Richard H. Brodhead – författare

Where does a literary reputation originate and why are so many writers' reputations subject to the caprices of academic or critical fashion? Basing his arguments on the tradition of Nathaniel Hawthorne, who has survived long periods in the literary wilderness to become one of America's most important novelists, Brodhead investigates the question of how pasts get created and distributed, and what it means to live within or without the presence of such pasts.

In The School of Hawthorne, Brodhead uses Hawthorne as a prime example of how literary traditions are made, not born. Under Brodhead''s scrutiny, the Hawthorne tradition opens out onto a wide array of subjects, many of which have received little previous attention. He offers a detailed account of Hawthorne''s life in American letters, showing how authors as varied as Melville, Howells, James, and Faulkner have learned from Hawthorne''s model while all the while changing the terms in which he has been read. As he traces Hawthorne''s continued life among his heirs, Brodhead also reflects on the ways in which writers receive and resist official tradition, how their work is conditioned by the institutionalized pasts that surround them, and how they go about creating new traditions to counter existing ones. An important contribution to literary history, The School of Hawthorne also establishes new ways in which literary history itself can be understood.

Using a variety of historical sources, Richard H. Brodhead reconstructs the institutionalized literary worlds that coexisted in nineteenth-century America: the middle-class domestic culture of letters, the culture of mass-produced cheap reading, the militantly hierarchical high culture of post-emancipation black education. He describes how these socially structured worlds of writing shaped the terms of literary practice for writers like Stowe, Hawthorne, Fanny Fern, Louisa May Alcott, Sarah Orne Jewett, and Charles Chesnutt.

This eloquent collection of essays and speeches by Richard H. Brodhead addresses issues of importance to institutes of higher learning and to those who participate in them. As the popular Dean of Yale College from 1993 to 2004, Brodhead was involved in every aspect of undergraduate education—curriculum, faculty appointments, and student life—and occupied a unique position from which to ponder the ways that college can prepare young people to lead fulfilling lives. One of Dean Brodhead’s responsibilities was to welcome new students to Yale at the annual Freshman Assembly, and this book presents his engaging remarks as he simultaneously reassured and challenged them. The later sections of the book range through various concerns of the contemporary university, from free speech and diversity issues to sexual harassment policy, residential education, the assessment of academic programs, and the complex and competing goals of college admissions.At once reflective, witty, and wise, this book speaks to students and educators alike, to all who hope to become—or shape others to become—thoughtful and constructive members of society.

The American Novel series provides students of American literature with introductory critical guides to the great works of American fiction by giving details of the novel's composition, publication history and contemporary reception. The group of essays, each specially commissioned from a leading scholar in the field, examines the interpretative methods and prominent ideas on the text. There are also helpful guides to further reading. Specifically designed for undergraduates, the series will be a powerful resource for anyone engaged in the critical analysis of major American novels. This collection of essays on Moby-Dick reconnects Melville's great work with concerns that are central to readers in critical studies. Richard Brodhead introduces the volume with a discussion of the book's unique place in the canon of American literature. He then recounts the novel's history from its mixed reception in the mid-nineteenth century to its prevalent status as a classic. The five essays that follow focus on various aspects of the novel: its vision of nature, its drama of social alienation, its religious defiance, and its splendid variety of language.

The stories in The Conjure Woman were Charles W. Chesnutt's first great literary success, and since their initial publication in 1899 they have come to be seen as some of the most remarkable works of African American literature from the Emancipation through the Harlem Renaissance. Lesser known, though, is that the The Conjure Woman, as first published by Houghton Mifflin, was not wholly Chesnutt's creation but a work shaped and selected by his editors. This edition reassembles for the first time all of Chesnutt's work in the conjure tale genre, the entire imaginative feat of which the published Conjure Woman forms a part. It allows the reader to see how the original volume was created, how an African American author negotiated with the tastes of the dominant literary culture of the late nineteenth century, and how that culture both promoted and delimited his work. In the tradition of Uncle Remus, the conjure tale listens in on a poor black southerner, speaking strong dialect, as he recounts a local incident to a transplanted northerner for the northerner's enlightenment and edification. But in Chesnutt's hands the tradition is transformed. No longer a reactionary flight of nostalgia for the antebellum South, the stories in this book celebrate and at the same time question the folk culture they so pungently portray, and ultimately convey the pleasures and anxieties of a world in transition. Written in the late nineteenth century, a time of enormous growth and change for a country only recently reunited in peace, these stories act as the uneasy meeting ground for the culture of northern capitalism, professionalism, and Christianity and the underdeveloped southern economy, a kind of colonial Third World whose power is manifest in life charms, magic spells, and ha'nts, all embodied by the ruling figure of the conjure woman. Humorous, heart-breaking, lyrical, and wise, these stories make clear why the fiction of Charles W. Chesnutt has continued to captivate audiences for a century.

