Kate Chopin And Catholicism

This book explores the Catholic aesthetic and mystical dimensions in Kate Chopin’s fiction within the context of an evolving American Catholicism in the late nineteenth and early twentieth centuries. Through a close reading of her novels and numerous short stories, Kate Chopin and Catholicism looks at the ways Chopin represented Catholicism in her work as a literary device that served on multiple levels: as an aesthetic within local color depictions of Louisiana, as a trope for illuminating the tensions surrounding nineteenth-century women’s struggles for autonomy, as a critique of the Catholic dogma that subordinated authenticity and physical and emotional pleasure, and as it pointed to the distinction between religious doctrine and mystical experience, and enabled the articulation of spirituality beyond the context of the Church. This book reveals Chopin to be not only a literary visionary but a writer who saw divinity in the natural world.

Authors Rory O'Neill Schmitt and Rosary O'Neill share the NOLA life of Kate Chopin, the first great American woman novelist. In this epic story, Chopin becomes a Phoenix rising amidst the disgrace, death, and abandonment in the romantic desperate setting of post-Civil War Louisiana. This book, a follow up to Edgar Degas in New Orleans, presents Chopin, who lived in the same neighborhood as the Degas family during that time. Chopin celebrated in New Orleans' great homes and mansions up River Road with their wonderland of oaks, columns, balconies. She had lived in the Garden District, watched New Orleans trolleys with their big windows roll past the Gothic mansions and Greco-Roman houses on St. Charles Avenue, strolled languidly through Audubon Park with its oak tree wonderland full of swa mps and lush Louisiana foliage.

In Catholicism and American Borders in the Gothic Literary Imagination, Farrell O'Gorman presents the first study of the recurrent role of Catholicism in a Gothic tradition that is essential to the literature of the United States. In this tradition, Catholicism is depicted as threatening to break down borders separating American citizens—or some representative American—from a larger world beyond. While earlier studies of Catholicism in the American literary imagination have tended to highlight the faith's historical association with Europe, O'Gorman stresses how that imagination often responds to a Catholicism associated with Latin America and the Caribbean. On a deeper level, O'Gorman demonstrates how the Gothic tradition he traces here builds on and ultimately transforms the persistent image in modern Anglophone literature of Catholicism as “a religion without a country; indeed, a religion inimical to nationhood.” O'Gorman focuses on the work of J. Hector St. John de Crèvecœur, Herman Melville, Kate Chopin, William Faulkner, Flannery O’Connor, Walker Percy, Cormac McCarthy, and selected contemporary writers including Toni Morrison. These authors, representing historical periods from the early republic to the present day, have distinct experiences of borders within and around their nation and hemisphere, itself an ever-emergent “America.” As O'Gorman carefully documents, they also have distinct experiences of Catholicism and distinct ways of imagining the faith, often shaped at least in part within the Church itself. In their narratives, Catholicism plays a complicated and profound role that ultimately challenges longstanding notions of American exceptionalism and individual autonomy. This analysis contributes not only to discourse regarding Gothic literature and nationalism but also to a broader ongoing dialogue regarding religion, secularism, and American literature.

Examines 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.

The essays in Kate Chopin in the Twenty-First Century update Chopin scholarship, creating pathways, both broad and narrow, for study in a new century. Given Chopin’s atypical literary career and her frequent writing about unconventional themes for her time—such as divorce, infidelity, and suicide—she may have approved such approaches as the essays here suggest. This collection of essays offers readers newer ways of thinking about Chopin’s works. They break away from the familiar trends of the feminist considerations of her work, ranging from her short stories, to her lesser-known novel, At Fault, to her best-known work, The Awakening. Part one introduces interdisciplinary themes for reading “culture” in Chopin, including urban living and theatre as a lens for viewing New Orleans’s social and class stratifications; the importance of music—a central interest of Chopin’s—in her texts; and the cultural relevance of Vogue magazine, where eighteen of Chopin’s stories were first published. Part two identifies important and overlapping concerns of religion, race, class, and gender within the contexts of selected short works. And part three offers fresh readings of The Awakening, using the lens of race, as well as the lens of class to reconsider protagonist Edna Pontellier’s transformation and her dependency upon the “rights” of privilege within a specific cultural context. Together, all of the essays in the collection, by both established and newer scholars, help to usher Chopin’s work into the twenty-first century.

Looking at the works of diverse writers as the gens de couleur libre poets of antebellum New Orleans, this book focuses on the shifting and contradictory ways Catholicism has signified within southern literature and culture. It contributes to a more nuanced understanding of American and southern literary and cultural history.

Roman Catholic writers in colonial America played only a minority role in debates about religion, politics, morality, national identity, and literary culture. However, the commercial print revolution of the nineteenth century, combined with the arrival of many European Catholic immigrants, provided a vibrant evangelical nexus in which Roman Catholic print discourse would thrive among a tightly knit circle of American writers and readers. James Emmett Ryan’s pathbreaking study follows the careers of important nineteenth-century religionists including Orestes Brownson, Isaac Hecker, Anna Hanson Dorsey, and Cardinal James Gibbons, tracing the distinctive literature that they created during the years that non-Catholic writers like Herman Melville and Emily Dickinson were producing iconic works of American literature. Faithful Passages also reveals new dimensions in American religious literary culture by moving beyond the antebellum period to consider how the first important cohort of Catholic writers shaped their message for subsequent generations of readers in the late nineteenth and early twentieth centuries. Perhaps most strikingly, Ryan shows that by the early twentieth century, Roman Catholic themes and traditions in American literature would be advanced in complex ways by mainstream, non-Catholic modernist writers like Kate Chopin and Willa Cather. Catholic literary culture in the United States took shape in a myriad of ways and at the hands of diverse participants. The process by which Roman Catholic ideas, themes, and moralities were shared and adapted by writers with highly differentiated beliefs, Ryan contends, illuminates a surprising fluidity of religious commitment and expression in early U.S. literary culture.

This classic of the interior life and Christian mysticism by the sainted 16th-century Spanish mystic and Carmelite nun focuses on the practice of prayer. Modern readers will appreciate its warmth and accessibility.