Jennifer A. Williamson is a gender specialist with an international development organization in the Washington, D.C., area where she lives. Jennifer Larson teaches literature, film and writing at the University of North Carolina, Chapel Hill. She lives in Chapel Hill. Ashley Reed teaches in the Department of English and Comparative Literature at the University of North Carolina, Chapel Hill. She lives in Chapel Hill.

• Table of ContentsPrefaceIntroduction: American Sentimentalism from the Nineteenth Century to the Present (Jennifer A. Williamson)Doctor Jekyll and Mister Jim Crow: Medical Professionalism, Race and Postsentimentalism in The Marrow of Tradition (Brian Sweeney)Sentimental Satire in Anita Loos’s Gentlemen Prefer Blondes (Lisa Mendelman)“Grimly sentimental”: Pleasure, Trauma and Djuna Barnes’s Ryder (Julie Taylor)“Violent and sentimental by turns”: Labor Defender, Sentimentalism and the American Literary Left (Nathaniel Cadle)“You give a damn about so many things I don’t”: Hemingway’s Gendered Sentimentalism in “The Snows of Kilimanjaro” and “The Short, Happy Life of Francis Macomber” (Michael T. Wilson)Sentimentalism and Celebrity Culture: Mae West as Novelist (Anne-Marie Evans)Swedenborgian Sentimentalism in John Rechy’s City of Night (María DeGuzmán)“Shame, thas a shame”: The ­Anti-Sentiment of Sapphire’s Push and The Kid (Erica D. Galioto)Profitable Sentiments: HBO’s The Wire and Harriet Beecher Stowe’s Uncle Tom’s Cabin (Kristin J. Jacobson)Race, Religion and Sentimentalism in Gilead and Home (Elizabeth A. Ellis)Madea’s Middle Class: Sentimental Spaces in Tyler Perry’s Madea’s Family Reunion and Why Did I Get Married? (Ashley Reed and Jennifer Larson)About the ContributorsIndex

Jennifer A. Williamson is a gender specialist with an international development organization in the Washington, D.C., area where she lives. Jennifer Larson teaches literature, film and writing at the University of North Carolina, Chapel Hill. She lives in Chapel Hill. Ashley Reed teaches in the Department of English and Comparative Literature at the University of North Carolina, Chapel Hill. She lives in Chapel Hill.

• Table of ContentsPrefaceIntroduction: American Sentimentalism from the Nineteenth Century to the Present (Jennifer A. Williamson)Doctor Jekyll and Mister Jim Crow: Medical Professionalism, Race and Postsentimentalism in The Marrow of Tradition (Brian Sweeney)Sentimental Satire in Anita Loos’s Gentlemen Prefer Blondes (Lisa Mendelman)“Grimly sentimental”: Pleasure, Trauma and Djuna Barnes’s Ryder (Julie Taylor)“Violent and sentimental by turns”: Labor Defender, Sentimentalism and the American Literary Left (Nathaniel Cadle)“You give a damn about so many things I don’t”: Hemingway’s Gendered Sentimentalism in “The Snows of Kilimanjaro” and “The Short, Happy Life of Francis Macomber” (Michael T. Wilson)Sentimentalism and Celebrity Culture: Mae West as Novelist (Anne-Marie Evans)Swedenborgian Sentimentalism in John Rechy’s City of Night (María DeGuzmán)“Shame, thas a shame”: The ­Anti-Sentiment of Sapphire’s Push and The Kid (Erica D. Galioto)Profitable Sentiments: HBO’s The Wire and Harriet Beecher Stowe’s Uncle Tom’s Cabin (Kristin J. Jacobson)Race, Religion and Sentimentalism in Gilead and Home (Elizabeth A. Ellis)Madea’s Middle Class: Sentimental Spaces in Tyler Perry’s Madea’s Family Reunion and Why Did I Get Married? (Ashley Reed and Jennifer Larson)About the ContributorsIndex

Jennifer A. Williamson is a gender specialist with an international development organization in the Washington, D.C., area where she lives. Jennifer Larson teaches literature, film and writing at the University of North Carolina, Chapel Hill. She lives in Chapel Hill. Ashley Reed teaches in the Department of English and Comparative Literature at the University of North Carolina, Chapel Hill. She lives in Chapel Hill.

• Table of ContentsPrefaceIntroduction: American Sentimentalism from the Nineteenth Century to the Present (Jennifer A. Williamson)Doctor Jekyll and Mister Jim Crow: Medical Professionalism, Race and Postsentimentalism in The Marrow of Tradition (Brian Sweeney)Sentimental Satire in Anita Loos’s Gentlemen Prefer Blondes (Lisa Mendelman)“Grimly sentimental”: Pleasure, Trauma and Djuna Barnes’s Ryder (Julie Taylor)“Violent and sentimental by turns”: Labor Defender, Sentimentalism and the American Literary Left (Nathaniel Cadle)“You give a damn about so many things I don’t”: Hemingway’s Gendered Sentimentalism in “The Snows of Kilimanjaro” and “The Short, Happy Life of Francis Macomber” (Michael T. Wilson)Sentimentalism and Celebrity Culture: Mae West as Novelist (Anne-Marie Evans)Swedenborgian Sentimentalism in John Rechy’s City of Night (María DeGuzmán)“Shame, thas a shame”: The ­Anti-Sentiment of Sapphire’s Push and The Kid (Erica D. Galioto)Profitable Sentiments: HBO’s The Wire and Harriet Beecher Stowe’s Uncle Tom’s Cabin (Kristin J. Jacobson)Race, Religion and Sentimentalism in Gilead and Home (Elizabeth A. Ellis)Madea’s Middle Class: Sentimental Spaces in Tyler Perry’s Madea’s Family Reunion and Why Did I Get Married? (Ashley Reed and Jennifer Larson)About the ContributorsIndex