Shelley Fisher Fishkin – författare

Published in 1884, Huck Finn has become one of the most widely taught novels in American curricula. But where did Huckleberry Finn come from, and what made it so distinctive? Shelley Fisher Fishkin suggests that in Huckleberry Finn, more than in any other work, Mark Twain let African-American voices, language, and rhetorical traditions play a major role in the creation of his art. In Was Huck Black?, Fishkin combines close readings of published and unpublished writing by Twain with intensive biographical and historical research and insights gleaned from linguistics, literary theory, and folklore to shed new light on the role African-American speech played in the genesis of Huckleberry Finn. Given that book''s importance in American culture, her analysis illuminates, as well, how the voices of African-Americans have shaped our sense of what is distinctively "American" about American literature. Fishkin shows that Mark Twain was surrounded, throughout his life, by richly talented African-American speakers whose rhetorical gifts Twain admired candidly and profusely. A black child named Jimmy whom Twain called "the most artless, sociable and exhaustless talker I ever came across" helped Twain understand the potential of a vernacular narrator in the years before he began writing Huckleberry Finn, and served as a model for the voice with which Twain would transform American literature. A slave named Jerry whom Twain referred to as an "impudent and satirical and delightful young black man" taught Twain about "signifying"--satire in an African-American vein--when Twain was a teenager (later Twain would recall that he thought him "the greatest man in the United States" at the time). Other African-American voices left their mark on Twain''s imagination as well--but their role in the creation of his art has never been recognized. Was Huck Black? adds a new dimension to current debates over multiculturalism and the canon. American literary historians have told a largely segregated story: white writers come from white literary ancestors, black writers from black ones. The truth is more complicated and more interesting. While African-American culture shaped Huckleberry Finn, that novel, in turn, helped shape African-American writing in the twentieth century. As Ralph Ellison commented in an interview with Fishkin, Twain "made it possible for many of us to find our own voices." Was Huck Black? dramatizes the crucial role of black voices in Twain''s art, and takes the first steps beyond traditional cultural boundaries to unveil an American literary heritage that is infinitely richer and more complex than we had thought.

Mark Twain (born Samuel Clemens), a former printer''s apprentice, journalist, steamboat pilot, and miner, remains to this day one of the most enduring and beloved of America''s great writers. Combining cultural criticism with historical scholarship, A Historical Guide to Mark Twain addresses a wide range of topics relevant to Twain''s work, including religion, commerce, race, gender, social class, and imperialism. Like all of the Historical Guides to American Authors, this volume includes an introduction, a brief biography, a bibliographic essay, and an illustrated chronology of the author''s life and times.

Published in 1884, Huckleberry Finn has become one of the msot widely taught novels in American curricula. But where did it come from, and what made it so distinctive? Shelley Fisher Fishkin suggests that in Huckleberry Finn, more than any other work, Mark Twain let African-American voices, language, and rhetorical traditions play a major role in the creation of his art.In Was Huck Black? Fishkin combines close readings of published and unpublished writing by Twain with intensive biographical and historical research and insights gleaned from linguistics, literary theory, and folklore to shed new light on the role African-American voices played in the genesis of Huckleberry Finn. Given that book's importance in American culture, her analysis illuminates, as well, how African-American voices have shaped our sense of what is distinctively "American" about American literature.American literary historians have told a largely segregated story: white writers come from white literary ancestors, black writers from black ones. The truth is more complicated and more interesting. While African-American culture shaped Huckleberry Finn, that novel, in turn, helped shape African-American writing in the twentieth century. As Ralph Ellison commented in an interview with Fishkin, Twain "made it possible for many of us to find our own voices."Was Huck Black? dramatizes the crucial role of black voices in Twain's art, and takes the first steps beyond traditional cultural boundaries to unveil an American literary heritage that is infinitely richer and more complex than we had thoguht.

