16 products were found matching your search for Jewett Sarah Ranking in 1 shops:

The tale of Demeter and Persephone, a central myth of Victorian women's culture, is used to interpret the life and work of a 19th-century Maine writer.

Traces the life of the nineteenth-century writer, describes her interest in ecology, feminism, and architectural preservation, and discusses her major works

This extraordinary volume brings together the works of two American writers. Both Jewett and Freeman used as their settings the small towns of 19th-century New England, both created as their principal characters mature and elderly women. Their artistic domain encompassed the quiet but sharply etched dramas of everyday existence and individual struggles for survival and fulfillment. Taken together, these stories offer the modern reader entry into a lost American past and insight into human dilemmas still pertinent today.

Paula Blanchard plunges us into the New England literary life of that time, into the circles of Henry James, Lowell, Howells, Whittier, and Oliver Wendell Holmes. In chapters of interest to contemporary feminists, she also delves into Jewett's close relationship with women - from the young Willa Cather on whom she had a lasting influence, to the gifted artist and book designer Sarah Wyman Whitman and the flamboyant "Mrs. Jack" Gardner, and especially to Annie Fields, her partner in a sustaining "Boston marriage."

Sarah Orne Jewett places her most famous short story, "A White Heron," in her native Maine. Originally published in 1886, it's a coming-of-age story about a young city girl now living with her grandmother in the country. She comes out of her shell in nature, more comfortable with creatures than with people. A visit from a young bird hunter awakens her interest in the opposite sex, but when presented with an ethical decision, she protects her beloved white heron, instead of revealing its location. "...she remembers how the white heron came flying through the golden air and how they watched the sea and the morning together, and Sylvia cannot speak; she cannot tell the heron's secret and give its life away." This short work is part of Applewood's American Roots series, tactile mementos of American passions by some of America's most famous writers and thinkers.

In a major statement on the relation of art and politics in America, Tom Lutz identifies a consistent ethos at the heart of American literary culture for the past 150 years. Through readings of Sherwood Anderson, Willa Cather, Hamlin Garland, Ellen Glasgow, Sarah Orne Jewett, Sinclair Lewis, Edgar Lee Masters, Claude McKay, Edith Wharton, Anzia Yezierska, and others, Lutz identifies what he calls literary cosmopolitanism: an ethos of representational inclusiveness, of the widest possible affiliation, and at the same time one of aesthetic discrimination, and therefore exclusivity.At the same time that it embraces the entire world, in Lutz's view, literary cosmopolitanism necessitates an evaluative stance, and it is this doubleness, this combination of egalitarianism and elitism, that animates American literature since the Civil War. The nineteenth century's realists and sentimentalists, the writers of the Harlem Renaissance and of the Southern Renaissance, the firebrands who brought in the new canon and the traditionalists who struggled to save the old all ascribe, Lutz argues, to the same cosmopolitan values, however much they disagree on what these values demand of those who hold them.

Analyzing disparate fiction by Sarah Orne Jewett, Florence Converse, Pauline Hopkins, Maria Amparo Ruiz de Burton, Kate Chopin, and Sui Sin Far, McCullough (English and women's studies, Miami U.) argues that American women's writing played a crucial role in constructing a unified American identity given the geographies of regional, racial, ethnic, and sexual boundaries of the period. Annotation c. Book News, Inc., Portland, OR (booknews.com)

Sarah Orne Jewett, who wrote the book when she was 47, was largely responsible for popularizing the regionalism genre with her sketches of the fictional Maine fishing village of Dunnet Landing. Like Jewett, the narrator is a woman, a writer, unattached, genteel in demeanor, intermittently feisty and zealously protective of her time to write.

In a series of sketches, regionalist writers such as Alice Cary, Sarah Orne Jewett, Grace King, and Sui Sin Far critique the approach to regional subjects characteristic of local color and create a countertradition of American writing whose narrators serve as cultural interpreters for persons often considered out of place by urban readers. Reclaiming the ground of close readings for texts that have been insufficiently read, Writing Out of Place presents regionalism as a model for narrative connection between texts and readers and as a rich source of unconventional and counter-hegemonic fictions. Judith Fetterley is Distinguished Teaching Professor and MarjoriePryse is professor of English and women's studies at the University at Albany, SUNY and co-editors of American Women Regionalists,1850-1910: A Norton Anthology.

