Описание: From the paving of the Los Angeles River in 1938 and the creation of the G.I. Bill in 1944, to the construction of the Interstate Highway System during the late 1950s and the brownstoning movement of the 1970s, throughout the mid-20th-century the United States saw a wave of changes that had an enduring impact on the development of urban spaces. Focusing on the relationship between processes of demolition and restoration as they have shaped the modern built environment, and the processes by which memory is constructed, hidden, or remade in the literary text, this book explores the ways in which history becomes entangled with the urban space in which it plays out. Alice Levick takes stock of this history, both in the form of its externalised, concretised manifestation and its more symbolic representation, as depicted in the mid-20th-century work of a selection of American writers. Calling upon access to archival material and interviews with New York academics, authors, local historians and urban planners, this book locates Freud’s ‘Uncanny’ in the cracks between the absent and present, invisible and visible, memory and history as they are presented in city narratives, demonstrating both the passage of time and the imposition of 20th-century modernism.
With reference to the works of D. J. Waldie, Joan Didion, Hisaye Yamamoto, Raymond Chandler, Marshall Berman, Gil Cuadros, Paule Marshall, L. J. Davis, and Paula Fox, Memory and the Built Environment in 20th-Century American Literature unpacks how time becomes visible in Los Angeles, Sacramento, Lakewood, and New York in the decades just before and after the Second World War, questioning how these spaces provide access to the past, in both narrative and spatial forms, and how, at times, this access is blocked.
In Blood’s Will: Speculative Fiction, Existence, and Inquiry of Currere, main character Campbell Cote Phillips—a successful university professor, mother, and wife—faces the question "what would she give up to have everything else?" Her comfortable life takes an unexpected turn when she discovers that not everything is always as it appears to be. The story unfolds between the 1970s and contemporary Baltimore, weaving together the experiences of Finn (an unusual vampire with a strange history) and Campbell—along with a cast of characters across different generations—whose stories are portrayed in base-relief against the promise, or peril, of immortality. Blood’s Will is about love and desire, but it is also about family, friends, and the choices we all make. To be human is to sacrifice. To be vampire is to have endless opportunities.
As Noel Gough writes, "Understanding curriculum work as a storytelling practice has been a key theme in the reconceptualisation of curriculum studies during the last three decades, encapsulated by Madeleine Grumet’s formulation of curriculum as ‘the collective story we tell our children about our past, our present, and our future.’" Situated as a story embedded in the four stages of currere, the journey of the book’s main characters exemplifies the journey of recursion: the regressive, the progressive, the analytical, and the synthetic. Blood’s Will is an example of speculative fiction that "can contribute to an aspect of effective deliberation that Schwab called ‘the anticipatory generation of alternatives’" (Gough). This book is a useful reading for courses examining roles of narrative, fiction, and currere as fields of inquiry.
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