Mark Twain has been called the American Cervantes, our Homer, our Tolstoy, our Shakespeare. Ernest Hemingway maintained that `all modern American literature comes from one book by Mark Twain called Huckleberry Finn'. President Franklin Delano Roosevelt took the phrase `New Deal' from A Connecticut Yankee in King Arthur's Court. Twain's Gilded Age gave an entire era its name. Twain is everywhere -- in ads for Bass Ale, in episodes of `Star Trek,' as a greeter in Nevada's Silver Legacy casino. Clearly, the reports of his death have been greatly exaggerated. In Lighting Out for the Territory, Twain scholar Shelley Fisher Fishkin blends personal narrative with reflections on history, literature, and popular culture to provide a lively and provocative look at who Mark Twain really was, how he got to be that way, and what we do with his legacy today.Fishkin illuminates the many ways that America has embraced Mark Twain -- from the scenes and plots of his novels, to his famous quips, to his bushy-haired, white-suited persona. She reveals that we have constructed a Twain often far removed from the actual writer. For instance, we travel to Hannibal, Missouri, Mark Twain's home town, a locale that in his work is both the embodiment of the innocence of childhood and also an emblem of hypocrisy, barbarity, and moral rot. The author spotlights the fact that Hannibal today attracts hundreds of thousands of tourists and takes in millions yearly, by focusing on Tom Sawyer's boyhood exploits -- marble-shoots and white-washed fences -- and ignoring Twain's portraits of the darker side of the slave South. The narrative moves back and forth from modern Hannibal to antebellum Hannibal and to Mark Twain's childhood experiences with brutality and slavery. Her exploration of those subjects in his work shows that Tom Sawyer's fence isn't the only thing being white-washed in Hannibal. Fishkin's research yields fresh insights into the remarkable story of how this child of slaveholders became the author of the most powerful anti-racist novel by an American. Whether lending his name to a pizza parlor in Louisiana, a diner in Jackson Heights, New York, or an asteroid in outer space, whether making cameo appearances on `Cheers' and `Bonanza', or turning up in novels as a detective or a love interest, Mark Twain's presence in contemporary culture is pervasive and intriguing. Fishkin's wide-ranging examination of that presence demonstrates how Twain and his work echo, ripple, and reverberate throughout our society. We learn that Walt Disney was a great fan of Twain's fiction (in fact, `Tom Sawyer's Island' in Disneyland is the only part of the park that Disney himself designed) as is Chuck Jones, who credits the genesis of cartoon character Wile E. Coyote to the comic description of a coyote in Roughing It. We learn of Mark Twain impersonators (Hal Holbrook, for instance, has played Twain in some 1,500 performances) and recent movie versions of Twain books, such as A Million to Juan. And we discover how Twain's image can be seen in claymation, in animatronics and robotics, in virtual reality, and on any number of home-pages on the Internet.Lighting Out for the Territory offers an engrossing look at how Mark Twain's life and work have been cherished, memorialized, exploited, and misunderstood. It offers a wealth of insight into Twain, into his work, and into our nation, both past and present.

Scholars and students of American literature or journalism.

Published in 1884, Huck Finn has become one of the most widely taught novels in American curricula. But where did Huckleberry Finn come from, and what made it so distinctive? Shelley Fisher Fishkin suggests that in Huckleberry Finn, more than in any other work, Mark Twain let African-American voices, language, and rhetorical traditions play a major role in the creation of his art. In Was Huck Black?, Fishkin combines close readings of published and unpublished writing by Twain with intensive biographical and historical research and insights gleaned from linguistics, literary theory, and folklore to shed new light on the role African-American speech played in the genesis of Huckleberry Finn. Given that book''s importance in American culture, her analysis illuminates, as well, how the voices of African-Americans have shaped our sense of what is distinctively "American" about American literature. Fishkin shows that Mark Twain was surrounded, throughout his life, by richly talented African-American speakers whose rhetorical gifts Twain admired candidly and profusely. A black child named Jimmy whom Twain called "the most artless, sociable and exhaustless talker I ever came across" helped Twain understand the potential of a vernacular narrator in the years before he began writing Huckleberry Finn, and served as a model for the voice with which Twain would transform American literature. A slave named Jerry whom Twain referred to as an "impudent and satirical and delightful young black man" taught Twain about "signifying"--satire in an African-American vein--when Twain was a teenager (later Twain would recall that he thought him "the greatest man in the United States" at the time). Other African-American voices left their mark on Twain''s imagination as well--but their role in the creation of his art has never been recognized. Was Huck Black? adds a new dimension to current debates over multiculturalism and the canon. American literary historians have told a largely segregated story: white writers come from white literary ancestors, black writers from black ones. The truth is more complicated and more interesting. While African-American culture shaped Huckleberry Finn, that novel, in turn, helped shape African-American writing in the twentieth century. As Ralph Ellison commented in an interview with Fishkin, Twain "made it possible for many of us to find our own voices." Was Huck Black? dramatizes the crucial role of black voices in Twain''s art, and takes the first steps beyond traditional cultural boundaries to unveil an American literary heritage that is infinitely richer and more complex than we had thought.

