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American Catholic Arts and Fictions: Culture, Ideology, Aesthetics (Cambridge Studies in American Literature and Culture), by Paul Giles
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Paul Giles describes how secular transformations of religious ideas have helped to shape the style and substance of works by American writers, filmmakers and artists from Catholic backgrounds such as Orestes Brownson, Theodore Dreiser, Mary McCarthy, Robert Mapplethorpe, Alfred Hitchcock and Robert Altman. The book also explores how Catholicism was represented and mythologized by other American writers. By highlighting the recurring themes and preoccupations of American Catholic fictions, Giles challenges many of the accepted ideas about the centrality of Romanticism to the American literary canon. He reconstructs the different social, historical, and philosophical contexts from which aesthetics in the "Catholic" tradition have emerged, and shows how these stand in an oblique relationship to the assumptions of the American Enlightenment.
- Sales Rank: #4158907 in Books
- Brand: Brand: Cambridge University Press
- Published on: 1992-06-26
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x 1.38" w x 5.98" l, 2.00 pounds
- Binding: Hardcover
- 564 pages
- Used Book in Good Condition
Review
"The true originality of what this book argues is in what it says about America, not about Catholicism....Giles's opus will be useful to people interested in a new perspective on many of the filmmakers, novelists, and poets discussed." Christianity and Literature
"...an ambitious and insightful exploration of how Catholic culture in the United States has created a consistent, though complex, alternative to what Quentin Anderson called the American doctrine of 'the imperial self'." Commonweal
"Remarkably telling insights abound in this book that addresses a dimension of American culture that has been too long overlooked." Nineteenth-Century Literature
"[Giles's] historical methodology is elaborate and his scholarship abundant...." Journal of American History
"Students of American Catholic literature and history will read Paul Giles's American Catholic Arts and Fictions: Culture, Ideology, Aesthetics with a deep sense of gratitude for his unprecedented effort to apply the insights of contemporary literary theory to an astonishing variety of Catholic texts....I was moved by the respectful intensty the author brings to his study of artists richly deserving of such elegant treatment. American Catholic Arts and Fictions is a remarkable achievement as well as a historical event." James T. Fisher, Modern Language Quarterly
"Paul Giles's study of Catholic writing and film in America is a very encouraging development in religion and literature studies in relation to American literature and culture. Critics have long wondered about Catholic literature in America: where it is and why isn't it? Giles shows that there is an American Catholic literature and shows us where to find the Catholic presence at its most interesting....Giles has attempted something very difficult and in the process created a whole new field of study. He has synthesized an alternative American cultural tradition that is funnier, more gregarious, and more accepting of our limited human condition than the better-advertised Protestant-romantic tradition that begins with Emerson." Mark Krupnick, Journal of Religion
"American Catholic Arts and Fictions: Culture, Ideology, Aesthetics is a tour de force, a magisterial study of Catholicism and the American arts. But its subject is not limited to religion. American Catholic Arts and Fictions offers a thoughtful meditation on ideology and aesthetics that is lucid, engaging, provocative, elegant, subtle. This is a book that is ambitious without being self-aggrandizing, politically engaged without being tendentious. In addition, Giles handles complex theological questions deftly, and he does so while meeting the highest standards of cultural criticism. But most importantly, Giles has achieved the rare feat of reorienting the cultural landscape in such a way that it will be hard to read the literature of this century in quite the same manner again." Jonathan Veitch, Contemporary Literature
"American Catholic Arts and Fictions is in many ways an illuminating study, one that deserves a wide readership among Americanists." Religion and the Arts
"This is a very important work of cultural criticism that belongs in every college library, Catholic or not." AMCA Newsletter
From the Back Cover
In American Catholic Arts and Fictions, Paul Giles describes how secular transformations of religious ideas have helped to shape the style and substance of works by American writers, filmmakers, and artists from a Catholic background, such as Orestes Brownson, Theodore Dreiser, Mary McCarthy, Robert Mapplethorpe, Alfred Hitchcock, and Robert Altman. The book also explores how Catholicism was represented and mythologized by other American writers. By highlighting the recurring themes and preoccupations of American Catholic fictions, Giles challenges many of the accepted ideas about the centrality of romanticism to the American literary canon. He reconstructs the different social, historical, and philosophical contexts from which aesthetics in the "Catholic" tradition has emerged, and he shows how these stand in an oblique relationship to the assumptions of the American Enlightenment.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Splendid on the Beat "beatitude" quest of Jack Kerouac, and much more...
By Rob Wilson
Jack Kerouac's writings, read as a project of beatitude lost, found, or at least quested for, exists between the poles (as Paul Giles has so finely elaborated in "American Catholic Arts and Fictions") charged with an "ethnic plenitude lost" (which the Franco-American Catholicism of Lowell, Massachusetts stood for) (408); and "the final plenitude of confessional revelation" (416) he strove towards as novelistic language via the linotype rolls of writing "On the Road" or the fitful reversions of "Big Sur."
In "Big Sur," the Zen Buddhism of mountain-minded emptiness so prominent in "Dharma Bums" or the notebooks of "Some of the Dharma" or the poetic experiments in consciousness of the Mexico City Blues gives way to some kind of alcohol-drenched counter-conversion back to the sacramentalism of his youth, as in this fitful scene in the dark night of Pacific privacy. "I lie there in cold sweat wondering what's come over me for years my Buddhist studies and pipesmoking assured meditations in emptiness and all of a sudden the Cross is manifested to me" (Big Sur, 205; Giles, 412). This sense of conversion to a post-Catholic beatitude may have pervaded everything Kerouac wrote, early and late. As ti jean put it in the clunky autobiography Vanity of Dulouz, he calls himself "one of the world's secret Jesuits, everything I do is based on some kind of proselytization" (Giles, 422). All the Dharma Bum had quested for was to write about Jesus, Giles shows, the sacramentalism of the holy name even when displaced into the music and prayers of Charley Parker.
Paul Giles has written a sublime study in this capaciously learned and exacting text: writers like Kerouac, Fitzgerald, O'Neill, Donleavy, Mary McCarthy, film makers like Hitchcock, Scorsese, and Altman are made to resonate and refract a wry sacramentalism, a pithy analogical poeticism, that drenches the everyday materialism of capitalism in the auras of beatitude lost and found. Another America is delivered up, one closer to what Philip Roth calls, and examines in "American Pastoral," "the indigenous American berserk" than to the worship of Empire, the gospel of wealth, and modes of militarized domination: an America on the road towards plentitudes of beatitude to use a Beat pun.
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