1920 Mamatova Sevara variant

1920 Mamatova Sevara

2. 
   variant.
   

1.World War II gave a new direction to literary development in the United States. “Anything not connected with the war must be postponed,” was the chief unwritten law of the wartime era. Moreover, the war drastically reduced the productivity of all writers. As W. Faulkner remarked, “you don’t write well in war.” Many writers were at the front as war correspondents (like E. Hemingway) or in the active army (like J. Cheever, S. Bellow, N. Mailer, C. Vonnegut), and they naturally had no time for artistic creativity. Most importantly, however, both they and those who remained in America needed first to comprehend this newly changed world and the place that man occupied in it. Genocide and the possibility of total nuclear annihilation affected not only European Jews and Japanese, but all people on both sides of the globe, destroying the last vestiges of national American naivety and “innocence. The end of the previous period of U.S. literary development was vividly underscored by the deaths of several major writers of the 20s and 30s: Scott Fitzgerald and Nathaniel West were gone in 1940, S. Anderson passed away in 1941, and G. Stein in 1946. The era of modernism is gone, although its greatest representatives – E. Hemingway and W. Faulkner – still continued to create. With the end of the war in the national literature came a new generation of young writers with honest realistic works about their tragic experience. The writers who first gave a reflection of World War II in American prose were J. Hersey (Hiroshima, 1946), N. Mailer (Naked and Dead, 1948), I. Shaw (The Young Lions, 1948), G. Wook (The Caine Conspiracy, 1951), J. Jones (From Here and Forever, 1951) and other “war novelists”, as critics defined them. M. Cowley lamented at the time that, unlike the First World War, which produced a vivid literary experiment, the Second brought to life only the most traditional realism. Very soon, however, it became clear that Cowley had been somewhat hasty in his judgments. After World War II, Jewish-American literature came into the national spotlight. Its authors spoke as if they were speaking on behalf of millions of European Jews who were victims of genocide to whom they owed a debt of blood. They had yet to make sense of this monstrous historical experience. It is telling that the most impressive works about the genocide did not come out until the 1970s: Singer’s Shosha, Epstein’s The King of the Jews, Bellow’s Mr. Samler’s Planet. In the meantime, it was necessary to rethink the unique experience of American Jewry. Since the mid-1940s there has been an incredible flowering of Jewish-American literature – poetry, drama and, especially, prose. It is at this time that the work of J.B. Singer becomes a fact of American literature, the World War I-born S. Bellow, A. Miller, and later B. Malamud and writers of the next generation (born in the 20s and 30s): Philip Roth, Norman Mailer, Herbert Gold, Joseph Heller, Edgar Lawrence Doctorow, Grace Paley, Leslie Epstein and many others begin to publish. Most are postmodern writers.


2 William Faulkner ‘s1929 classic, The Sound and the Fury is a mind-bending journey through the thoughts, memories, and relationships of the Compson family. Using his landmark stream-of-consciousness style of narration, Faulkner explores the inner workings of this once aristocratic Southern family in early 20th century Mississippi. The Sound and the Fury is a modernist novel by William Faulkner  published in 1929.