Mark Twain has been called the American Cervantes, our Homer, our Tolstoy, our Shakespeare. Ernest Hemingway maintained that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." President Franklin Delano Roosevelt took the phrase "New Deal" from A Connecticut Yankee in King Arthur''s Court. Twain''s Gilded Age gave an entire era its name. Twain is everywhere--in ads for Bass Ale, in episodes of "Star Trek," as a greeter in Nevada''s Silver Legacy casino. Clearly, the reports of his death have been greatly exaggerated. In Lighting Out for the Territory, Twain scholar Shelley Fisher Fishkin blends personal narrative with reflections on history, literature, and popular culture to provide a lively and provocative look at who Mark Twain really was, how he got to be that way, and what we do with his legacy today. Fishkin illuminates the many ways that America has embraced Mark Twain--from the scenes and plots of his novels, to his famous quips, to his bushy-haired, white-suited persona. She reveals that we have constructed a Twain often far removed from the actual writer. For instance, we travel to Hannibal, Missouri, Mark Twain''s home town, a locale that in his work is both the embodiment of the innocence of childhood and also an emblem of hypocrisy, barbarity, and moral rot. The author spotlights the fact that Hannibal today attracts hundreds of thousands of tourists and takes in millions yearly, by focusing on Tom Sawyer''s boyhood exploits--marble-shoots and white-washed fences--and ignoring Twain''s portraits of the darker side of the slave South. The narrative moves back and forth from modern Hannibal to antebellum Hannibal and to Mark Twain''s childhood experiences with brutality and slavery. Her exploration of those subjects in his work shows that Tom Sawyer''s fence isn''t the only thing being white-washed in Hannibal. Fishkin''s research yields fresh insights into the remarkable story of how this child of slaveholders became the author of the most powerful anti-racist novel by an American. Whether lending his name to a pizza parlor in Louisiana, a diner in Jackson Heights, New York, or an asteroid in outer space, whether making cameo appearances on "Cheers" and "Bonanza," or turning up in novels as a detective or a love interest, Mark Twain''s presence in contemporary culture is pervasive and intriguing. Fishkin''s wide-ranging examination of that presence demonstrates how Twain and his work echo, ripple, and reverberate throughout our society. We learn that Walt Disney was a great fan of Twain''s fiction (in fact, "Tom Sawyer''s Island" in Disneyland is the only part of the park that Disney himself designed) as is Chuck Jones, who credits the genesis of cartoon character Wile E. Coyote to the comic description of a coyote in Roughing It. We learn of Mark Twain impersonators (Hal Holbrook, for instance, has played Twain in some 1,500 performances) and recent movie versions of Twain books, such as A Million to Juan. And we discover how Twain''s image can be seen in claymation, in animatronics and robotics, in virtual reality, and on any number of home-pages on the Internet. Lighting Out for the Territory offers an engrossing look at how Mark Twain''s life and work have been cherished, memorialized, exploited, and misunderstood. It offers a wealth of insight into Twain, into his work, and into our nation, both past and present.

Mark Twain (born Samuel Clemens), a former printer''s apprentice, journalist, steamboat pilot, and miner, remains to this day one of the most enduring and beloved of America''s great writers. Combining cultural criticism with historical scholarship, A Historical Guide to Mark Twain addresses a wide range of topics relevant to Twain''s work, including religion, commerce, race, gender, social class, and imperialism. Like all of the Historical Guides to American Authors, this volume includes an introduction, a brief biography, a bibliographic essay, and an illustrated chronology of the author''s life and times.

