A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, Twelve Angry Men holds at its core a deeply patriotic faith in the U.S. legal system. The play centers on Juror Eight, who is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal prejudices or biases. Reginald Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture to form of them—and of America, at its best and worst.
After the critically acclaimed teleplay aired in 1954, this landmark American drama went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. More recently, Twelve Angry Men had a successful, and award-winning, run on Broadway.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
From the Trade Paperback edition.
Within this area of consensus, however, the contributors display a wide range of approaches, illuminating the issues from the perspectives of their particular disciplines—classics, education, English, history, and philosophy, among others—and their individual experiences as teachers. Among the topics they discuss are canon-formation in the ancient world, the idea of a “common culture,” and the educational implications of such social movements as feminism, technological changes including computers and television, and intellectual developments such as “theory.” Readers interested in the controversies over American education will find this volume an informed alternative to sensationalized treatments of these issues.
Contributors. Stanley Fish, Phyllis Franklin, Henry Louis Gates Jr., Henry A. Giroux, Darryl J. Gless, Gerald Graff, Barbara Herrnstein Smith, George A. Kennedy, Bruce Kuklick, Richard A. Lanham, Elizabeth Kamarck Minnich, Alexander Nehamas, Mary Louise Pratt, Richard Rorty, Eve Kosofsky Sedgwick
Contributors include Russell Banks, Donald Barthelme, Rick Bass, Richard Bausch, Charles Baxter, Amy Bloom, T.C. Boyle, Kevin Brockmeier, Robert Olen Butler, Sandra Cisneros, Peter Ho Davies, Janet Desaulniers, Junot Diaz, Anthony Doerr, Stuart Dybek, Deborah Eisenberg, Richard Ford, Mary Gaitskill, Dagoberto Gilb, Ron Hansen, A.M. Homes, Mary Hood, Denis Johnson, Edward P. Jones, Thom Jones, Jamaica Kincaid, Jhumpa Lahiri, David Leavitt, Kelly Link, Reginald McKnight, David Means, Susan Minot , Rick Moody, Bharati Mukherjee, Antonya Nelson, Joyce Carol Oates, Tim O’Brien, Daniel Orozco, Julie Orringer, ZZ Packer, Annie Proulx, Stacey Richter, George Saunders, Joan Silber, Leslie Marmon Silko, Susan Sontag, Amy Tan, Melanie Rae Thon, Alice Walker, and Steve Yarbrough.
Contemporary readers of Peyton Place will be captivated by its vivid characters, earthy prose, and shocking incidents. Through her riveting, uninhibited narrative, Metalious skillfully exposes the intricate social anatomy of a small community, examining the lives of its people -- their passions and vices, their ambitions and defeats, their passivity or violence, their secret hopes and kindnesses, their cohesiveness and rigidity, their struggles, and often their courage.
This new paperback edition of Peyton Place features an insightful introduction by Ardis Cameron that thoroughly examines the novel's treatment of class, gender, race, ethnicity, and power, and considers the book's influential place in American and New England literary history.
Selected by five hundred writers, English professors, and creative writing teachers from across the country, this collection includes only the most highly regarded nonfiction work published since 1970.
Contributers include: Jo Ann Beard, Wendell Berry, Eula Biss, Mary Clearman Blew, Charles Bowden, Janet Burroway, Kelly Grey Carlisle, Anne Carson, Bernard Cooper, Michael W. Cox, Annie Dillard, Mark Doty, Brian Doyle, Tony Earley, Anthony Farrington, Harrison Candelaria Fletcher, Diane Glancy, Lucy Grealy, William Harrison, Robin Hemley, Adam Hochschild, Jamaica Kincaid, Barbara Kingsolver , Ted Kooser, Sara Levine, E.J. Levy, Phillip Lopate, Barry Lopez, Thomas Lynch, Lee Martin, Rebecca McCLanahan, Erin McGraw, John McPhee, Brenda Miller, Dinty W. Moore, Kathleen Norris, Naomi Shihab Nye, Lia Purpura, Richard Rhodes, Bill Roorbach, David Sedaris, Richard Selzer, Sue William Silverman, Floyd Skloot, Lauren Slater, Cheryl Strayed, Amy Tan, Ryan Van Meter, David Foster Wallace, and Joy Williams.
