1899, Cicero [now in Oak Park], Illinois, U.S.—died July 2, 1961, Ketchum, Idaho), American novelist and short-story writer, awarded the Nobel Prize for Literature in 1954. He was noted both for the intense masculinity of his writing and for his adventurous and widely publicized life. His succinct and lucid prose style exerted a powerful influence on American and British fiction in the 20th century.

Agnes von Kurowsky and Ernest Hemingway

The first son of Clarence Edmonds Hemingway, a doctor, and Grace Hall Hemingway, Ernest Miller Hemingway was born in a suburb of Chicago. He was educated in the public schools and began to write in high school, where he was active and outstanding, but the parts of his boyhood that mattered most were summers spent with his family on Walloon Lake in upper Michigan. On graduation from high school in 1917, impatient for a less-sheltered environment, he did not enter college but went to Kansas City, where he was employed as a reporter for the Star. He was repeatedly rejected for military service because of a defective eye, but he managed to enter World War I as an ambulance driver for the American Red Cross. On July 8, 1918, not yet 19 years old, he was injured on the Austro-Italian front at Fossalta di Piave. Decorated for heroism and hospitalized in Milan, he fell in love with a Red Cross nurse, Agnes von Kurowsky, who declined to marry him. These were experiences he was never to forget.

Ernest Hemingway at the Finca Vigia, San Francisco de Paula, Cuba, 1953. Ernest Hemingway American novelist and short-story writer, awarded the Nobel Prize for Literature in 1954.

Learn about Ernest Hemingway's short story “My Old Man” and his time as an expatriate in Paris

After recuperating at home, Hemingway renewed his efforts at writing, for a while worked at odd jobs in Chicago, and sailed for France as a foreign correspondent for the Toronto Star. Advised and encouraged by other American writers in Paris—F. Scott Fitzgerald, Gertrude Stein, Ezra Pound—he began to see his nonjournalistic work appear in print there, and in 1925 his first important book, a collection of stories called In Our Time, was published in New York City; it was originally released in Paris in 1924.

In 1926 he published The Sun Also Rises, a novel with which he scored his first solid success. A pessimistic but sparkling book, it deals with a group of aimless expatriates in France and Spain—members of the postwar Lost Generation, a phrase that Hemingway scorned while making it famous. This work also introduced him to the limelight, which he both craved and resented for the rest of his life. Hemingway’s The Torrents of Spring, a parody of the American writer Sherwood Anderson’s book Dark Laughter, also appeared in 1926.

Ernest Hemingway in Havana

The writing of books occupied Hemingway for most of the postwar years. He remained based in Paris, but he traveled widely for the skiing, bullfighting, fishing, and hunting that by then had become part of his life and formed the background for much of his writing. His position as a master of short fiction had been advanced by Men Without Women in 1927 and thoroughly established with the stories in Winner Take Nothing in 1933. Among his finest stories are “The Killers,” “The Short Happy Life of Francis Macomber,” and “The Snows of Kilimanjaro.” At least in the public view, however, the novel A Farewell to Arms (1929) overshadowed such works. Reaching back to his experience as a young soldier in Italy, Hemingway developed a grim but lyrical novel of great power, fusing love story with war story. While serving with the Italian ambulance service during World War I, the American lieutenant Frederic Henry falls in love with the English nurse Catherine Barkley, who tends him during his recuperation after being wounded. She becomes pregnant by him, but he must return to his post. Henry deserts during the Italians’ disastrous retreat after the Battle of Caporetto, and the reunited couple flee Italy by crossing the border into Switzerland. There, however, Catherine and her baby die during childbirth, and Henry is left desolate at the loss of the great love of his life.

Hemingway aboard his boat

Hemingway’s love of Spain and his passion for bullfighting resulted in Death in the Afternoon (1932), a learned study of a spectacle he saw more as tragic ceremony than as sport. Similarly, a safari he took in 1933–34 in the big-game region of Tanganyika resulted in Green Hills of Africa (1935), an account of big-game hunting. Mostly for the fishing, he purchased a house in Key West, Florida, and bought his own fishing boat. A minor novel of 1937 called To Have and Have Not is about a Caribbean desperado and is set against a background of lower-class violence and upper-class decadence in Key West during the Great Depression.

