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(More customer reviews)This is an original and provocative book. Addressing W. E. B. DuBois's concept of "the color line" in the 20th century, Krentz argues that 19th century American literature grappled with a "hearing line," i.e. a contested boundary between hearingness (the author's coinage) and deafness. He examines how this hearing line appears in work by deaf authors and also in the canonical authors of the century. The readings of Melville, Twain, Cooper, and others open new perspectives on their works that should be of interest to anyone concerned with the construction of American identity. The deaf authors included are contextualized in their literary and social locations as they articulate a deaf "I" or "we."
Throughout the work, Krentz engages current literary theory on gender, race, class, and colonialism. Deaf American culture intersects with these theories, but also presents challenges to them. The similarities and differences between deaf experience(s) and those of other oppressed groups deserve serious thought by anyone interested in the dynamics of self-definition for oppressed groups. Krentz emphasizes the positive sense of deaf identity and community that emerged in the 19th century, as authors responded to the complexities of American identity at that time.
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Taking an original approach to American literature, Christopher Krentz examines 19th-century writing from a new angle: that of deafness, which he shows to have surprising importance in identity formation. He demonstrates that deaf and hearing authors used writing to explore their similarities and differences, trying to work out the invisible boundary, analogous to Du Bois's color line, that Krentz calls the "hearing line." Discusses authors including James Fenimore Cooper, Lydia Huntley Sigourney, Herman Melville, and Mark Twain.
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