Beginning with a distinction drawn between principles of compensatory and distributive justice, Fiscus argues that the former, although often the basis for judgments made in individual discrimination cases, cannot sufficiently justify broad programs of affirmative action. Only a theory of distributive justice, one that assumes minorities have a right to what they would have gained proportionally in a nonracist society, can persuasively provide that justification. On this basis, the author argues in favor of proportional racial quotas—and challenges the charge of “reverse discrimination” raised in protest in the name of the “innocent victims” of affirmative action—as an action necessary to approach the goals of fairness and equality.
The Constitutional Logic of Affirmative Action focuses on Supreme Court affirmative action rulings from Bakke (1976) to Croson (1989) and includes an epilogue by editor Stephen L. Wasby that considers developments through 1995. General readers concerned with racial justice, affirmative action, and public policy, as well as legal specialists and constitutional scholars will find Fiscus’s argument passionate, balanced, and persuasive.
Toni Morrison's brilliant discussions of the "Africanist" presence in the fiction of Poe, Melville, Cather, and Hemingway leads to a dramatic reappraisal of the essential characteristics of our literary tradition. She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.
Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.
"By going for the American literary jugular...she places her arguments...at the very heart of contemporary public conversation about what it is to be authentically and originally American. [She] boldly...reimagines and remaps the possibility of America."
"Toni Morrison is the closest thing the country has to a national writer."
The New York Times Book Review
A Washington Post Notable Nonfiction Book for 2011
The first authoritative biography of Kurt Vonnegut Jr., a writer who changed the conversation of American literature.
In 2006, Charles Shields reached out to Kurt Vonnegut in a letter, asking for his endorsement for a planned biography. The first response was no ("A most respectful demurring by me for the excellent writer Charles J. Shields, who offered to be my biographer"). Unwilling to take no for an answer, propelled by a passion for his subject, and already deep into his research, Shields wrote again and this time, to his delight, the answer came back: "O.K." For the next year—a year that ended up being Vonnegut's last—Shields had access to Vonnegut and his letters.
And So It Goes is the culmination of five years of research and writing—the first-ever biography of the life of Kurt Vonnegut. Vonnegut resonates with readers of all generations from the baby boomers who grew up with him to high-school and college students who are discovering his work for the first time. Vonnegut's concise collection of personal essays, Man Without a Country, published in 2006, spent fifteen weeks on the New York Times bestseller list and has sold more than 300,000 copies to date. The twenty-first century has seen interest in and scholarship about Vonnegut's works grow even stronger, and this is the first book to examine in full the life of one of the most influential iconoclasts of his time.
Reading F. Scott Fitzgerald’s Trimalchio, an early and complete version of The Great Gatsby, is like listening to a familiar musical composition played in a different key. It is the same work and yet a different work.
Fitzgerald wrote Trimalchio during the summer of 1924 and submitted it to Maxwell Perkins, his editor at Scribner’s, in October of that year. (He titled the book after the ostentatious party-giver in the Satyricon of Petronius.) Perkins had the novel set in type and sent the galleys to Fitzgerald in France. Fitzgerald then heavily revised the galley pages, shifting material around and changing the title. The result was The Great Gatsby, his signature work.
Trimalchio, however, is also a remarkable achievement. It differs considerably from The Great Gatsby: its plot and structure are not the same, two chapters of Trimalchio were completely rewritten for the published novel, characterization is different, Nick Carraway’s narrative voice is altered, and it contains several passages and sequences missing from Gatsby. Most importantly, in Trimalchio Jay Gatsby’s past is revealed in a wholly different way.