By now Spain was in the midst of civil war. Still deeply attached to that country, Hemingway made four trips there, once more a correspondent. He raised money for the Republicans in their struggle against the Nationalists under General Francisco Franco, and he wrote a play called The Fifth Column (1938), which is set in besieged Madrid. As in many of his books, the protagonist of the play is based on the author. Following his last visit to the Spanish war, he purchased Finca Vigía (“Lookout Farm”), an unpretentious estate outside Havana, Cuba, and went to cover another war—the Japanese invasion of China.

The harvest of Hemingway’s considerable experience of Spain in war and peace was the novel For Whom the Bell Tolls (1940), a substantial and impressive work that some critics consider his finest novel, in preference to A Farewell to Arms. It was also the most successful of all his books as measured in sales. Set during the Spanish Civil War, it tells of Robert Jordan, an American volunteer who is sent to join a guerrilla band behind the Nationalist lines in the Guadarrama Mountains. Most of the novel concerns Jordan’s relations with the varied personalities of the band, including the girl Maria, with whom he falls in love. Through dialogue, flashbacks, and stories, Hemingway offers telling and vivid profiles of the Spanish character and unsparingly depicts the cruelty and inhumanity stirred up by the civil war. Jordan’s mission is to blow up a strategic bridge near Segovia in order to aid a coming Republican attack, which he realizes is doomed to fail. In an atmosphere of impending disaster, he blows up the bridge but is wounded and makes his retreating comrades leave him behind, where he prepares a last-minute resistance to his Nationalist pursuers.

Ernest Hemingway hunting in Kenya

All of his life Hemingway was fascinated by war—in A Farewell to Arms he focused on its pointlessness, in For Whom the Bell Tolls on the comradeship it creates—and, as World War II progressed, he made his way to London as a journalist. He flew several missions with the Royal Air Force and crossed the English Channel with American troops on D-Day (June 6, 1944). Attaching himself to the 22nd Regiment of the 4th Infantry Division, he saw a good deal of action in Normandy and in the Battle of the Bulge. He also participated in the liberation of Paris, and, although ostensibly a journalist, he impressed professional soldiers not only as a man of courage in battle but also as a real expert in military matters, guerrilla activities, and intelligence collection.

Ernest Hemingway in Kenya

Following the war in Europe, Hemingway returned to his home in Cuba and began to work seriously again. He also traveled widely, and, on a trip to Africa, he was injured in a plane crash. Soon after (in 1953), he received the Pulitzer Prize in fiction for The Old Man and the Sea (1952), a short heroic novel about an old Cuban fisherman who, after an extended struggle, hooks and boats a giant marlin only to have it eaten by voracious sharks during the long voyage home. This book, which played a role in gaining for Hemingway the Nobel Prize for Literature in 1954, was as enthusiastically praised as his previous novel, Across the River and into the Trees (1950), the story of a professional army officer who dies while on leave in Venice, had been damned.

Ernest Hemingway and Fidel Castro

By 1960 Hemingway had left Cuba and settled in Ketchum, Idaho. (He expressed his belief in what he called the “historical necessity” of the Cuban Revolution; his attitude toward its leader, Fidel Castro, who had taken power in 1959, varied.) He tried to lead his life and do his work as before. For a while he succeeded, but, anxiety-ridden and depressed, he was twice hospitalized at the Mayo Clinic in Rochester, Minnesota, where he received electroshock treatments. Two days after his return to the house in Ketchum, he took his life with a shotgun. Hemingway had been married four times: to Hadley Richardson in 1921 (divorced 1927), Pauline Pfeiffer in 1927 (divorced 1940), Martha Gellhorn in 1940 (divorced 1945), and Mary Welsh in 1946. He had fathered three sons: John Hadley Nicanor (“Bumby”), with Hadley, born in 1923; Patrick, with Pauline, in 1928; and Gregory, also with Pauline, in 1931.

Hemingway left behind a substantial amount of manuscript, some of which has been published. A Moveable Feast, an entertaining memoir of his years in Paris (1921–26) before he was famous, was issued in 1964. Islands in the Stream, three closely related novellas growing directly out of his peacetime memories of the Caribbean island of Bimini, of Havana during World War II, and of searching for U-boats off Cuba, appeared in 1970.

Hemingway’s characters plainly embody his own values and view of life. The main characters of The Sun Also Rises, A Farewell to Arms, and For Whom the Bell Tolls are young men whose strength and self-confidence nevertheless coexist with a sensitivity that leaves them deeply scarred by their wartime experiences. War was for Hemingway a potent symbol of the world, which he viewed as complex, filled with moral ambiguities, and offering almost unavoidable pain, hurt, and destruction. To survive in such a world, and perhaps emerge victorious, one must conduct oneself with honour, courage, endurance, and dignity, a set of principles known as “the Hemingway code.” To behave well in the lonely, losing battle with life is to show “grace under pressure” and constitutes in itself a kind of victory, a theme clearly established in The Old Man and the Sea.