The origins and influence of Jim, Mark Twain’s beloved yet polarizing literary figure  “Astute. . . . Sheds new light on a much-studied character.”—Publishers Weekly  Mark Twain’s Jim, introduced in Adventures of Huckleberry Finn (1885), is a shrewd, self‑aware, and enormously admirable enslaved man, one of the first fully drawn Black fathers in American fiction. Haunted by the family he has left behind, Jim acts as father figure to Huck, the white boy who is his companion as they raft the Mississippi toward freedom. Jim is also a highly polarizing figure: he is viewed as an emblem both of Twain’s alleged racism and of his opposition to racism; a diminished character inflected by minstrelsy and a powerful challenge to minstrel stereotypes; a reason for banning Huckleberry Finn and a reason for teaching it; an embarrassment and a source of pride for Black readers.  Eminent Twain scholar Shelley Fisher Fishkin probes these controversies, exploring who Jim was, how Twain portrayed him, and how the world has responded to him. Fishkin also follows Jim’s many afterlives: in film, from Hollywood to the Soviet Union; in translation around the world; and in American high school classrooms today. The result is Jim as we have never seen him before—a fresh and compelling portrait of one of the most memorable Black characters in American fiction.

The origins and influence of Jim, Mark Twain’s beloved yet polarizing literary figure  “Astute. . . . Sheds new light on a much-studied character.”—Publishers Weekly  Mark Twain’s Jim, introduced in Adventures of Huckleberry Finn (1885), is a shrewd, self‑aware, and enormously admirable enslaved man, one of the first fully drawn Black fathers in American fiction. Haunted by the family he has left behind, Jim acts as father figure to Huck, the white boy who is his companion as they raft the Mississippi toward freedom. Jim is also a highly polarizing figure: he is viewed as an emblem both of Twain’s alleged racism and of his opposition to racism; a diminished character inflected by minstrelsy and a powerful challenge to minstrel stereotypes; a reason for banning Huckleberry Finn and a reason for teaching it; an embarrassment and a source of pride for Black readers.  Eminent Twain scholar Shelley Fisher Fishkin probes these controversies, exploring who Jim was, how Twain portrayed him, and how the world has responded to him. Fishkin also follows Jim’s many afterlives: in film, from Hollywood to the Soviet Union; in translation around the world; and in American high school classrooms today. The result is Jim as we have never seen him before—a fresh and compelling portrait of one of the most memorable Black characters in American fiction.

The University of California Press is delighted to announce the new publication of this three-act play by one of America's most important and well-loved writers. A highly entertaining comedy that has never appeared in print or on stage, "Is He Dead?" is finally available to the wide audience Mark Twain wished it to reach. Written in 1898 in Vienna as Twain emerged from one of the deepest depressions of his life, the play shows its author's superb gift for humor operating at its most energetic. The text of "Is He Dead?", based on the manuscript in the Mark Twain Papers, appears here together with an illuminating essay by renowned Mark Twain scholar Shelley Fisher Fishkin and with Barry Moser's original woodcut illustrations in a volume that will surely become a treasured addition to the Mark Twain legacy. Richly intermingling elements of burlesque, farce, and social satire with a wry look at the world market in art, "Is He Dead?" centers on a group of poor artists in Barbizon, France, who stage the death of a friend to drive up the price of his paintings.In order to make this scheme succeed, the artists hatch some hilarious plots involving cross-dressing, a full-scale fake funeral, lovers' deceptions, and much more. Mark Twain was fascinated by the theater and made many attempts at playwriting, but this play is certainly his best. "Is He Dead?" may have been too 'out there' for the Victorian 1890s, but today's readers will thoroughly enjoy Mark Twain's well-crafted dialog, intriguing cast of characters, and above all, his characteristic ebullience and humor. In Shelley Fisher Fishkin's estimation, it is 'a champagne cocktail of a play - not too dry, not too sweet, with just the right amount of bubbles and buzz'.

