By Penny Vincenzi
EPUB eISBN: 9781590207987
Original ebook: 2003
Electronic booklet: 2004
Celia Lytton, strong-willed, difficult and brave, strikes via existence making tough and infrequently harmful judgements - with the main far-reaching outcomes for everyone...For her husband, Oliver, head of the nice relations publishing apartment of Lyttons; for Sylvia Miller, whose lifetime of relentless poverty is remodeled by way of Celia's intrusion; for Oliver's daunting elder sister, who's no longer all she seems to be; and for Sebastian Brooke, with whom Celia makes the main harmful selection of all.
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Additional resources for No Angel (Spoils of Time, Book 1)
Central to the plot of The Autobiography of an Ex-Colored Man is the trope of “passing,” the passing of light-skinned characters of African blood as white. Nella Larsen’s Passing (1929), set in Chicago and New York, explores the same phenomenon. Lawrence R. Rodgers writes that the Harlem Renaissance novels, Jessie Fauset’s There is Confusion (1924), Claude McKay’s Home to Harlem (1928), Rudolph Fisher’s Walls of Jericho (1928), and Wallace Thurman’s Infants of the Spring (1932), are devoted to “bringing to life the hum and buzz of Harlem’s spirited, almost-human personality” (Rodgers: 78).
In this vein, it is significant that Stein, writing from Paris, repeatedly addressed the topic of the American character (The Making of Americans; The Geographical History of America or the Relation of Human Nature to the Human Mind, 1935; Four in America, 1947). Williams’s In the American Grain (1925), a fascinating mix of historical fiction and cultural commentary, resituates American history within a complex and multinational story of contact and conquest: from the early Viking explorations of the Atlantic seaboard to Spanish contact and conquest and the French missionary efforts in the Great Lakes region.
S. Modernism 19 Thus we see that, even in the case of these fragmented narratives, there remains a strong desire for something like a totality. This helps account for the fact that, in the moment of the short, sketchy narrative, monumentally long works were also characteristic of modernist fiction. Notable examples of this are Stein’s thousand-page long family epic, The Making of Americans (1925) and the linked autobiographical fictions of Thomas Wolfe (Look Homeward, Angel, 1929; Of Time and the River, 1935; The Web and the Rock, 1939; You Can’t Go Home Again, 1940).