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.5.Within the knowledge Miranda acquires is an awareness of possible sources foranswers to questions about life s meaning.Porter insisted that such answers mightbe found in art, religion, and sometimes science.She also believed that deep truthabout oneself can be found in dreams.Consider the ways dreams are used in thecycle.What does Miranda learn from dreams? Do dreams always lead to truth?A good essay to read when exploring these questions is Thomas F.Walsh s TheDream Self in Pale Horse, Pale Rider (1979).Examining the roles of science,religion, art, and dreams throughout the Miranda stories can contribute to amore complete understanding of Miranda s cumulative knowledge.RESOURCESBiographyJoan Givner, Katherine Anne Porter: A Life (New York: Simon & Schuster, 1982;revised edition, Athens: University of Georgia Press, 1991).The first comprehensive Porter biography; contains errors and omissions but isparticularly useful in accounts of Porter s Thomas School education and details ofPorter s first marriage, subjects relevant to the evolution of Miranda Gay.Janis Stout, Katherine Anne Porter: A Sense of the Times (Charlottesville: UniversityPress of Virginia, 1995).An intellectual biography that analyzes Porter s artistry in the context of her histori-cal moment.Darlene Harbour Unrue, Katherine Anne Porter: The Life of an Artist (Jackson: Uni-versity Press of Mississippi, 2005).Traces Porter s evolution as an artist and links elements in her personal experienceto core ideas in her fiction. 208 American Modernism, 1914 1945BibliographyRuth M.Alvarez and Kathryn Hilt, Katherine Anne Porter: An Annotated Bibliog-raphy (New York: Garland, 1990).Complete through 1988; to be supplemented with the annotated bibliographiesin the annual Newsletter of the Katherine Anne Porter Society (1994 ), online at, and the bibliographies in theMLA International Bibliography.CriticismGeorge Cheatham, Fall and Redemption in Pale Horse, Pale Rider, Renascence,39 (Spring 1987): 396 405.Explains the Christian truth of humanity s fall, suffering, and redemption as the informing myth of the structure and details of the short novel.Gary M.Ciuba, Desire, Violence & Divinity in Modern Southern Fiction: Kather-ine Anne Porter, Flannery O Connor, Cormac McCarthy, Walker Percy (BatonRouge: Louisiana State University Press, 2007).Includes chapter 2, Given Only Me for Model : Porter s Miranda Stories andthe Dilemmas of Mimetic Desire, which takes its point of departure from thetheory of mimetic violence proposed by critic René Girard.Jane Krouse DeMouy, Katherine Anne Porter s Women: The Eye of Her Fiction (Aus-tin: University of Texas Press, 1983).Includes an analysis of Miranda s feminine psychology : the internal conflictbetween the desire for the independence and freedom to pursue art or principleregardless of social convention and the desire for the love and security inherentin the traditional roles of wife and mother. Sari Edelstein, Pretty as Pictures : Family Photography and Southern Post-memory in Porter s Old Mortality, Southern Literary Journal, 40 (Spring2008): 151 165.Compares Porter s use of photographs with Faulkner s in Absalom, Absalom! and,using premises of postmodern theory, draws conclusions about photographs as ameans of reconstructing history.Robert L.Perry, Porter s Hacienda and the Theme of Change, Midwest Quar-terly, 6 (Summer 1965): 403 415.Compares and contrasts elements of social change with constant human traitsand reveals that some perceived change is only illusion.Darlene Harbour Unrue, Truth and Vision in Katherine Anne Porter s Fiction (Ath-ens: University of Georgia Press, 1985).Analyzes Porter s canonical theme as the arduous search for truth by categorizingthe obstacles in the quest.Thomas F.Walsh, The Dream Self in Pale Horse, Pale Rider, Wascana Review,14 (Fall 1979): 61 79. John Steinbeck 209A demonstration that the five dreams in the story reveal Miranda to the readerbut not to herself.Mary Ann Wimsatt, The Old Order Undermined: Daughters, Mothers, andGrandmothers in Katherine Anne Porter s Miranda Tales, in SouthernMothers: Fact and Fictions in Southern Women s Writing, edited by NagueyaltiWarren and Sally Wolff (Baton Rouge: Louisiana State University Press,1999), pp.81 99.Examines Miranda s evolution as she reconciles the conflict between what hersociety tells her she should be and the constraints she must break through to forgeher own identity.Sarah Youngblood, Structure and Imagery in Katherine Anne Porter s Pale Horse,Pale Rider, Modern Fiction Studies, 5 (Winter 1959 1960): 344 352.Locates a tripartite structure in the narrative and explains the dream sequence asMiranda s progress toward reality