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The central question engaged in this book is the following: why does Emerson's cultural legacy continue to influence writers so forcefully? This study examines the way influential 20th-century critics have understood and deployed Emerson as part of their own larger projects aimed at reconceiving America. It examines previously unpublished material and original research on Van Wyck Brooks, Perry Miller, F. O. Matthiessen, and Sacvan Bercovitch along with other supporting thinkers. Emerging from this research is an in-depth account of Emerson's cultural construction as well as an institutional history of American literary studies in the 20th century. This book is also a fine-grained study of how the relationship between a scholar's individual perspective and prevailing cultural conditions merge together to impel critics to redirect the course of a present moment — often experienced as disappointing and unfulfilled — toward a desired future. When an engaged but theoretical mind meets with an impassive history, the response that follows, for some of our most imaginative and brilliant critics, has led, often and suggestively, to a turn toward Emerson.

Although cross-cultural encounter is often considered an economic or political matter, beauty, taste, and artistry were central to cultural exchange and political negotiation in early and nineteenth-century America. Part of a new wave of scholarship in early American studies that contextualizes American writing in Indigenous space, Literary Indians highlights the significance of Indigenous aesthetic practices to American literary production. Countering the prevailing notion of the “literary Indian” as a construct of the white American literary imagination, Angela Calcaterra reveals how Native people’s pre-existing and evolving aesthetic practices influenced Anglo-American writing in precise ways. Indigenous aesthetics helped to establish borders and foster alliances that pushed against Anglo-American settlement practices and contributed to the discursive, divided, unfinished aspects of American letters. Focusing on tribal histories and Indigenous artistry, Calcaterra locates surprising connections and important distinctions between Native and Anglo-American literary aesthetics in a new history of early American encounter, identity, literature, and culture.

This book, written partly in the Cherokee syllabary by a Cherokee critic, argues that William Bradford's Of Plimoth Plantation shows evidence of American Indian poetics. It is a revisioning of the genesis of American literary history. The book reveals that, from its earliest moments, American literature has owed its distinctive shape to the determining influence of American Indian thought and culture. It demonstrates the extent of this influence by identifying the scores of Native historical, biographical, and ceremonial texts, as well as vocabularies, compositional principles, and rhetorical strategies, embedded in Bradford's history. The book emphasizes that American literature did not begin with European-American colonial writings, but rather in the oral traditions and ceremonial rituals of America's five hundred indigenous Nations. The verbal power of these ancient oralities invaded the newly forming American letters.

Jazz Internationalism argues for the critical significance of jazz in Afro-modernist literature, from the beginning of the Great Depression through the radical social movements of the 1960s. Through consideration of literary texts that feature jazz as a mode of social criticism as well as artistic expression, it examines how jazz functions as a discourse of radical internationalism and Afro-modernism during the Long Civil Rights Movement. This book redefines the importance of jazz for African American literary history, as it relates recent jazz historiography to current theoretical articulations of black internationalism, including articulations of socialist, diasporic, and Black Atlantic paradigms. In discussing how jazz is invoked as a mode of social criticism in radical African American writing, it considers how writers such as Claude McKay, Frank Marshall Davis, Ann Petry, Langston Hughes, Bob Kaufman, and Paule Marshall dramatize the possibilities and challenges of black internationalism through their innovative adaptations of black music.

A transatlantic literary form that refused to break with British cultural models and genealogy, the early American magazine had at its center the anonymous authority of the editor and a porous distinction between reader and author. Esteemed subscribers were treated as magnets to attract other subscribers, and subscribers were prompted to become contributors, giving these early American publications the appearance of public forums. This book reexamines these publications and their reach to show how magazine culture was a multivocal, as opposed to novel, culture. The book describes how those who invested considerable energies in this form—including some of the period's most important political and literary figures such as Charles Brockden Brown and Washington Irving—sought to establish a very different model of literary culture than what came to define American literary history and its scholarship. The book cautions against privileging novels or authors as the essential touchstones of American literary history and instead encourages an understanding of how the “editorial function” favored by magazine culture shaped reading and writing practices. Countering assumptions about early American print culture and challenging our scholarly fixation on the novel, the book reimagines the early American magazine as a rich literary culture that operated as a model for nation-building by celebrating editorship over authorship and serving as a virtual salon in which citizens were invited to share their different perspectives.

The political value of African American literature has long been a topic of great debate among American writers, both black and white, from Thomas Jefferson to Barack Obama. This book traces the genealogy of this topic in order to develop an innovative political history of African American literature. It examines texts of every sort to parse the myths of authenticity, popular culture, nationalism, and militancy that have come to define African American political activism in recent decades. The book argues that unless we show the diverse and complex ways that African American literature has transformed society, political myths will continue to limit our understanding of this intellectual tradition. Cultural forums ranging from the printing press, schools, and conventions, to parlors, railroad cars, and courtrooms provide the backdrop to this African American literary history, while the foreground is replete with compelling stories, from the debate over racial genius in early American history and the intellectual culture of racial politics after slavery, to the tension between copyright law and free speech in contemporary African American culture, to the political audacity of Barack Obama's creative writing. This book is a bold explanation of what's at stake in continuing to politicize African American literature in the new millennium.

From their earliest encounters in the Americas, Europeans struggled to make sense of the words spoken by the numerous indigenous tribes that surrounded them. Unscripted America recounts a colonial struggle between peoples of European descent who aspired to map native languages according to Christian and Enlightenment cosmologies and indigenous resistance to this ascribed meaning. Unscripted America reconstructs an archive of indigenous language texts in order to present a new account of their impact of comparative philology on the formation of US literary culture. American Indian language texts reveal poignant and contradictory histories of preservation through erasure: each stands as a record of colonial destruction as well as an archive ready for recovery and recuperation. Unscripted America places American Indian languages within transatlantic intellectual history, while also demonstrating how American letters emerged in the 1810s through 1830s via a complex and hitherto unexplored engagement with the legacies and aesthetic possibilities of indigenous words. What scholars have more traditionally understood through the Romantic ideology of the noble savage, a vessel of antiquity among dying populations, was in fact a palimpsest of still-living indigenous populations whose presence in American literature remains traceable through words.

The Center of the World: Regional Writing and the Puzzles of Place-Time is a study of literary regionalism. It focuses on but is not limited to fiction in the United States, also considering the place of the genre in world literature. It argues that regional writing shapes ways of imagining not only the neighborhood, the province, and nation, but also the world. It argues that thinking about place always entails imagining time. It demonstrates the importance of the figure of the schoolteacher and the one-room schoolhouse in local color writing and subsequent place-focused writing. These representations embody the contested relation between localities and the knowledge they produce, and books that carry metropolitan and cosmopolitan learning, in modernity. The book undertakes analysis of how concepts work across disciplines and in everyday discourse, coordinating that work with proposals for revising American literary history and close readings of particular authors’ work. Works from the nineteenth, twentieth, and twenty-first centuries are discussed, and the book’s analysis of the form is extended into multiple media.