American Dream Or Nightmare

In this celebration of contemporary American fiction, Kathryn Hume explores how estrangement from America has shaped the fiction of a literary generation, which she calls the Generation of the Lost Dream. In breaking down the divisions among standard categories of race, religion, ethnicity, and gender, Hume identifies shared core concerns, values, and techniques among seemingly disparate and unconnected writers including T. Coraghessan Boyle, Ralph Ellison, Russell Banks, Gloria Naylor, Tim O'Brien, Maxine Hong Kingston, Walker Percy, N. Scott Momaday, John Updike, Toni Morrison, William Kennedy, Julia Alvarez, Thomas Pynchon, Leslie Marmon Silko, and Don DeLillo. Hume explores fictional treatments of the slippage in the immigrant experience between America's promise and its reality. She exposes the political link between contemporary stories of lost innocence and liberalism's inadequacies. She also invites us to look at the literary challenge to scientific materialism in various searches for a spiritual dimension in life. The expansive future promised by the American Dream has been replaced, Hume finds, by a sense of tarnished morality and a melancholy loss of faith in America's exceptionalism. American Dream, American Nightmare examines the differing critiques of America embedded in nearly a hundred novels and points to the source for recovery that appeals to many of the authors.

Reexamines the ideology of the two most prominent leaders of the civil rights movement of the 1960s

Propelled by its mythology, America pursues its dream relentlessly. Here, the authors expose the dark side of that fantasy: death, suffering, perpetual fear, an increasing divide between rich and poor, a squandering of the human future, and the relentless building of more and more pretexts for future wars.

Winner of the Bruss Real Estate Book Award His assignment was to write about a real-estate frenzy lighting up the Redneck Riviera. So Ryan Dezember settled in and bought a home nearby himself. Then the market crashed, and he became one of the millions of Americans who suddenly owed more on their homes than they were worth. A flood of foreclosures made it impossible to sell. It didn't help that his quaint neighborhood fell into disrepair and drug-induced despair. He had no choice but to become a reluctant and wildly unprofitable landlord to move on. Meanwhile, his reporting showed how the speculative mania that caused the crash opened the U.S. housing market to a much larger breed of investors. In this deeply personal story, Dezember shows how decisions on Wall Street and in Washington played out on his street in a corner of the Sunbelt that was convulsed by the foreclosure crisis. Readers will witness the housing market collapse from Dezember’s perch as a newspaper reporter. First he’s in the boom-to-bust South where a hot-air balloonist named Bob Shallow becomes one of the world’s top selling real-estate agents arranging condo flips, developers flop in spectacular fashion and the law catches up with a beach-town mayor on the take. Later he’s in New York, among financiers like Blackstone’s Stephen Schwarzman who are building rental empires out of foreclosures, staking claim to the bastion of middle-class wealth: the single-family home. Through it all, Dezember is an underwater homeowner caught up in the mess. A cautionary tale of Wall Street's push to turn homes into assets, Underwater is a powerful, incisive story that chronicles the crash and its aftermath from a fresh perspective—the forgotten, middle-class homeowner.

The book demonstrates how politicians and federal agencies dominated Fannie Mae and Freddie Mac and took just thirteen years to wreck the American dream of home ownership.

Thesis (M.A.) from the year 2008 in the subject English Language and Literature Studies - Other, grade: 1,7, University of Duisburg-Essen, 60 entries in the bibliography, language: English, abstract: "Predictively, any attempt at abstracting from the plethora of relevant publications something even faintly resembling a definition of the 'Dream' is doomed to failure." Peter Freese As Peter Freese precisely points out, defining the American Dream is a difficult if not irresolvable task. The reason for this is that "beyond an abstract belief in possibility, there is no one American Dream." Nevertheless, it is easy to find short definitions in various encyclopedias. In The American Heritage Dictionary of the English Language it is defined as " a]n American ideal of a happy and successful life to which all may aspire: "In the deepening gloom of the Depression, the American Dream represented a reaffirmation of traditional American hopes."' The New Dictionary of Cultural Literacy offers a different definition: " a] phrase connoting hope for prosperity and happiness, symbolized particularly by having a house of one's own. Possibly applied at first to the hopes of immigrants, the phrase now applies to all except the very rich and suggests a confident hope that one's children's economic and social condition will be better than one's own." A rather short and simple explanation of the term American Dream can be found in the dictionary WordNet by the Princeton University which says that it is "the widespread aspiration of Americans to live better than their parents did." All of these definitions describe various facets of the dream, but none of them gets to the point. In order to get an idea of what the dream really is or what it is assumed to be and how the idea of it came up, it is necessary to have a look at American history. The recapitulation in this work will make an attempt to reveal why it is the American dream and how it is related to American national id

Classic film noir offers more than pesky private eyes and beautiful bad girls—it explores the quest for the not-so-attainable American dream. Winner of the CHOICE Outstanding Academic Title of the Choice ACRL Desperate young lovers on the lam (They Live by Night), a cynical con man making a fortune as a mentalist (Nightmare Alley), a penniless pregnant girl mistaken for a wealthy heiress (No Man of Her Own), a wounded veteran who has forgotten his own name (Somewhere in the Night)—this gallery of film noir characters challenges the stereotypes of the wise-cracking detective and the alluring femme fatale. Despite their differences, they all have something in common: a belief in self-reinvention. Nightmare Alley is a thorough examination of how film noir disputes this notion at the heart of the American Dream. Central to many of these films, Mark Osteen argues, is the story of an individual trying, by dint of hard work or, more often, illicit enterprises, to overcome his or her origins and achieve material success. In the wake of World War II, the noir genre tested the dream of upward mobility and the ideas of individualism, liberty, equality, and free enterprise that accompany it. Employing an impressive array of theoretical perspectives (including psychoanalysis, art history, feminism, and music theory) and combining close reading with original primary source research, Nightmare Alley proves both the diversity of classic noir and its potency. This provocative and wide-ranging study revises and refreshes our understanding of noir's characters, themes, and cultural significance.