Exile in Literature Criticism: Overviews And General Studies - Essay

Celeste M. Schenck (essay date 1989)

(Twentieth-Century Literary Criticism)

SOURCE: Schenck, Celeste M. “Exiled by Genre: Modernism, Canonicity, and the Politics of Exclusion.” In Women's Writing in Exile, edited by Mary Lynn Broe and Angela Ingram, pp. 225-50. Chapel Hill: University of North Carolina Press, 1989.

[In the following essay, Schenck discusses the poetry of female modernists in terms of their state of being exiled from the political, cultural, and social mainstream.]

When I first mapped out an essay on what I'd like to call modernist women's exiles, I envisioned an article on the exchanges between gender and genre, raised exponentially to include geography in the case of those triply exiled expatriate women poets. The task...

(The entire section is 9329 words.)

Martin Tucker (essay date 1991)

(Twentieth-Century Literary Criticism)

SOURCE: Tucker, Martin. An introduction to Literary Exile in the Twentieth Century: An Analysis and Biographical Dictionary, edited by Martin Tucker, pp. xiii-xxiv. New York: Greenwood Press, 1991.

[In the following excerpt, Tucker attempts to define the concept of exile in historical, cultural, and literary terms, comparing various exiles' notions about the theme.]

Because the awareness of exile has recently grown to such an extent—witnessed by the many studies of it published in the past fifty years and by university courses specifically centered on the definition and experience of exile—the term has become a generalized one. Exile as a concept and as an...

(The entire section is 6607 words.)

J. Gerald Kennedy (essay date 1993)

(Twentieth-Century Literary Criticism)

SOURCE: Kennedy, J. Gerald. “Place, Self, and Writing: Toward a Poetics of Exile.” In Imagining Paris: Exile, Writing, and American Identity, pp. 1-37. New Haven: Yale University Press, 1993.

[In the following excerpt, Kennedy analyzes how Paris became for such writers as e.e. cummings, Ernest Hemingway, and Anaïs Nin a place that “inescapably reflects the creation of an exilic self.”]

Shortly after returning from a prison camp in France, E. E. Cummings composed The Enormous Room (1922), an experimental novel recounting his ordeal as a Norton Harjes ambulance driver arrested (with his friend Slater Brown) on suspicion of German sympathy and incarcerated...

(The entire section is 14004 words.)