American Literatures After 1865

Reviewed by Jay Rimmer, Circulation manager, New River Community College on 7/23/24

Comprehensiveness rating: 4 see less

The reading selections in this text feel like a good overview of American literature with much of the literary canon represented here, as well as a few lesser-known works by notable authors. The reading questions are thoughtful and detailed, but some works get more questions, and more-detailed questions, than others. The introductory sections for different authors and movements/styles are mostly detailed and useful.

This textbook includes several poems, and many reading questions mention specific poetic terms, but I didn’t see a discussion of these terms anywhere in the textbook. Instructors can obviously supplement this text, but the prose terminology seemed more fully explained, and the poetry sections might have been stronger with more definitions.

Content Accuracy rating: 5

To the best of my knowledge, all the selections here were presented accurately. Selections which were excerpts or abridged were clearly marked as such. Credit was given for photographs and biographical details. When introductory segments were written using AI, they were clearly marked.

Relevance/Longevity rating: 4

This textbook includes many “canonical” works, as well as a few authors/works which don’t often get included in anthologies. It’s clear that great effort was taken to include a varied assortment of texts. This textbook doesn’t attempt to include modern literature, which is likely a strength. An instructor wishing to cover more modern literature would likely find it easy to supplement this text in order to achieve that goal.

Clarity rating: 3

Most of the author/section introductions are full of useful information and presented in a way that demonstrates why they’re worth reading. These introductions provide the reader with necessary information and context while also attempting to tie the selections together, to show why we study multiple texts side-by-side

There are a few issues with the overall organization of this textbook that may impact clarity, which I’ll elaborate on in the Consistency section. Put simply, it’s not always clear why texts are arranged or grouped together in the way that they are. An editor’s note explaining the decisions might have helped some of the choices seem less arbitrary and unclear.

Along the same lines, two portions of this textbook were written with the help of OpenAI, both written by the same AI-assisted-human. Some instructors may appreciate that the author has been upfront about their use of AI, but it’s hard to see why AI help was needed. These two sections are also easily the weakest of the entire textbook. In particular, the introduction lacks a clearly-stated mission: the usual reasons for studying literature are given but there is no justification for this specific text and the choices made in the production of it.

Consistency rating: 3

The layout of this book is mostly clear and consistent, with a pattern of intro section – author intro – reading questions – reading selection. However, the first chapter does the opposite: it presents the reading selections first with questions following each reading. I think most readers, myself included, would expect the reading questions to come after the readings. It’s not clear why the ordering changes after the first section, and I saw no reason given for choosing this arrangement. I also wonder if a reader will be subconsciously confused by this difference in arrangement.

This textbook often bolds notable terms, but several important terms which were not bolded or not explained. This leaves the impression that the text is assuming readers will already know certain things, which is not a safe assumption to make.

Selections are not always presented in chronological order within a particular section. For instance, the two Whitman poems are dated 1892 and then 1865; the Dickinson poems from the same section are dated 1862, 1863, and 1890. One is chronological, and the other isn’t. If a reader subconsciously picks up on the chronological structure of a section, they may be confused when the next section isn’t chronological, or vice versa. No explanation is given for why the texts within sections are presented in this order.

Modularity rating: 3

This text is clearly divided up into multiple cohesive parts and chapters, which should make it easy for instructors to pick and choose what sections they want to use. The text not having a strictly chronological organization may also make it easier to skip around the text as well.

However, some of the organizational choices made for this textbook could reduce the usefulness of individual sections. Specifically, sections such as Whitman+Dickinson and Southern Renaissance+Postmodernism might not work for instructors who disagree with the pairings themselves. Furthermore, the Southern Renaissance+Postmodernism section does not seem to label authors as belonging to one camp or the other, which could lead to confusion for a reader or additional work for the instructor. Similarly, sections like Part IX include poetry and fiction side by side, which may not work for an instructor who would prefer to handle different genres or forms in their own lessons.

Organization/Structure/Flow rating: 1

While the chosen texts are good and relatively diverse, some of the chapter pairings and ordering do not make a lot of sense. For instance, the book begins with a discussion on metamodernism, with no discussion of modernism beforehand; if one term builds off of another, a reader might be confused if they don’t receive a definition for the “foundational” term first. Naturalism and modernism are paired together in a chapter, which could be too broad of a topic for a single chapter. Similarly, the first portion of the “Southern Renaissance” and the Harlem Renaissance are presented together in the same chapter, and while a case can be made for this pairing, I wonder if a reader will think these two eras are less important or less valuable because they’ve been placed together. If we signal importance through giving a subject a chapter of its, do we also signal that a subject is unimportant or less important by not giving it a chapter of its own?