Editors Elizabeth Kiss and J. Peter Euben survey the history of ethics in higher education, then engage with provocative recent writings by Stanley Fish in which he argues that universities should not be involved in moral education. Stanley Hauerwas responds, offering a theological perspective on the university’s purpose. Contributors look at the place of politics in moral education; suggest that increasingly diverse, multicultural student bodies are resources for the teaching of ethics; and show how the debate over civic education in public grade-schools provides valuable lessons for higher education. Others reflect on the virtues and character traits that a moral education should foster in students—such as honesty, tolerance, and integrity—and the ways that ethical training formally and informally happens on campuses today, from the classroom to the basketball court. Debating Moral Education is a critical contribution to the ongoing discussion of the role and evolution of ethics education in the modern liberal arts university.
Contributors. Lawrence Blum, Romand Coles, J. Peter Euben, Stanley Fish, Michael Allen Gillespie, Ruth W. Grant, Stanley Hauerwas, David A. Hoekema, Elizabeth Kiss, Patchen Markell, Susan Jane McWilliams, Wilson Carey McWilliams, J. Donald Moon, James Bernard Murphy, Noah Pickus, Julie A. Reuben, George Shulman, Elizabeth V. Spelman
As the twenty-five intellectuals who take part in this discussion show, pragmatism has become a complex terrain on which a rich variety of contemporary debates have been played out. Contributors such as Richard Rorty, Stanley Cavell, Nancy Fraser, Robert Westbrook, Hilary Putnam, and Morris Dickstein trace pragmatism’s cultural and intellectual evolution, consider its connection to democracy, and discuss its complex relationship to the work of Emerson, Nietzsche, and Wittgenstein. They show the influence of pragmatism on black intellectuals such as W. E. B. Du Bois, explore its view of poetic language, and debate its effects on social science, history, and jurisprudence. Also including essays by critics of the revival such as Alan Wolfe and John Patrick Diggins, the volume concludes with a response to the whole collection from Stanley Fish.
Including an extensive bibliography, this interdisciplinary work provides an in-depth and broadly gauged introduction to pragmatism, one that will be crucial for understanding the shape of the transformations taking place in the American social and philosophical scene at the end of the twentieth century.
Contributors. Richard Bernstein, David Bromwich, Ray Carney, Stanley Cavell, Morris Dickstein, John Patrick Diggins, Stanley Fish, Nancy Fraser, Thomas C. Grey, Giles Gunn, Hans Joas, James T. Kloppenberg, David Luban, Louis Menand, Sidney Morgenbesser, Richard Poirier, Richard A. Posner, Ross Posnock, Hilary Putnam, Ruth Anna Putnam, Richard Rorty, Michel Rosenfeld, Richard H. Weisberg, Robert B. Westbrook, Alan Wolfe
“An essential book . . . a page-turner. Blume combines the best aspects of critic, biographer and storyteller . . . and puts the results together with the skill of an accomplished novelist. [This is] a complicated story, told masterfully.” — Minneapolis Star Tribune
“Magnificently reported.” — Gay Talese
In the summer of 1925, Ernest Hemingway traveled to Pamplona for the infamous running of the bulls. He then channeled that trip’s drunken brawls, sexual rivalry, midnight betrayals, and midday hangovers into a novel that redefined modern literature. Lesley Blume tells the full story behind Hemingway’s legendary rise for the first time, revealing how he created his own image as the bull-fighting aficionado, hard-drinking literary genius, and expatriate bon vivant. In all its youth, lust, and rivalry, the Lost Generation is illuminated here as never before.
“Engrossing . . . Drawing on journals, letters, and autobiographies of many members of the artistic circles in which Hemingway moved in the early 1920s, Blume shows how ruthlessly Hemingway betrayed his mentors, skewered his friends in his fiction, and sought to advance his career at all costs.” — Boston Globe
“Fascinating . . . compulsively readable.” — Houston Chronicle
Bringing together an impressive group of established scholars from television studies, film studies, sound studies, games studies, and more, each of the 65 essays in the volume focuses on a critical concept, from “fan” to “industry,” and “celebrity” to “surveillance.” Keywords for Media Studies is an essential tool that introduces key terms, research traditions, debates, and their histories, and offers a sense of the new frontiers and questions emerging in the field of media studies. Visit keywords.nyupress.org for online essays, teaching resources, and more.
