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We Who Work the West examines literary representations of class, labor, and space in the American West from 1885 to 2012.
Inhaltsverzeichnis
Editors’ Note
Acknowledgments
Introduction: How to Tell a Western Story
1. Naturalism’s Handiwork: Labor, Class, and Space in Frank Norris’s McTeague: A Story of San Francisco
2. Civic Identity and the Ethos of Belonging: María Amparo Ruiz de Burton’s The Squatter and the Don and Raymond Barrio’s The Plum Plum Pickers
3. Watching the West Erode in the 1930s: Sanora Babb’s Whose Names Are Unknown, Frank Waters’s Below Grass Roots, and John Fante’s Wait Until Spring, Bandini and Ask the Dust
4. He Was a Good Cowboy: Identity and History on the Post–World War II Texas Ranch in Larry McMurtry’s Horseman, Pass By, Elmer Kelton’s The Time It Never Rained, and Cormac McCarthy’s All the Pretty Horses
5. Tradition and Modernization Battle It Out on Rocky Soil: Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven, Stephen Graham Jones’s The Bird Is Gone, and Linda Hogan’s Mean Spirit
6. From Prairie to Oil: Hybridization and Belonging via Class, Labor, and Space in Philipp Meyer’s The Son
Notes
References
Index
Über den Autor / die Autorin
Kiara Kharpertian (1985–2016) received her PhD in English from Boston College, specializing in American literature and environmental studies.
Carlo Rotella is a professor of English at Boston College.
Christopher P. Wilson is a professor of English at Boston College.
Zusammenfassung
We Who Work the West examines literary representations of class, labor, and space in the American West from 1885 to 2012.
