Deborah Clarke – författare

Over the years, cars have helped to define the experiences and self-perceptions of women in complex and sometimes unexpected ways. When women take the wheel, family structure and public space are reconfigured and re-gendered, creating a context for a literary tradition in which the car has served as a substitute for, an escape from, and an extension of the home, as well as a surrogate mother, a financial safeguard, and a means of self-expression. Driving Women examines the intersection of American fiction-primarily but not exclusively by women-and automobile culture. Deborah Clarke argues that issues critical to twentieth-century American society-technology, mobility, domesticity, and agency-are repeatedly articulated through women's relationships with cars. Women writers took surprisingly intense interest in car culture and its import for modern life, as the car, replete with material and symbolic meaning, recast literal and literary female power in the automotive age. Clarke draws on a wide range of literary works, both canonical and popular, to document women's fascination with cars from many perspectives: historical, psychological, economic, ethnic.Authors discussed include Wharton, Stein, Faulkner, O'Connor, Morrison, Erdrich, Mason, Kingsolver, Lopez, Kadohata, Smiley, Senna, Viramontes, Allison, and Silko. By investigating how cars can function as female space, reflect female identity, and reshape female agency, this engaging study opens up new angles from which to approach fiction by and about women and traces new directions in the intersection of literature, technology, and gender.

William Faulkner claimed that it may be necessary for a writer to ""rob his mother,"" should the need arise. ""If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies,"" he remarked.This study of Faulkner's paradoxical attitude toward women, particularly mothers, will stimulate debate and concern, for his novels are shown here to have presented them as both a source and a threat to being and to language.""My reading of Faulkner,"" the author says, ""attempts more than an identification of female stereotypes and an examination of misogyny, for Faulkner, who almost certainly feared and mistrusted women, also sees in them a mysterious, often threatening power, which is often aligned with his own creativity and the grounds of his own fiction.""Drawing on both American and French feminist criticism, Robbing the Mother explores Faulkner's artistic vision through the maternal influence in such works as The Sound and the Fury, As I Lay Dying, Sanctuary, Absalom, Absalom!, The Hamlet, Light in August, and The Wild Palms.

As defined by conservation biologist Thomas Fleishner, natural history is “a practice of intentional, focused receptivity to the more-than-human world . . . one of the oldest continuous human traditions.” Seldom is this idea so clearly reflected as in classic works of American fiction of the nineteenth and twentieth centuries.John Cullen Gruesser’s edited volume Animals in the American Classics: How Natural History Inspired Great Fiction features essays by prominent literary scholars that showcase natural history and the multifaceted role of animals in well-known works of fiction, from Washington Irving in the early nineteenth century to Cormac McCarthy in the late twentieth century, and including short stories and novels by Edgar Allan Poe, Herman Melville, Mark Twain, Zora Neale Hurston, William Faulkner, Ernest Hemingway, Jack London, John Steinbeck, and Harper Lee.As an introduction to or a new way of thinking about some of the best-known and most beloved literary texts this nation has produced, Animals in the American Classics considers fundamental questions of ethics and animal intelligence as well as similarities among racism, ageism, misogyny, and speciesism.  With their awareness of Poe’s “more-than-casual knowledge of natural science,” Mark Twain’s proto–animal rights sensibilities, and Hurston’s training as an anthropologist, the contributors show that by drawing attention to and thinking like an animal, fiction tests the limits of humanity.