Dismissed by some as simply another new fashion in the critique of culture and by others as a postmarxist heresy, subaltern studies began with the work of Ranajit Guha and the South Asian Subaltern Studies collective in the 1980s. Beverley’s focus on Latin America, however, is evidence of the growing province of this field. In assessing subaltern studies’ purposes and methods, the potential dangers it presents, and its interactions with deconstruction, poststructuralism, cultural studies, Marxism, and political theory, Beverley builds his discussion around a single, provocative question: How can academic knowledge seek to represent the subaltern when that knowledge is itself implicated in the practices that construct the subaltern as such? In his search for answers, he grapples with a number of issues, notably the 1998 debate between David Stoll and Rigoberta Menchú over her award-winning testimonial narrative, I, Rigoberta Menchú. Other topics explored include the concept of civil society, Florencia Mallon’s influential Peasant and Nation, the relationship between the Latin American “lettered city” and the Túpac Amaru rebellion of 1780–1783, the ideas of transculturation and hybridity in postcolonial studies and Latin American cultural studies, multiculturalism, and the relationship between populism, popular culture, and the “national-popular” in conditions of globalization.
This critique and defense of subaltern studies offers a compendium of insights into a new form of knowledge and knowledge production. It will interest those studying postcolonialism, political science, cultural studies, and Latin American culture, history, and literature.
But there was much more to Thoreau than his brief experiment in living at Walden Pond. A member of the vibrant intellectual circle centered on his neighbor Ralph Waldo Emerson, he was also an ardent naturalist, a manual laborer and inventor, a radical political activist, and more. Many books have taken up various aspects of Thoreau’s character and achievements, but, as Laura Dassow Walls writes, “Thoreau has never been captured between covers; he was too quixotic, mischievous, many-sided.” Two hundred years after his birth, and two generations after the last full-scale biography, Walls restores Henry David Thoreau to us in all his profound, inspiring complexity.
Walls traces the full arc of Thoreau’s life, from his early days in the intellectual hothouse of Concord, when the American experiment still felt fresh and precarious, and “America was a family affair, earned by one generation and about to pass to the next.” By the time he died in 1862, at only forty-four years of age, Thoreau had witnessed the transformation of his world from a community of farmers and artisans into a bustling, interconnected commercial nation. What did that portend for the contemplative individual and abundant, wild nature that Thoreau celebrated?
Drawing on Thoreau’s copious writings, published and unpublished, Walls presents a Thoreau vigorously alive in all his quirks and contradictions: the young man shattered by the sudden death of his brother; the ambitious Harvard College student; the ecstatic visionary who closed Walden with an account of the regenerative power of the Cosmos. We meet the man whose belief in human freedom and the value of labor made him an uncompromising abolitionist; the solitary walker who found society in nature, but also found his own nature in the society of which he was a deeply interwoven part. And, running through it all, Thoreau the passionate naturalist, who, long before the age of environmentalism, saw tragedy for future generations in the human heedlessness around him.
“The Thoreau I sought was not in any book, so I wrote this one,” says Walls. The result is a Thoreau unlike any seen since he walked the streets of Concord, a Thoreau for our time and all time.
Steinbeck's letters were written on the left-hand pages of a notebook in which the facing pages would be filled with the test of East of Eden. They touched on many subjects—story arguments, trial flights of worknamship, concern for his sons.
Part autobiography, part writer's workshop, these letters offer an illuminating perspective on Steinbeck's creative process, and a fascinating glimpse of Steinbeck, the private man.