Longtime admirers of Mark Twain are aware of how integral animals were to his work as a writer, from his first stories through his final years, including many pieces that were left unpublished at his death. This beautiful volume, illustrated with 30 new images by master engraver Barry Moser, gathers writings from the full span of Mark Twain's career and elucidates his special attachment to and regard for animals. What may surprise even longtime readers and fans is that Twain was an early and ardent animal welfare advocate, the most prominent American of his day to take up that cause. Edited and selected by Shelley Fisher Fishkin, who has also supplied an introduction and afterword, Mark Twain's Book of Animals includes stories that are familiar along with those that are appearing in print for the first time.

The University of California Press is delighted to announce the new publication of this three-act play by one of America''s most important and well-loved writers. A highly entertaining comedy that has never appeared in print or on stage, Is He Dead? is finally available to the wide audience Mark Twain wished it to reach. Written in 1898 in Vienna as Twain emerged from one of the deepest depressions of his life, the play shows its author''s superb gift for humor operating at its most energetic. The text of Is He Dead?, based on the manuscript in the Mark Twain Papers, appears here together with an illuminating essay by renowned Mark Twain scholar Shelley Fisher Fishkin and with Barry Moser''s original woodcut illustrations in a volume that will surely become a treasured addition to the Mark Twain legacy. Richly intermingling elements of burlesque, farce, and social satire with a wry look at the world market in art, Is He Dead? centers on a group of poor artists in Barbizon, France, who stage the death of a friend to drive up the price of his paintings. In order to make this scheme succeed, the artists hatch some hilarious plots involving cross-dressing, a full-scale fake funeral, lovers'' deceptions, and much more. Mark Twain was fascinated by the theater and made many attempts at playwriting, but this play is certainly his best. Is He Dead? may have been too "out there" for the Victorian 1890s, but today''s readers will thoroughly enjoy Mark Twain''s well-crafted dialogue, intriguing cast of characters, and above all, his characteristic ebullience and humor. In Shelley Fisher Fishkin''s estimation, it is "a champagne cocktail of a play--not too dry, not too sweet, with just the right amount of bubbles and buzz."

Longtime admirers of Mark Twain are aware of how integral animals were to his work as a writer, from his first stories through his final years, including many pieces that were left unpublished at his death. This beautiful volume, illustrated with 30 new images by master engraver Barry Moser, gathers writings from the full span of Mark Twain’s career and elucidates his special attachment to and regard for animals. What may surprise even longtime readers and fans is that Twain was an early and ardent animal welfare advocate, the most prominent American of his day to take up that cause. Edited and selected by Shelley Fisher Fishkin, who has also supplied an introduction and afterword, Mark Twain’s Book of Animals includes stories that are familiar along with those that are appearing in print for the first time.

"The Encyclopedia of Civil Rights in America" is a comprehensive reference source on the human rights and civil liberties that are legally recognized in the US. The US Consitution and the Bill of Rights define individual rights for Americans. The successive amendments to the Constitution and Supreme Court decisions further define these rights and relationships while protecting the individual citizen in an ever changing society. "The Encyclopedia of Civil Rights in America" presents students with lucid, enlightening essays on these fundamental documents, court decisions and laws, while examining the aspects of public and private life they serve to protect, and highlighting those individuals who are and have been influential in defining and interpreting civil rights. It is organized in an easy to use A-Z format, from Abolitionists to the contemporary Zoot Suits riots.

