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By Linda Wagner-Martin

* The heritage of yankee Literature from 1950 to the current offers a finished research of the big variety of literary works that extends into the twenty first century
* Covers drama, poetry, fiction, non-fiction, memoirs, technology fiction, and detective novels
* beneficial properties dialogue of yank works in the context of such 21st-century matters as globalization, medication, gender, schooling, and different topics

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Additional resources for A History of American Literature: 1950 to the Present (Wiley-Blackwell Histories of American Literature)

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The pattern, then, was one of growing urban power, to which the Whig gentry ('the aristocratic representatives of the bourgeoisie', as Marx termed them) needed to adapt. 11 How then are the Brontes to be situated within this social landscape? How does authorial biography intersect with broader social and ideological structures? There seems no doubt that contemporary criticism is confronted, among other methodological difficulties, with a problem of the author. Indeed it is here, ironically, that 'New Criticism' and vulgar Marxism link hands in a common dilemma.

Who in the world cares for you? ' Still indomitable was the reply - *I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself. I will keep the law given by God; sanctioned by man... '25 Jane responds similarly to St John's sneer that she refuses his offer because she is afraid of death. 'I am. '26 For someone as socially isolated as Jane, the self is all one has; and it is not to be recklessly invested in dubious enterprises. 'Self-possession' comes to assume a meaning deeper than the coolly impenetrable composure it signifies in all Charlotte's novels: it suggests also a nurturing and hoarding of the self, a prudent refusal to yield it prematurely in ways which might lead to rash dissipation rather than to increase and enrichment.

Her refusal to act prematurely for her own ends both satisfies restrictive convention and leads ultimately to a fulfilling transcendence of it. Rochester would not of course find Jane attractive if she were merely dull, but neither would he love her if, like Blanche Ingram, she were consciously after his money. Jane must therefore reveal enough repressed, Blanche-like 'spirit' beneath her puritan exterior to stimulate and cajole him, without any suggestion that she is, in Lucy Snowe's revealing words about herself, 'bent on success'.

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