In Time, Tense, and American Literature, Cindy Weinstein examines canonical American authors who employ a range of tenses to tell a story that has already taken place. This book argues that key texts in the archive of American literature are inconsistent in their retrospective status, ricocheting between past, present and future. Taking 'The Narrative of Arthur Gordon Pym' as her point of departure, Weinstein shows how Poe's way of representing time involves careening tenses, missing chronometers and inoperable watches, thus establishing a vocabulary of time that is at once anticipated in the fiction of Charles Brockden Brown and further articulated in works by Elizabeth Stuart Phelps, Theodore Dreiser and Edward P. Jones. Each chapter examines the often strange narrative fabric of these novels and presents an opportunity to understand how especially complicated historical moments, from the founding of the new nation to the psychic consequences of the Civil War, find contextual expression through a literary uncertainty about time.

This book examines canonical American authors who employ a range of tenses to tell a story that has already taken place.

Even before the Civil War, American writers were imagining life after a massive global catastrophe. For many, the blank slate of the American continent was instead a wreckage-strewn wasteland, a new world in ruins. Bringing together epic and lyric poems, fictional tales, travel narratives, and scientific texts, Postapocalyptic Fantasies in Antebellum American Literature reveals that US authors who enthusiastically celebrated the myths of primeval wilderness and virgin land also frequently resorted to speculations about the annihilation of civilizations, past and future. By examining such postapocalyptic fantasies, this study recovers an antebellum rhetoric untethered to claims for historical exceptionalism - a patriotic rhetoric that celebrates America while denying the United States a unique position outside of world history. As the scientific field of natural history produced new theories regarding biological extinction, geological transformation, and environmental collapse, American writers responded with wild visions of the ancient past and the distant future.

What is our definition of "modernismif we imagine it stretching from 1865 to 1965 instead of 1890 to 1945? How does the captivity narrative change when we consider it as a contemporary, not just a "colonial,genre? What does the course of American literature look like set against the backdrop of federal denials of Native sovereignty or housing policies that exacerbated segregation? Filled with challenges to scholars, inspirations for teachers (anchored by an appendix of syllabi), and entry points for students, Timelines of American Literature gathers some of the most exciting new work in the field to showcase the revelatory potential of fresh thinking about how we organize the literary past.

Based on the author's dissertation (doctoral)--Columbia University, 2013.

Nineteenth-Century American Literature and the Discourse of Natural History illuminates how literary experimentation with natural history provides penumbral views of environmental survival. The book brings together feminist revisions of scientific objectivity and critical race theory on diaspora to show how biogeography influenced material and metaphorical concepts of species and race. It also highlights how lesser known writers of color like Simon Pokagon and James McCune Smith connected species migration and mutability to forms of racial uplift. The book situates these literary visions of environmental fragility and survival amidst the development of Darwinian theories of evolution and against a westward expanding American settler colonialism.

Demonstrates that the quest for immediacy, or experiences of direct connection and presence, has propelled the development of American literature and media culture.

Liberalism and American Literature in the Clinton Era argues that a new, post-postmodern aesthetic emerges in the 1990s as a group of American writers – including Mary Gaitskill, George Saunders, Richard Powers, Karen Tei Yamashita, and others – grapples with the political triumph of free-market ideology. The book shows how these writers resist the anti-social qualities of this frantic right-wing shift while still performing its essential gesture, the personalization of otherwise irreducible social antagonisms. Thus, we see these writers reinvent political struggles as differences in values and emotions, in fictions that explore non-antagonistic social forms like families, communities and networks. Situating these formally innovative fictions in the context of the controversies that have defined this rightward shift – including debates over free trade, welfare reform, and family values – Brooks details how American writers and politicians have reinvented liberalism for the age of pro-capitalist consensus.

This book establishes surprise as a key Emersonian affect, and demonstrates its significance for transatlantic modernism and the philosophy of pragmatism.

The book analyzes the evolution of antebellum literary explorations of sympathy and human contact in the 1850s and 1860s. It will appeal to undergraduates and scholars seeking new approaches to canonical American authors, psychological theorists of sympathy and empathy, and philosophers of moral philosophy.