and reunification with the physical world. Darlene Harbour UnruehJohn Steinbeck, Of Mice and Men(New York: Covici-Friede, 1937)John Steinbeck (1902 1968) is best known for his poignant depictions of thehardships faced by Americans dispossessed by the Great Depression.His earlyyears as a struggling writer kept him only a few steps removed from the fate ofmigrant workers whose lives he shadowed first as a fellow laborer and later as asympathetic observer and author.Born in Salinas, California, to former school-teacher Olive Hamilton and flour mill manager (and later Monterey County trea-surer) John Ernst Steinbeck, he spent summers exploring nearby Pacific Grovewith his uncle Sam Hamilton (on whom the character of the same name in Eastof Eden [1952] is based), developing an early interest in the topography of thecoast that later figured into much of his fiction.Between 1919 and 1925 Steinbeck studied intermittently at Stanford Uni-versity, where he took literature courses and published his first stories in theStanford Spectator.When not in school, he worked on area ranches and estates asa laborer or caretaker, settling into whatever situation interested him and gather-ing stories from fellow workers.On graduating, he moved briefly to New York inhopes of publishing his writing; but he was unsuccessful and returned, as he oftendid during difficult periods, to California.Steinbeck was supported by intellectually stimulating people throughout hislife.His first wife, Carol Henning, acted as his editor.In 1930 the couple settled inSteinbeck s family cottage in Pacific Grove.There Steinbeck met marine biologistEdward F.Ricketts, owner of the Pacific Biological Laboratory, who became his 210 American Modernism, 1914 1945best friend and greatest intellectual influence.Studying with Ricketts, Steinbeckbecame a scientist in his own right and developed a philosophy based on biologi-cal principles that guided his writing.Ricketts also introduced the Steinbecks toa dazzling circle of writers and thinkers with whom they discussed ideas, amongthem Joseph Campbell and Henry Miller.In 1933 Henning began work with theEmergency Relief Organization, an aid agency for migrant families.Struck byHenning s accounts of the lives of the people she encountered, Steinbeck beganto incorporate many of their stories into his writing [ Pobierz caÅ‚ość w formacie PDF ]
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.5.Within the knowledge Miranda acquires is an awareness of possible sources foranswers to questions about life s meaning.Porter insisted that such answers mightbe found in art, religion, and sometimes science.She also believed that deep truthabout oneself can be found in dreams.Consider the ways dreams are used in thecycle.What does Miranda learn from dreams? Do dreams always lead to truth?A good essay to read when exploring these questions is Thomas F.Walsh s TheDream Self in Pale Horse, Pale Rider (1979).Examining the roles of science,religion, art, and dreams throughout the Miranda stories can contribute to amore complete understanding of Miranda s cumulative knowledge.RESOURCESBiographyJoan Givner, Katherine Anne Porter: A Life (New York: Simon & Schuster, 1982;revised edition, Athens: University of Georgia Press, 1991).The first comprehensive Porter biography; contains errors and omissions but isparticularly useful in accounts of Porter s Thomas School education and details ofPorter s first marriage, subjects relevant to the evolution of Miranda Gay.Janis Stout, Katherine Anne Porter: A Sense of the Times (Charlottesville: UniversityPress of Virginia, 1995).An intellectual biography that analyzes Porter s artistry in the context of her histori-cal moment.Darlene Harbour Unrue, Katherine Anne Porter: The Life of an Artist (Jackson: Uni-versity Press of Mississippi, 2005).Traces Porter s evolution as an artist and links elements in her personal experienceto core ideas in her fiction. 208 American Modernism, 1914 1945BibliographyRuth M.Alvarez and Kathryn Hilt, Katherine Anne Porter: An Annotated Bibliog-raphy (New York: Garland, 1990).Complete through 1988; to be supplemented with the annotated bibliographiesin the annual Newsletter of the Katherine Anne Porter Society (1994 ), online at, and the bibliographies in theMLA International Bibliography.CriticismGeorge Cheatham, Fall and Redemption in Pale Horse, Pale Rider, Renascence,39 (Spring 1987): 396 405.Explains the Christian truth of humanity s fall, suffering, and redemption as the informing myth of the structure and details of the short novel.Gary M.Ciuba, Desire, Violence & Divinity in Modern Southern Fiction: Kather-ine Anne Porter, Flannery O Connor, Cormac McCarthy, Walker Percy (BatonRouge: Louisiana State University