LITR 4232 American Renaissance 2010 final exam—Answers to Question B4

Jillian Silva

Abstaining from Classification:

Classic, Popular, and Representative Literature of the American Renaissance

          Definitions and classifications of literature in the terms of “classic”, “popular”, and “representative” are often influenced by perspective, however, these are more denotatively defined when related to examples studied and read in our American Renaissance course. Utilizing materials from the website, as well as an essay written by Cheryl Romig in 2008, I’ll directly correlate the literary examples of classic, popular, and representative literature to their respective definitions.

          Often considered literature for bookworms or literature majors alone, “classic” literature is defined as representatives of the “old canon” and excellence. Primarily taught in schools as staples of literature, classic novels and texts focus on creating new genres yet also function to extend and develop reworked facets of canonized literature. Cheryl Roming patronizes this idea quite correctly in calling it, “stuff you read in class”, or “stuff your teacher makes you read.” Because of this stigma, classic literature is often considered encumbering or tedious and requires an educated mind and long attention span to do the text justice. For example, Hawthorne’s “Young Jackson Brown” is seemingly meant to depict a man plagued with bad dreams and confusion, yet closer reflection would reveal a much more pensive and intricate struggle against the oppressive and strict religious standards Puritans were forced to uphold in their daily lives. Therefore, while classic literature will put hair on your chest, it is an intricate, intelligent, depiction of life during a specific era just as Frederick Douglass’ narrative is a vivid portrayal of the hardships faced in the life of the American slave.

          However, there is definitive pleasure in this type of reading – assuming you’ve the mind and temperament for it – and this is in the education of the journey. There are countless examples of classic literature I’ve read that I assumed I “had” to read because they were “canonized” and essential to my individual literary expansion; namely Emerson’s essays and Thoreau’s Walden. I remember sitting down to read, and walking away not understanding much of what I’d read. However, upon a second read – which any literature major will tell you is essential – I’d been surprised to discover that I’d stumbled upon knowledge, understanding and new ideals to boot from applying myself in an educational attempt at Emerson and other classic authors. I personally feel that these are great additions to any literature class simply because they are the classics that have shaped and contributed to the popular authors of today. Lucrative authors of today, such as Stephanie Meyer and J.K. Rowling, often list their influences as staples of our classic canon and as such, I feel it necessary to study and understand the literature that commonly influences the modern literature being written today. Therefore, while classic literature isn’t the most popular selection at Barnes and Noble, the pursuit of such educational endeavors is always to the benefit of the reader; even if they don’t see it right away.

          In contrast, our “popular” literature of today is the direct by-product of popular demand in our society and culture. Texts of this genre are often written as a means of meeting high demands or striving to “hop on” the bandwagon of a certain literature trend. Usually best-selling and known to an expansive audience, texts of such characteristics often experience short-lived bouts in the limelight due to overexposure and exploitation. A perfect example of this in today’s modern literature is the ever-popular vampire-saga stories. There are countless teen novels of this genre sprouting up like tumultuous weeds arguably because of the popularity of the Twilight novels written by Stephanie Meyer. These are not considered literary classics, nor do I think anyone is attempting to argue that they are, yet – we can hope – these will follow “popular” tradition and succumb to “short-lived” expectation due to over-exploitation.

          I should reiterate that not all semblances of “popular” literature are considered quite so frivolous. However, as Cheryl Roming points out, the popular works we read today will depict who we are and what we were interested in to future generations, just as “Sleepy Hollow” and the popular stories of Edgar Allan Poe tell us something about past generations: not much has really changed. These popular stories have survived the test of time and while they might not hold the semblances of popularity they once did, these texts have influenced the literature of today just as our “classic” literature influences our modern literary tradition. Subsequently, the American fascination with the gothic can be traced back with the birth of the nation and as such, authors such as Hawthorne, Poe, and Irving will remain in the popular spotlight as long as they keep influencing the working authors of today.

          Yet it is authors such as Poe and Irving that significantly dull the barrier between classic and popular literature simply for this influential fact. By holding reign as the primary popular representation of the gothic in American literature, Poe is always looked to as the quintessential embodiment of classic dark prose. His eerie text and flowing, musical language have long since been established on the literary canon and are always included in school curriculum year after year. By embodying two sets of characteristics, the educated, intelligent literature that captivates and pleases, Poe is successfully able to straddle two contrasting aspects of classification in our literary tradition; perhaps, essentially making classic authors popular in our modern eyes.

          Lastly, “representative” literature is commonly engendered by a marginal or repressed class, race or gender and subsequently, often neglected by audiences. Examples of representative literature often express social concerns from outside perspectives, often by those who have escaped and overcome these obstacles. While the classic literary canon is dominated by “old white guys”, representative literature is a depiction of those unacknowledged by the academic world and audiences alike. However, when necessary, there exists an audience for the message presented by the authors of “representative literature”; for example, advocators of women’s suffrage found literary representation in Elizabeth Cady Stanton’s Declaration of Sentiments, as well as sufferers of human slavery found light in Stowe’s published interview with Sojourner Truth. Therefore, as a means of appealing to several minority groups within the educational system, “representative texts” are often staples in the public school systems and are gaining popularity with an ever-diversifying country.