scholarly journals A Modernist Vernacular: Violent Figurations in Nathanael West’s Miss Lonelyhearts

Polysèmes ◽  
2005 ◽  
pp. 185-201
Author(s):  
William Dow
Keyword(s):  
Miss Lonelyhearts

Miss Lonelyhearts: The Imagery of Nightmare

1956 ◽  
Vol 8 (4) ◽  
pp. 316
Author(s):  
James F. Light
Keyword(s):  
Miss Lonelyhearts

West, Nathanael: Miss Lonelyhearts

2020 ◽  
pp. 1-2
Author(s):  
Jerôme von Gebsattel ◽  
Henning Thies
Keyword(s):  
Miss Lonelyhearts

West, Nathanael (1903–1940)

2018 ◽  
Author(s):  
Adam Meehan
Keyword(s):  
New York ◽  
New York City ◽  
Great Depression ◽  
York City ◽  
Nathanael West ◽  
The Great Depression ◽  
The Everyday ◽  
Depression Era ◽  
Miss Lonelyhearts ◽  
Title Character

Nathanael West was an author and screenwriter whose work spanned the decade of the 1930s. He was born Nathan Weinstein on 17 October 1903 in New York City; his decision to change his name at the age of twenty-two reflects a life-long ambivalence toward his Jewish ancestry. He is best known as a novelist whose work teems with characters suffering from psychological traumas stemming from the bleak atmosphere of Depression-era America. He died tragically and in relative obscurity with his wife Eileen in an automobile accident outside of El Centro, California in 1940. Miss Lonelyhearts (1933), his second novel, is widely considered his best work. Unlike his first novel, The Dream Life of Balso Snell (1931) — which was influenced by French surrealism and was highly experimental in style — Miss Lonelyhearts is rooted in the everyday challenges of the Great Depression. The title character, whose actual name is never given, works as an advice columnist for a newspaper in New York City. Although he and others see the job as trivial, the desperate letters from readers begin to take a heavy emotional toll, leading him on an ill-fated search for meaning. Although the book’s plot is tragic, it also features elements of black comedy, a pervasive element of West’s work.

This Stupendous Fabric: the Metaphysics of Order in Melville's Pierre and Nathanael West's Miss Lonelyhearts

1967 ◽  
Vol 1 (2) ◽  
pp. 269-274
Author(s):  
C. W. Bush
Keyword(s):  
United States ◽  
The United States ◽  
Work Of Art ◽  
American Artist ◽  
Nineteenth And Twentieth Centuries ◽  
Miss Lonelyhearts

It has always been the unique desire of the American artist to attempt to order all experience in terms of the work of art and to make his life continuous and integral with the work. This poses certain problems for the artist for he thus becomes personally responsible not only for his imaginative redefinition of life but also its enactment in plural reality. In singing himself Whitman believed he was singing all America. His declaration that ‘The United States themselves are essentially the greatest poem,’ makes the point precisely. But not all have felt the Whitmanian synthesis an easily attainable one. Washington Allston, in his Lectures on Art and Poems, had already stated the problem which was to occupy the American artist throughout the nineteenth and twentieth centuries:

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