Exile's Return: A Literary Odyssey of the 1920s (Penguin by Malcolm Cowley

By Malcolm Cowley

The adventures and attitudes shared through the yank writers dubbed "The misplaced Generation" are dropped at existence the following by way of one of many group's so much remarkable contributors. Feeling alienated within the the USA of the Nineteen Twenties, Fitzgerald, Crane, Hemingway, Wilder, Dos Passos, Crowley, and lots of different writers "escaped" to Europe, a few without end, a few as transitority exiles. As Cowley info during this intimate, anecdotal portrait, in renouncing conventional existence and literature, they elevated the bounds of artwork.

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466. 20 See my European Revolutions and the American Literary Renaissance (New Haven: Yale University Press, 1988), pp. 97–124. Melville’s response to the Astor Place Riots in May 1849 was consistent with his response to revolutions abroad. Along with forty-seven prominent citizens of New York City, he signed a letter of support for the British actor William Charles Macready, whose appearance at the Astor Place Opera House was protested by members of New York’s laboring classes, supporters of Macready’s arch rival, the American actor Edwin Forrest.

Melville, Clarel, 157. Melville, Billy Budd, ed. Stern, 98. Stanton Garner, “Melville in the Custom House, 1881–1882: A Rustic Beauty Among the Highborn Dames of Court,” Melville Society Extracts (1978) 35: 14. , 9. Jay Leyda, The Melville Log: A Documentary Life of Herman Melville, 1819–1891, 2 vols. (1951; rpt. with additional material, New York: Gordian Press, 1969) 2: 731. Merton M. Sealts, “Innocence and Infamy: Billy Budd, Sailor,” in A Companion to Melville Studies, ed. John Bryant (New York: Greenwood Press, 1986), p.

111. 47 See Foner, History, 2: 107–11. 48 Mizruchi, “Cataloging,” 297. 2 Religion, myth, and meaning in the art of Billy Budd, Sailor Gail Coffler Though I wrote the Gospels in this century, I should die in the gutter – 1 i Melville’s classic tale of the Handsome Sailor yields numerous interpretations. For me, Billy Budd is less a sea story than an allegorical fable about the relationship of truth to art. On the epistemological level, the tale illustrates how truth shifts during the creative process; here Melville uses elements of myth to question the Bible’s truth.

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