Born on the eve of the Civil War, Charles W. Chesnutt grew up in Fayetteville, North Carolina, a county seat of four or five thousand people, a once-bustling commercial center slipping into postwar decline. Poor, black, and determined to outstrip his modest beginnings and forlorn surroundings, Chesnutt kept a detailed record of his thoughts, observations, and activities from his sixteenth through his twenty-fourth year (1874-1882). These journals, printed here for the first time, are remarkable for their intimate account of a gifted young black man's dawning sense of himself as a writer in the nineteenth century. Though he achieved literary success in his time, Chesnutt has only recently been rediscovered and his contribution to American literature given its due. The only known private diary from a nineteenth-century African American author, these pages offer a fascinating glimpse into Chesnutt's everyday experience as he struggled to win the goods of education in the world of the post-Civil War South. An extraordinary portrait of the self-made man beset by the urgencies and difficulties of self-improvement in a racially discriminatory society, Chesnutt's journals unfold a richly detailed local history of postwar North Carolina. They also show with great force how the world of the postwar South obstructed--and, unexpectedly, assisted--a black man of driving intellectual ambitions.

Over the course of his thirteen years as president of Duke University, Richard H. Brodhead spoke at numerous university ceremonies, community forums, and faculty meetings, and even appeared on The Colbert Report. Speaking of Duke collects dozens of these speeches, in which Brodhead speaks both to the special character and history of Duke University and to the general state of higher education.In these essays, Brodhead shows a university thinking its way forward through challenges all institutes of higher education have faced in the twenty-first century, including an expanding global horizon, an economic downturn that has left a diminished sense of opportunity and a shaken faith in the value of liberal arts education, and pressure to think more deeply about issues of equity and inclusion. His audiences range from newly arrived freshmen and new graduates-both facing uncertainty about how to build their future lives-to seasoned faculty members. On other occasions, he makes the case to the general public for the enduring importance of the humanities.What results is a portrait of Duke University in its modern chapter and the social and political climate that it shapes and is shaped by. While these speeches were given on official occasions, they are not impersonal official pronouncements; they are often quite personal and written with grace, humor, and an unwavering belief in the power of education to shape a changing world for the better.Brodhead notes that it is an underappreciated fact that a great deal of the exercise of power by a university leader is done through speaking: by articulating the aspirations of the school and the reasons for its choices, and by voicing the shared sense of mission that gives a learning community its reality. Speaking of Duke accomplishes each of those and demonstrates Brodhead's conviction that higher education is more valuable now than ever.

Over the course of his thirteen years as president of Duke University, Richard H. Brodhead spoke at numerous university ceremonies, community forums, and faculty meetings, and even appeared on The Colbert Report. Speaking of Duke collects dozens of these speeches, in which Brodhead speaks both to the special character and history of Duke University and to the general state of higher education.In these essays, Brodhead shows a university thinking its way forward through challenges all institutes of higher education have faced in the twenty-first century, including an expanding global horizon, an economic downturn that has left a diminished sense of opportunity and a shaken faith in the value of liberal arts education, and pressure to think more deeply about issues of equity and inclusion. His audiences range from newly arrived freshmen and new graduates—both facing uncertainty about how to build their future lives—to seasoned faculty members. On other occasions, he makes the case to the general public for the enduring importance of the humanities.What results is a portrait of Duke University in its modern chapter and the social and political climate that it shapes and is shaped by. While these speeches were given on official occasions, they are not impersonal official pronouncements; they are often quite personal and written with grace, humor, and an unwavering belief in the power of education to shape a changing world for the better.Brodhead notes that it is an underappreciated fact that a great deal of the exercise of power by a university leader is done through speaking: by articulating the aspirations of the school and the reasons for its choices, and by voicing the shared sense of mission that gives a learning community its reality. Speaking of Duke accomplishes each of those and demonstrates Brodhead''s conviction that higher education is more valuable now than ever.

The stories in The Conjure Woman were Charles W. Chesnutt''s first great literary success, and since their initial publication in 1899 they have come to be seen as some of the most remarkable works of African American literature from the Emancipation through the Harlem Renaissance. Lesser known, though, is that the The Conjure Woman, as first published by Houghton Mifflin, was not wholly Chesnutt''s creation but a work shaped and selected by his editors. This edition reassembles for the first time all of Chesnutt''s work in the conjure tale genre, the entire imaginative feat of which the published Conjure Woman forms a part. It allows the reader to see how the original volume was created, how an African American author negotiated with the tastes of the dominant literary culture of the late nineteenth century, and how that culture both promoted and delimited his work.In the tradition of Uncle Remus, the conjure tale listens in on a poor black southerner, speaking strong dialect, as he recounts a local incident to a transplanted northerner for the northerner''s enlightenment and edification. But in Chesnutt''s hands the tradition is transformed. No longer a reactionary flight of nostalgia for the antebellum South, the stories in this book celebrate and at the same time question the folk culture they so pungently portray, and ultimately convey the pleasures and anxieties of a world in transition. Written in the late nineteenth century, a time of enormous growth and change for a country only recently reunited in peace, these stories act as the uneasy meeting ground for the culture of northern capitalism, professionalism, and Christianity and the underdeveloped southern economy, a kind of colonial Third World whose power is manifest in life charms, magic spells, and ha''nts, all embodied by the ruling figure of the conjure woman.Humorous, heart-breaking, lyrical, and wise, these stories make clear why the fiction of Charles W. Chesnutt has continued to captivate audiences for a century.