Winner of the John S. Tuckey 2017 Lifetime Achievement Award for Mark Twain Scholarship from The Center for Mark Twain StudiesAmerican novelist E.L. Doctorow once observed that literature “endows places with meaning.” Yet, as this wide-ranging new book vividly illustrates, understanding the places that shaped American writers’ lives and their art can provide deep insight into what makes their literature truly meaningful.  Published on the eve of the 50th anniversary of the Historic Preservation Act, Writing America is a unique, passionate, and eclectic series of meditations on literature and history, covering over 150 important National Register historic sites, all pivotal to the stories that make up America, from chapels to battlefields; from plantations to immigration stations; and from theaters to internment camps. The book considers not only the traditional sites for literary tourism, such as Mark Twain’s sumptuous Connecticut home and the peaceful woods surrounding Walden Pond, but also locations that highlight the diversity of American literature, from the New York tenements that spawned Abraham Cahan’s fiction to the Texas pump house that irrigated the fields in which the farm workers central to Gloria AnzaldÚa’s poetry picked produce. Rather than just providing a cursory overview of these authors’ achievements, acclaimed literary scholar and cultural historian Shelley Fisher Fishkin offers a deep and personal reflection on how key sites bore witness to the struggles of American writers and inspired their dreams. She probes the global impact of American writers’ innovative art and also examines the distinctive contributions to American culture by American writers who wrote in languages other than English, including Yiddish, Chinese, and Spanish.     Only a scholar with as wide-ranging interests as Shelley Fisher Fishkin would dare to bring together in one book writers as diverse as Gloria AnzaldÚa, Nicholas Black Elk, David Bradley, Abraham Cahan, S. Alice Callahan, Raymond Chandler, Frank Chin, Elizabeth Cook-Lynn, Countee Cullen, Frederick Douglass, Paul Laurence Dunbar, Jessie Fauset, William Faulkner, F. Scott Fitzgerald, Allen Ginsberg, Jovita GonzÁlez, Rolando Hinojosa, Langston Hughes,  Zora Neale Hurston, Lawson Fusao Inada,  James Weldon Johnson,  Erica Jong, Maxine Hong Kingston, Irena Klepfisz, Nella Larsen, Emma Lazarus, Sinclair Lewis, Genny Lim, Claude McKay, Herman Melville, N. Scott Momaday, William Northup, John Okada, MinÉ Okubo, Simon Ortiz, AmÉrico Paredes, John P. Parker, Ann Petry, TomÁs Rivera, Wendy Rose, Morris Rosenfeld, John Steinbeck, Harriet Beecher Stowe, Henry David Thoreau, Mark Twain, Yoshiko Uchida, Tino Villanueva, Nathanael West, Walt Whitman, Richard Wright, Hisaye Yamamoto, Anzia Yezierska, and Zitkala-Ša.  Leading readers on an enticing journey across the borders of physical places and imaginative terrains, the book includes over 60 images, and extended excerpts from a variety of literary works. Each chapter ends with resources for further exploration. Writing America reveals the alchemy though which American writers have transformed the world around them into art, changing their world and ours in the process.

Winner of the John S. Tuckey 2017 Lifetime Achievement Award for Mark Twain Scholarship from The Center for Mark Twain StudiesAmerican novelist E.L. Doctorow once observed that literature “endows places with meaning.” Yet, as this wide-ranging new book vividly illustrates, understanding the places that shaped American writers’ lives and their art can provide deep insight into what makes their literature truly meaningful.  Published on the eve of the 50th anniversary of the Historic Preservation Act, Writing America is a unique, passionate, and eclectic series of meditations on literature and history, covering over 150 important National Register historic sites, all pivotal to the stories that make up America, from chapels to battlefields; from plantations to immigration stations; and from theaters to internment camps. The book considers not only the traditional sites for literary tourism, such as Mark Twain’s sumptuous Connecticut home and the peaceful woods surrounding Walden Pond, but also locations that highlight the diversity of American literature, from the New York tenements that spawned Abraham Cahan’s fiction to the Texas pump house that irrigated the fields in which the farm workers central to Gloria AnzaldÚa’s poetry picked produce. Rather than just providing a cursory overview of these authors’ achievements, acclaimed literary scholar and cultural historian Shelley Fisher Fishkin offers a deep and personal reflection on how key sites bore witness to the struggles of American writers and inspired their dreams. She probes the global impact of American writers’ innovative art and also examines the distinctive contributions to American culture by American writers who wrote in languages other than English, including Yiddish, Chinese, and Spanish.     Only a scholar with as wide-ranging interests as Shelley Fisher Fishkin would dare to bring together in one book writers as diverse as Gloria AnzaldÚa, Nicholas Black Elk, David Bradley, Abraham Cahan, S. Alice Callahan, Raymond Chandler, Frank Chin, Elizabeth Cook-Lynn, Countee Cullen, Frederick Douglass, Paul Laurence Dunbar, Jessie Fauset, William Faulkner, F. Scott Fitzgerald, Allen Ginsberg, Jovita GonzÁlez, Rolando Hinojosa, Langston Hughes,  Zora Neale Hurston, Lawson Fusao Inada,  James Weldon Johnson,  Erica Jong, Maxine Hong Kingston, Irena Klepfisz, Nella Larsen, Emma Lazarus, Sinclair Lewis, Genny Lim, Claude McKay, Herman Melville, N. Scott Momaday, William Northup, John Okada, MinÉ Okubo, Simon Ortiz, AmÉrico Paredes, John P. Parker, Ann Petry, TomÁs Rivera, Wendy Rose, Morris Rosenfeld, John Steinbeck, Harriet Beecher Stowe, Henry David Thoreau, Mark Twain, Yoshiko Uchida, Tino Villanueva, Nathanael West, Walt Whitman, Richard Wright, Hisaye Yamamoto, Anzia Yezierska, and Zitkala-Ša.  Leading readers on an enticing journey across the borders of physical places and imaginative terrains, the book includes over 60 images, and extended excerpts from a variety of literary works. Each chapter ends with resources for further exploration. Writing America reveals the alchemy though which American writers have transformed the world around them into art, changing their world and ours in the process.