Hemingway’s prose style was probably the most widely imitated of any in the 20th century. He wished to strip his own use of language of inessentials, ridding it of all traces of verbosity, embellishment, and sentimentality. In striving to be as objective and honest as possible, Hemingway hit upon the device of describing a series of actions by using short, simple sentences from which all comment or emotional rhetoric has been eliminated. These sentences are composed largely of nouns and verbs, have few adjectives and adverbs, and rely on repetition and rhythm for much of their effect. The resulting terse, concentrated prose is concrete and unemotional yet is often resonant and capable of conveying great irony through understatement. Hemingway’s use of dialogue was similarly fresh, simple, and natural-sounding. The influence of this style was felt worldwide wherever novels were written, particularly from the 1930s through the ’50s.

A consummately contradictory man, Hemingway achieved a fame surpassed by few, if any, American authors of the 20th century. The virile nature of his writing, which attempted to re-create the exact physical sensations he experienced in wartime, big-game hunting, and bullfighting, in fact masked an aesthetic sensibility of great delicacy. He was a celebrity long before he reached middle age, but his popularity continues to be validated by serious critical opinion.

20-] American Literature - Arthur Miller

20- ] American Literature

Arthur Miller 1915 – 2005 

Arthur Miller was a playwright and ‘great man’ of American theatre, which he championed throughout his long life. His many dramas were among the most popular by American authors and several are considered to be among the best American plays, among them the classics, The Crucible, All My Sons, A View from the Bridge and, above all, the iconic American drama, Death of a Salesman. He also wrote film scripts, notably the classic, The Misfits.

Arthur Miller, in full Arthur Asher Miller, (born October 17, 1915, New York, New York, U.S.—died February 10, 2005, Roxbury, Connecticut), American playwright, who combined social awareness with a searching concern for his characters’ inner lives. He is best known for Death of a Salesman (1949).

Miller was shaped by the Great Depression, which brought financial ruin onto his father, a small manufacturer, and demonstrated to the young Miller the insecurity of modern existence. After graduation from high school he worked in a warehouse. With the money he earned he attended the University of Michigan (B.A., 1938), where he began to write plays. His first public success was with Focus (1945; film 1962 [made-for-television]), a novel about anti-Semitism. All My Sons (1947; film 1948), a drama about a manufacturer of faulty war materials that strongly reflects the influence of Henrik Ibsen, was his first important play. It won Miller a Tony Award, and it was his first major collaboration with the director Elia Kazan, who also won a Tony.

Miller’s next play, Death of a Salesman, became one of the most famous American plays of its period. It is the tragedy of Willy Loman, a man destroyed by false values that are in large part the values of his society. For Miller, it was important to place “the common man” at the centre of a tragedy. As he wrote in 1949 :

The quality in such plays [i.e., tragedies] that does shake us…derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what and who we are in this world. Among us today this fear is as strong, and perhaps stronger, than it ever was. In fact, it is the common man who knows this fear best.

Miller had been exploring the ideas underlying Death of a Salesman since he was a teenager, when he wrote a story about a Jewish salesman; he also drew on memories of an uncle. He wrote the play in 1948, and it opened in New York City, directed by Kazan, in February 1949. The play won a Tony Award for best play and a Pulitzer Prize for drama, while Miller and Kazan again each won individual Tonys, as author and director respectively. The play was later adapted for the screen (1951 and several made-for-television versions) and was revived several times on Broadway.

Miller based The Crucible (1953) on the witchcraft trials in Salem, Massachusetts, in 1692–93, a series of persecutions that he considered an echo of the McCarthyism of his day, when investigations of alleged subversive activities were widespread. Though not as popular as Death of a Salesman, it won a Tony for best play. It was also adapted numerous times for film and television. In 1956, when Miller was himself called before the House Un-American Activities Committee, he refused to name people he had seen 10 years earlier at an alleged communist writers’ meeting. He was convicted of contempt but appealed and won.