Harriet E. Smith, Benjamin Griffin, Victor Fischer, Michael B. Frank, Sharon K. Goetz, Leslie Myrick
Gumshoe America traces the way those problems surfaced in hard-boiled crime
fiction from the1920s through the 1960s. Beginning by using a forum on the KKK in the pulp magazine Black Mask to describe both the economic and political culture of pulp fiction in the early twenties, McCann locates the origins of the hard-boiled crime story in the genre’s conflict with the racist antiliberalism prominent at the time. Turning his focus to Dashiell Hammett’s career, McCann shows how Hammett’s writings in the late 1920s and early 1930s moved detective fiction away from its founding fables of social compact to the cultural alienation triggered by a burgeoning administrative state. He then examines how Raymond Chandler’s fiction, unlike Hammett’s, idealized sentimental fraternity, echoing the communitarian appeals of the late New Deal. Two of the first crime writers to publish original fiction in paperback—Jim Thompson and Charles Willeford—are examined next in juxtaposition to the popularity enjoyed by their contemporaries Mickey Spillane and Ross Macdonald. The stories of the former two, claims McCann, portray the decline of the New Deal and the emergence of the rights-based liberalism of the postwar years and reveal new attitudes toward government: individual alienation, frustration with bureaucratic institutions, and dissatisfaction with the growing vision of America as a meritocracy. Before concluding, McCann turns to the work of Chester Himes, who, in producing revolutionary hard-boiled novels, used the genre to explore the changing political significance of race that accompanied the rise of the Civil Rights movement in the late 1950s and the 1960s.
Combining a striking reinterpretation of the hard-boiled crime story with a fresh view of the political complications and cultural legacies of the New Deal, Gumshoe America will interest students and fans of the genre, and scholars of American history, culture, and government.
This guide to Salinger’s provocative novel offers:an accessible introduction to the text and contexts of The Catcher in the Rye a critical history, surveying the many interpretations of the text from publication to the present a selection of new critical essays on the The Catcher in the Rye, by Sally Robinson, Renee R. Curry, Denis Jonnes, Livia Hekanaho and Clive Baldwin, providing a range of perspectives on the novel and extending the coverage of key critical approaches identified in the survey section cross-references between sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading.
Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of The Catcher in the Rye and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Salinger’s text.
Jerry's mother was nineteen years old and nine months married when he was born. She had received Grandfather Stoll's permission for the wedding because she agreed to help out on the farm the following year. However, with Jerry on the way, those plans failed.
Jerry recounts his first two years of school in the Amish community of Aylmer, Ontario and his parents' decision to move to Honduras. Life in that beautiful Central American country is seen through an Amish boy's eyes-and then the dark days when the community failed and the family returned to America, much to young Jerry's regret. Jerry also tells of his struggle as a stutterer and his eventual conversion to Christ and the reasons for his departure from the childhood faith he knew.
Here is a must-read for not just Jerry's fiction fans, but also for readers curious about Amish life.
Conceived nearly a century ago by a man who died believing himself a failure, it's now a revered classic and a rite of passage in the reading lives of millions. But how well do we really know The Great Gatsby? As Maureen Corrigan, Gatsby lover extraordinaire, points out, while Fitzgerald's masterpiece may be one of the most popular novels in America, many of us first read it when we were too young to fully comprehend its power.
Offering a fresh perspective on what makes Gatsby great-and utterly unusual-So We Read On takes us into archives, high school classrooms, and even out onto the Long Island Sound to explore the novel's hidden depths, a journey whose revelations include Gatsby's surprising debt to hard-boiled crime fiction, its rocky path to recognition as a "classic," and its profound commentaries on the national themes of race, class, and gender.
With rigor, wit, and infectious enthusiasm, Corrigan inspires us to re-experience the greatness of Gatsby and cuts to the heart of why we are, as a culture, "borne back ceaselessly" into its thrall. Along the way, she spins a new and fascinating story of her own.
CliffsNotes on Fahrenheit 451 explores a twenty-fourth century world in which books are considered evil because they inspire people to think and to question.