In this pointed and resonant project, internationally acclaimed artist Zhi Lin refocuses on the forgotten Chinese laborers in America from an iconic moment in US history. In the nineteenth century, thousands of men migrated from China to seek fortunes in the gold mines of California; instead they found work building the transcontinental railroads. The contributions of these workers are largely overlooked in the history books, their names and stories lost. Zhi Lin's works address this absence and are inspired by his own experiences as an immigrant.Zhi Lin began exploring the history of Chinese laborers in 2005 by following the route of the first transcontinental railroad and making watercolor sketches of the landscapes and landmarks along the way. His work later focused on the Golden Spike Ceremony, an annual reenactment of the completion of the first transcontinental railroad. This book will include approximately thirty illustrated works, an interview with the artist, and two scholarly essays.

The completion of the transcontinental railroad in May 1869 is usually told as a story of national triumph and a key moment for American Manifest Destiny. The Railroad made it possible to cross the country in a matter of days instead of months, paved the way for new settlers to come out west, and helped speed America's entry onto the world stage as a modern nation that spanned a full continent. It also created vast wealth for its four owners, including the fortune with which Leland Stanford would found Stanford University some two decades later. But while the Transcontinental has often been celebrated in national memory, little attention has been paid to the Chinese workers who made up 90 percent of the workforce on the Western portion of the line. The Railroad could not have been built without Chinese labor, but the lives of Chinese railroad workers themselves have been little understood and largely invisible.This landmark volume explores the experiences of Chinese railroad workers and their place in cultural memory. The Chinese and the Iron Road illuminates more fully than ever before the interconnected economies of China and the US, how immigration across the Pacific changed both nations, the dynamics of the racism the workers encountered, the conditions under which they labored, and their role in shaping both the history of the railroad and the development of the American West.

The completion of the transcontinental railroad in May 1869 is usually told as a story of national triumph and a key moment for American Manifest Destiny. The Railroad made it possible to cross the country in a matter of days instead of months, paved the way for new settlers to come out west, and helped speed America's entry onto the world stage as a modern nation that spanned a full continent. It also created vast wealth for its four owners, including the fortune with which Leland Stanford would found Stanford University some two decades later. But while the Transcontinental has often been celebrated in national memory, little attention has been paid to the Chinese workers who made up 90 percent of the workforce on the Western portion of the line. The Railroad could not have been built without Chinese labor, but the lives of Chinese railroad workers themselves have been little understood and largely invisible.This landmark volume explores the experiences of Chinese railroad workers and their place in cultural memory. The Chinese and the Iron Road illuminates more fully than ever before the interconnected economies of China and the US, how immigration across the Pacific changed both nations, the dynamics of the racism the workers encountered, the conditions under which they labored, and their role in shaping both the history of the railroad and the development of the American West.