A record of Atlantic Monthly authors reads like a Who's Who of American literature. The magazine's stable of contributors included Mark Twain, Ralph Waldo Emerson, Henry Wadsworth Longfellow, Frederick Douglass, Louisa May Alcott, Sarah Orne Jewett, Kate Chopin, Henry Adams, Frank Norris, Jack London, Henry James, Owen Wister, Robert Frost, and many others.In Republic of Words, Susan Goodman brilliantly captures this emerging culture of arts, ideas, science, and literature of an America in its adolescence, as filtered through the intersecting lives and words of the best and brightest writers of the day. Through this lens, Goodman examines the life of the magazine from its emergence in 1857 through the 1920s.

In a series of sketches, regionalist writers such as Alice Cary, Sarah Orne Jewett, Grace King, and Sui Sin Far critique the approach to regional subjects characteristic of local color and create a countertradition of American writing whose narrators serve as cultural interpreters for persons often considered out of place by urban readers. Reclaiming the ground of close readings for texts that have been insufficiently read, Writing Out of Place presents regionalism as a model for narrative connection between texts and readers and as a rich source of unconventional and counter-hegemonic fictions. Judith Fetterley is Distinguished Teaching Professor and MarjoriePryse is professor of English and women's studies at the University at Albany, SUNY and co-editors of American Women Regionalists,1850-1910: A Norton Anthology.

Stories, essays, etc. on animals by Cathy Cockrell, Lou V. Crabtree, Annie Dillard, Dian Fossey, Sally Miller Gearhart, Keri Hulme, Sarah Orne Jewett, Janet Kauffman, Ursula K. Le Guin, Doris Lessing, Beryl Markham, Diane McPherson, Yvonne Pepin, Lou Robinson, Meredith Rose, May Sarton, Alice Walker, and Martha Waters.

' Here at lasts a book that captures the sweep of Maine culture, from a dazzled vision of the first European explorers to the modern wit of Carolyn Chute. All of the great figures who have sprung from Maine,to written about it, are represented: Longfellow, Thoreau, Sarah Orne Jewett, Harriet Beecher Stowe, Sinclair Lewis, Rockwell Kent, Edna St. Vincent Millay, E.B. White, John McPhee, and others.....' from the back cover, quoted in part.

Board Book. Across decades, Maine has produced nationally-recognized novelists who wrote place-based fiction. From the late nineteenth century to the present, or from Sarah Orne Jewett to Monica Wood, writers have emerged from the Canadian border to the New Hampshire state line and from Down East to the northwest hinterland. They have explored the experiences of living in far-flung settings: island and coastal villages; northwoods lumbering communities; unincorprorated townships; backcountry hamlets; and mill cities and towns. Taken together their body of work composes a remarkable literary map of a diverse and changing Maine.Hidden Places traces the work of these writers to provoke readers into seeing and understanding Maine places with new awareness. These Maine writers construe place as both a territory on the ground and a country of the imagination. They help insiders see more clearly what is distinctive about their communities and encourage outsiders to better understand what might seem quaint or odd about the state. Like a well-drawn atlas, Hidden Places seeks to capture a diverse state at the granular level one representation at a time. It explores the identity of Maine through its writers and the people and places they wrote of. Across decades, Maine has produced nationally-recognized novelists of place-based fiction. From the late nineteenth century to the present, writers have explored the experiences of living in far-flung settings: island and coastal villages; northwoods lumbering communities; uni. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

The Country of Pointed Firs, Sarah Orne Jewett's masterpiece, established her among the consummate stylists of nineteenth-century American fiction. Composed in a series of beautiful web-like sketches, the novel is narrated by a young woman writer who leaves the city to work one summer in the Maine seaport of Dunnet Landing, and stays with the herbalist Mrs. Almira Todd. She writes a New England idyll rooted in friendship, particularly female friendship, weaving stories and conversations, imagery of sea, sky and earth, the tang of salt air and aromatic herbs into an organic "fiction of community" in which themes and form are exquisitely matched. To quote Willa Cather: "The 'Pointed Fir' sketches are living things caught in the open, with light and freedom and air spaces about them. They melt into the land and the life of the land until they are not stories at all, but life itself." This edition, introduced by Alison Easton, also includes ten of Sarah Orne Jewett's short stories, among them 'The Queen's Twin', 'The Foreigner' and 'William's Wedding' set in Dunnet Landing.

Sarah Orne Jewett's place in American letters was assured when this acclaimed collection of stories about her native state of Maine was first published in 1896. Her crisp style and skillful observation of people and places gives her work lasting appeal.From the Trade Paperback edition.