A Memory of Two Mondays and another short play, A View from the Bridge, about an Italian-American longshoreman whose passion for his niece destroys him, were staged on the same bill in 1955. (A year later A View from the Bridge was performed in a revised, longer form.) After the Fall is concerned with failure in human relationships and its consequences, large and small, by way of McCarthyism and the Holocaust; it opened in January 1964, and it was understood as largely autobiographical, despite Miller’s denials. Incident at Vichy, which began a brief run at the end of 1964, is set in Vichy France and examines Jewish identity. The Price (1968) continued Miller’s exploration of the theme of guilt and responsibility to oneself and to others by examining the strained relationship between two brothers. He directed the London production of the play in 1969.

The Archbishop’s Ceiling, produced in Washington, D.C., in 1977, dealt with the Soviet treatment of dissident writers. The American Clock, a series of dramatic vignettes based on Studs Terkel’s Hard Times (about the Great Depression), was produced at the 1980 American Spoleto Festival in Charleston, South Carolina. Miller’s later plays included The Ride Down Mount Morgan (1991), Mr. Peters’ Connections (1998), and Resurrection Blues (2002).

Miller also wrote a screenplay, The Misfits, for his second wife, the actress Marilyn Monroe; they were married from 1956 to 1961. The Misfits, released in 1961, was directed by John Huston and also starred Clark Gable; its filming served as the basis for Miller’s final play, Finishing the Picture (2004). I Don’t Need You Any More, a collection of his short stories, appeared in 1967 and a collection of theatre essays in 1977. His autobiography, Timebends, was published in 1987. In 2001 Miller received the Japan Art Association’s Praemium Imperiale prize for theatre/film.

In the period immediately following the end of World War II, American theater was transformed by the work of playwright Arthur Miller. Profoundly influenced by the Depression and the war that immediately followed it, Miller tapped into a sense of dissatisfaction and unrest within the greater American psyche. His probing dramas proved to be both the conscience and redemption of the times, allowing people an honest view of the direction the country had taken.

After graduating, Miller returned to New York, where he worked as a freelance writer. In 1944, his first play, “The Man Who Had All the Luck”, opened to horrible reviews. A story about an incredibly successful man who is unhappy with that success, “The Man Who Had All The Luck” was already addressing the major themes of Miller’s later work. In 1945, Miller published a novel, FOCUS, and two years later had his first play on Broadway. “All My Sons,” a tragedy about a manufacturer who sells faulty parts to the military in order to save his business, was an instant success. Concerned with morality in the face of desperation, “All My Sons” appealed to a nation having recently gone through both a war and a depression.

Only two years after the success of “All My Sons,” Miller came out with his most famous and well-respected work, “Death of a Salesman.” Dealing again with both desperation and paternal responsibility, “Death of a Salesman” focused on a failed businessman as he tries to remember and reconstruct his life. Eventually killing himself to leave his son insurance money, the salesman seems a tragic character out of Shakespeare or Dostoevsky. Winning both a Pulitzer Prize and a Drama Critics Circle Award, the play ran for more than 700 performances. Within a short while, it had been translated into over a dozen languages and had made its author a millionaire.

Overwhelmed by post-war paranoia and intolerance, Miller began work on the third of his major plays. Though it was clearly an indictment of the McCarthyism of the early 1950s, “The Crucible” was set in Salem during the witch-hunts of the late 17th century. The play, which deals with extraordinary tragedy in ordinary lives, expanded Miller’s voice and his concern for the physical and psychological wellbeing of the working class. Within three years, Miller was called before the House Committee on Un-American Activities, and convicted of contempt of Congress for not cooperating. A difficult time in his life, Miller ended a short and turbulent marriage with actress Marilyn Monroe. Throughout the 1960s and 1970s, he wrote very little of note, concentrating at first on issues of guilt over the Holocaust, and later moving into comedies.

It was not until the 1991 productions of his “The Ride Down Mount Morgan” and “The Last Yankee” that Miller’s career began to see a resurgence. Both plays returned to the themes of success and failure that he had dealt with in earlier works. Concerning himself with the American dream, and the average American’s pursuit of it, Miller recognized a link between the poverty of the 1920s and the wealth of the 1980s. Encouraged by the success of these works, a number of his earlier pieces returned to the stage for revival performances.

More than any other playwright working today, Arthur Miller has dedicated himself to the investigation of the moral plight of the white American working class. With a sense of realism and a strong ear for the American vernacular, Miller has created characters whose voices are an important part of the American landscape. His insight into the psychology of desperation and his ability to create stories that express the deepest meanings of struggle, have made him one of the most highly regarded and widely performed American playwrights. In his eighty-fifth year, Miller remains an active and important part of American theater.