Following the story of a 30-year-old fireman who's spent the last decade destroying books for a living, this study guide features a graphical map to show how the novel's characters relate to one another. In addition, CliffsNotes provides character analyses that take you deeper into the minds and mechanical workings of Ray Bradbury's famous social criticism Other features that help you figure out this important work includePersonal background on the authorSynopsis of the book and a look at major themesSummaries and commentaries on each part of the bookReview section that features multiple-choice questions, quoted passages, and suggested essay topics and practice projectsResource Center with books, articles, and websites that can help round out your knowledge
Classic literature or modern-day treasure—you'll understand it all with expert information and insight from CliffsNotes study guides.
Richly intermingling elements of burlesque, farce, and social satire with a wry look at the world market in art, Is He Dead? centers on a group of poor artists in Barbizon, France, who stage the death of a friend to drive up the price of his paintings. In order to make this scheme succeed, the artists hatch some hilarious plots involving cross-dressing, a full-scale fake funeral, lovers' deceptions, and much more.
Mark Twain was fascinated by the theater and made many attempts at playwriting, but this play is certainly his best. Is He Dead? may have been too "out there" for the Victorian 1890s, but today's readers will thoroughly enjoy Mark Twain's well-crafted dialogue, intriguing cast of characters, and above all, his characteristic ebullience and humor. In Shelley Fisher Fishkin's estimation, it is "a champagne cocktail of a play--not too dry, not too sweet, with just the right amount of bubbles and buzz."
Finalist Mention, 2017 Lora Romero First Book Award Presented by the American Studies Association
Winner of the 2012 CLAGS Fellowship Award for Best First Book Project in LGBT Studies In 1964, noted literary critic Leslie Fiedler described American youth as “new mutants,” social rebels severing their attachments to American culture to remake themselves in their own image. 1960s comic book creators, anticipating Fiedler, began to morph American superheroes from icons of nationalism and white masculinity into actual mutant outcasts, defined by their genetic difference from ordinary humanity. These powerful misfits and “freaks” soon came to embody the social and political aspirations of America’s most marginalized groups, including women, racial and sexual minorities, and the working classes. In The New Mutants, Ramzi Fawaz draws upon queer theory to tell the story of these monstrous fantasy figures and how they grapple with radical politics from Civil Rights and The New Left to Women’s and Gay Liberation Movements. Through a series of comic book case studies – including The Justice League of America, The Fantastic Four, The X-Men, and The New Mutants –alongside late 20th century fan writing, cultural criticism, and political documents, Fawaz reveals how the American superhero modeled new forms of social belonging that counterculture youth would embrace in the 1960s and after. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States.
“I read for entertainment, and I write to entertain. Period.” Such is the manifesto of Michael Chabon, an author of indisputable literary renown who maintains a fierce appreciation of the seductive arts of so-called “genre” fiction.
In this lively collection of sixteen critical and personal essays, the author of The Amazing Adventures of Kavalier & Clay champions the cause of westerns, horror, and all the stories, comics, and pulp fiction that get pushed aside when literary discussion turns serious. Whether he’s taking up Superman or Sherlock Holmes, Poe or Proust, Chabon makes it his emphatic mission to explore the reasons we tell one another tales.
Throughout, Chabon reveals his own blooming as a writer, from The Mysteries of Pittsburgh to The Yiddish Policeman’s Union. He is living proof of his theory that the stories that give us great pleasure are in many ways our truest, best art—the building blocks of our shared imagination—and in Maps and Legends, he “makes an inviting case for bridging the gap between popular and literary writing” (O, The Oprah Magazine).
This ebook features a biography of the author.
The Companion is keyed to the pages of the principal American editions of Gravity's Rainbow: Viking/Penguin (1973), Bantam (1974), and the special, repaginated Penguin paperback (2000) honoring the novel as one of twenty "Great Books of the Twentieth Century."
How were firearms transformed from tools used by pioneers into symbols of modern manhood? Why did the NRA’s focus shift from encouraging responsible gun use to lobbying against gun-safety laws? What is the relationship between gun ownership and racism in America? How have the film, television, and video game industries molded our perception of gun violence? When did the fear of gun seizures arise, and how has it been used to benefit arms manufacturers, lobbyists, and the far-right?