Press, 2007).Includes chapter 2, Given Only Me for Model : Porter s Miranda Stories andthe Dilemmas of Mimetic Desire, which takes its point of departure from thetheory of mimetic violence proposed by critic René Girard.Jane Krouse DeMouy, Katherine Anne Porter s Women: The Eye of Her Fiction (Aus-tin: University of Texas Press, 1983).Includes an analysis of Miranda s feminine psychology : the internal conflictbetween the desire for the independence and freedom to pursue art or principleregardless of social convention and the desire for the love and security inherentin the traditional roles of wife and mother. Sari Edelstein, Pretty as Pictures : Family Photography and Southern Post-memory in Porter s Old Mortality, Southern Literary Journal, 40 (Spring2008): 151 165.Compares Porter s use of photographs with Faulkner s in Absalom, Absalom! and,using premises of postmodern theory, draws conclusions about photographs as ameans of reconstructing history.Robert L.Perry, Porter s Hacienda and the Theme of Change, Midwest Quar-terly, 6 (Summer 1965): 403 415.Compares and contrasts elements of social change with constant human traitsand reveals that some perceived change is only illusion.Darlene Harbour Unrue, Truth and Vision in Katherine Anne Porter s Fiction (Ath-ens: University of Georgia Press, 1985).Analyzes Porter s canonical theme as the arduous search for truth by categorizingthe obstacles in the quest.Thomas F.Walsh, The Dream Self in Pale Horse, Pale Rider, Wascana Review,14 (Fall 1979): 61 79. John Steinbeck 209A demonstration that the five dreams in the story reveal Miranda to the readerbut not to herself.Mary Ann Wimsatt, The Old Order Undermined: Daughters, Mothers, andGrandmothers in Katherine Anne Porter s Miranda Tales, in SouthernMothers: Fact and Fictions in Southern Women s Writing, edited by NagueyaltiWarren and Sally Wolff (Baton Rouge: Louisiana State University Press,1999), pp.81 99.Examines Miranda s evolution as she reconciles the conflict between what hersociety tells her she should be and the constraints she must break through to forgeher own identity.Sarah Youngblood, Structure and Imagery in Katherine Anne Porter s Pale Horse,Pale Rider, Modern Fiction Studies, 5 (Winter 1959 1960): 344 352.Locates a tripartite structure in the narrative and explains the dream sequence asMiranda s progress toward reality and reunification with the physical world. Darlene Harbour UnruehJohn Steinbeck, Of Mice and Men(New York: Covici-Friede, 1937)John Steinbeck (1902 1968) is best known for his poignant depictions of thehardships faced by Americans dispossessed by the Great Depression.His earlyyears as a struggling writer kept him only a few steps removed from the fate ofmigrant workers whose lives he shadowed first as a fellow laborer and later as asympathetic observer and author.Born in Salinas, California, to former school-teacher Olive Hamilton and flour mill manager (and later Monterey County trea-surer) John Ernst Steinbeck, he spent summers exploring nearby Pacific Grovewith his uncle Sam Hamilton (on whom the character of the same name in Eastof Eden [1952] is based), developing an early interest in the topography of thecoast that later figured into much of his fiction.Between 1919 and 1925 Steinbeck studied intermittently at Stanford Uni-versity, where he took literature courses and published his first stories in theStanford Spectator.When not in school, he worked on area ranches and estates asa laborer or caretaker, settling into whatever situation interested him and gather-ing stories from fellow workers.On graduating, he moved briefly to New York inhopes of publishing his writing; but he was unsuccessful and returned, as he oftendid during difficult periods, to California.Steinbeck was supported by intellectually stimulating people throughout hislife.His first wife, Carol Henning, acted as his editor.In 1930 the couple settled inSteinbeck s family cottage in Pacific Grove.There Steinbeck met marine biologistEdward F.Ricketts, owner of the Pacific Biological Laboratory, who became his 210 American Modernism, 1914 1945best friend and greatest intellectual influence.Studying with Ricketts, Steinbeckbecame a scientist in his own right and developed a philosophy based on biologi-cal principles that guided his writing.Ricketts also introduced the Steinbecks toa dazzling circle of writers and thinkers with whom they discussed ideas, amongthem Joseph Campbell and Henry Miller.In 1933 Henning began work with theEmergency Relief Organization, an aid agency for migrant families.Struck byHenning s accounts of the lives of the people she encountered, Steinbeck beganto incorporate many of their stories into his writing [ Pobierz caÅ‚ość w formacie PDF ]