Few ideas divide communities as much as those involving firearms, and fewer authors are able to tackle the subject with the same authority, humor, and intelligence. Written from the unique perspective of a gun lover who’s disgusted with what gun culture has become, Arms is destined to be one of the most talked-about books of the year.
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CliffsNotes on The Giver explores a world in which disease, hunger, poverty, war, and lasting pain simply don’t exist. The members of this utopia have given up all human emotions and memories to live in a state of Sameness.
Following the story of a 12-year-old boy who recognizes the hypocrisy of his community’s “social order” – and who crafts a way to free everyone from the bane of Sameness, this study guide provides summaries and critical commentaries for each chapter within the novel. Other features that help you figure out this important work includePersonal background on the author, Lois LowryIntroduction to and synopsis of the bookCharacter descriptionsCritical essays on the author’s themes, style, language, and moreReview section that features interactive questions and suggested essay topicsSelected bibliography and list of critical works
Classic literature or modern-day treasure — you'll understand it all with expert information and insight from CliffsNotes study guides.
CliffsNotes on The Catcher in the Rye introduces you to a coming-of-age novel with a twist. J.D. Salinger's best-known work is more realistic, more lifelike and authentic than some other representatives of the genre. Get to know the unforgettable main character, Holden Caulfield, as he navigates the dangers and risks of growing up.
This study guide enables you to keep up with all of the major themes and symbols of the novel, as well as the characters and plot. You'll also find valuable information about Salinger's life and background. Other features that help you study includeCharacter analyses of major playersA character map that graphically illustrates the relationships among the charactersCritical essaysA review section that tests your knowledgeA Resource Center full of books, articles, films, and Internet sites
Classic literature or modern-day treasure—you'll understand it all with expert information and insight from CliffsNotes study guides.
CliffsNotes on Atlas Shrugged is your guide to author Ayn Rand's masterpiece, an impassioned defense of the freedom of man's mind. She shows that without the independent mind, our society would collapse into primitive savagery.
Delve into the post-World War II historical context of Atlas Shrugged and the modern implications of its conclusions. Other features that help you study includeCharacter analyses of major playersA character map that graphically illustrates the relationships among the charactersCritical essaysA review section that tests your knowledgeA Resource Center full of books, articles, films, and Internet sites
Classic literature or modern-day treasure—you'll understand it all with expert information and insight from CliffsNotes study guides.
Snyder and Mitchell reveal cracks in the social production of human variation as aberrancy. From our modern obsessions with tidiness and cleanliness to our desire to attain perfect bodies, notions of disabilities as examples of human insufficiency proliferate. These disability practices infuse more general modes of social obedience at work today. Consequently, this important study explains how disabled people are instrumental to charting the passage from a disciplinary society to one based upon regulation of the self.
- Representation of women's roles, gender, sexuality and power
- Language, style and form
- Dystopias and genre fictions
- Power, control and religious fundamentalism.
Combining helpful guidance on reading Atwood's text with overviews of significant stylistic and thematic issues and an introduction to criticism, this is an ideal companion to reading and studying A Handmaid's Tale.
The alternately racy and moralistic narrative recounts the adventures of a young woman from rural Massachusetts who is seduced by a false-hearted lover, flees to Boston, and is entrapped in a brothel. She eventually escapes by disguising herself as a man and serves with distinction on board the U.S. frigate Constitution during the War of 1812. After subsequent onshore adventures in and out of male dress, she is happily married to a wealthy New York gentleman.
In his introduction, Daniel A. Cohen situates the story in both its literary and historical contexts. He explains how the tale draws upon a number of popular Anglo-American literary genres, including the female warrior narrative, the sentimental novel, and the urban exposé. He then explores how The Female Marine reflects early-nineteenth-century anxieties concerning changing gender norms, the expansion of urban prostitution, the growth of Boston's African American community, and feelings of guilt aroused by New England's notoriously unpatriotic activities during the War of 1812.
In CliffsNotes on Huckleberry Finn, you follow the Mississippi River adventures of Mark Twain's mischief-making protagonist Huck Finn and the runaway slave Jim.
Just like Huck's makeshift raft, this study guide carries you along on his incredible journey by providing chapter summaries and critical analyses on life in the late-19th-century American south. You'll also gain insight into the man behind this American classic—Mark Twain, a.k.a. Samuel Clemens. Other features that help you study includeCharacter analyses of major playersA character map that graphically illustrates the relationships among the charactersCritical essaysA review section that tests your knowledgeA Resource Center full of books, articles, films, and Internet sites
In The Hoarders, Scott Herring provides an in-depth examination of how modern hoarders came into being, from their onset in the late 1930s to the present day. He finds that both the idea of organization and the role of the clutterologist are deeply ingrained in our culture, and that there is a fine line between clutter and deviance in America. Herring introduces us to Jill, whose countertops are piled high with decaying food and whose cabinets are overrun with purchases, while the fly strips hanging from her ceiling are arguably more fly than strip. When Jill spots a decomposing pumpkin about to be jettisoned, she stops, seeing in the rotting, squalid vegetable a special treasure. “I’ve never seen one quite like this before,” she says, and looks to see if any seeds remain. It is from moments like these that Herring builds his questions: What counts as an acceptable material life—and who decides? Is hoarding some sort of inherent deviation of the mind, or a recent historical phenomenon grounded in changing material cultures? Herring opts for the latter, explaining that hoarders attract attention not because they are mentally ill but because they challenge normal modes of material relations. Piled high with detailed and, at times, disturbing descriptions of uncleanliness, The Hoarders delivers a sweeping and fascinating history of hoarding that will cause us all to reconsider how we view these accumulators of clutter.
Anyone who cares to understand the literary and cultural ferment of America in the later twentieth century must be familiar with the writings and lives of those scruffy bohemians known as the Beat Generation.
In this highly entertaining work, Bill Morgan, the country’s leading authority on the movement and a man who personally knew most of the Beats, narrates the history of these writers as primarily a social group of friends, tracing their origins together during the World War II years to the full blossoming of their notoriety in the late 1950s to their profound influence on the social upheaval of the 1960s. Indeed, it is impossible to comprehend the sixties without first grasping the importance of the social ripples set in motion by the Beats a decade earlier.
Although their prose and poetry varied in style and for the most part did not represent a genuine literary movement, the Beats, through their words and nonconformist lives, collectively posed a challenge to the staid and complacent America of the postwar years. They believed in free expression, opposing all censorship; they dabbled in free love; they practiced Eastern philosophy, leading to an embrace in America of alternative forms of spirituality; sooner than others, they watched with dismay the increasingly heavy hand of military and corporate culture in our national life; they embraced the aspirations, as well as the lingo, of urbanized black Americans. They believed in the liberating influence of hallucinogenic drugs.
In short, the Beats were thoroughly American in their love of individual freedom. Perhaps it should come as no surprise that J. Edgar Hoover described them in 1960 as one of the three greatest threats to American security (after communism and intellectual "eggheads").
The story that Bill Morgan tells has less to do with sociology than with social mingling. He traces the closely knit friendships of the Beat luminaries Allen Ginsberg, Jack Kerouac, William S. Burroughs, and the small army of other names. Although Kerouac, author of the much loved novel On the Road, was the most famous of the Beat writers, it was Ginsberg, Morgan contends, who resided at the center of the group and for more than two decades provided it with cohesion and a sense of direction.
The Beats were not saints. They were sexually irresponsible, undependable in marriage (the movement could in fact fairly be described as misogynistic); they did too many drugs and consumed too much booze; the very quality that characterized their lives and writings—a fervent belief in spontaneity—destroyed some friendships. Indeed, Morgan’s story begins with a murder in New York’s Riverside Park in 1944.
Bill Morgan has provided a sweeping, indispensable story about these discontented free spirits. We watch their peripatetic lives, their sexual misadventures, their ambivalent response to fame. We are reminded above all that while their personal lives may have not have been holy, their typewriters and their lasting words very much were.