Readings within chapters are seldom arranged in chronological order: for instance, the poems in Part VIII are dated with the following years: 1914, 1914, 1923, 1923, 1926, 1919, 1915, 1921, 1921, 1919, 1920, 1922. This back-and-forth pattern can be explained by saying that each author’s works are presented in chronological order, which is true for this section, but that isn’t the case for other sections. (Whitman’s 1890 Song of Myself is included first in his section, followed by a poem from 1865.) The zig-zagging timeline and the mix of forms and genres makes it difficult to say what the structure or flow of this textbook truly is.

Interface rating: 3

I worked mostly with the PDF version of this book. The visual presentation of the textbook is largely good. High-quality author photographs are included, and the layout of the book is clearly delineated between chapters and sections, which makes it easy to know where you are. The PDF was easy to use and navigate. One downside of the interface is the need to visit a different website for the readings which could not be included in the textbook, which is likely unavoidable, but still has the issue of introducing potential distractions and complications for readers.

I was able to download the Microsoft Word version of the textbook, but I was unable to open it. The availability of the PDF makes this less of an issue, but this may be an issue in certain niche cases.

After comparing the online-hosted version of the textbook to the PDF textbook, I found the online version to have many advantages over the PDF. The online version is a much more visually appealing version than the PDF version. After reading the PDF for quite some time, I found that the font began to feel a bit blurred, with lines almost bleeding together. The font choice for the online version is much more pleasant and would likely be a more comfortable font to look at for long periods of time. The table of contents is much nicer looking in the online version as well, which may be due to limits with PDF formatting. Being able to download the PDF file for offline use is a massive advantage over the online version, especially in rural areas where internet connectivity is an ongoing issue, but it’s a shame that the online version is so much more visually appealing while also being less convenient for access.

Grammatical Errors rating: 4

This textbook seems to be free of grammatical and typographical errors as far as I can tell.

Cultural Relevance rating: 4

I think this textbook strikes a good balance between including the “canonical” authors of American literature while also including some lesser known authors, or authors who are not typically anthologized quite as often. Some instructors may want an even wider variety of authors, in order to represent a broader range of lived experiences, which is a valid concern. It must be difficult to satisfy these concerns while also giving a good overview of the texts which have been accepted as “canonical”, and I think the choice of readings here displays a great deal of thought and consideration.

Reviewed by Leah M, Assistant Professor, University of Indianapolis on 12/18/23

Comprehensiveness rating: 3 see less

American Literatures After 1865 includes many of the standard "canonical" works and authors we've come to expect and love from anthologies of this sort, as well as thoughtful review questions. Many of the sections and authors have introductions, many of which are written by the authors. The selections include a good number of women and Black American authors. The collection lacks good representation from Asian American, Jewish American, and Latinx American authors and works. One Indigenous author is included. More LGBTQIA+ representation would have been welcomed. There is no index but a glossary and bibliography are included. Some of the texts link to external sources, which is always a disappointment for me with OER due to the opportunities it opens up for student distraction, etc., but I suspect some of this linking may be due to copyright, as mentioned too by the authors in the introduction.

Content Accuracy rating: 5

The introductions, particularly those by the authors, provide information relevant to the reading and/or time period. Some words preserve the bolded font of the original source but without the context, or perhaps are missing from the glossary....? I was intrigued by the organization of this textbook, which is atypical and may lead to some interesting discussions about how a class like this is structured and how it might be changed or adapted differently.

Relevance/Longevity rating: 3

As noted in the above section on Comprehensiveness, I feel like this text preserves a lot of traditional "canonical" texts and authors without introducing the "new" canonical authors that have become part and parcel of the way many of my colleagues and I teach this subject. The brief and clear introductions will remain useful, as they are written--as indicated below in an accessible style.

Clarity rating: 4

The book's introductions to authors and time periods are written in a clear and accessible style that should work well for introductory and survey courses. There are some organizational methods here that are quite striking and can lead to interesting discussions. Some of the other book sections, however, are unexplained or only briefly introduced. For example, some of the grouped authors (such as that of Contemporary Fiction) only have as their introduction review questions to justify their grouping.

Consistency rating: 5

The book's style and approach are consistent throughout the textbook and across all chapters.

Modularity rating: 4

I like sections such as the content advisory boxes and the box on naturalism, and wish there were more like this. The author photos are a great touch. Breaking up the text in ways that provide additional useful information is always welcome!

Organization/Structure/Flow rating: 3

For historical context, it would have been useful to approach at least the time periods in more chronological fashion, but as mentioned elsewhere in this review, these groupings also provide other striking possibilities for organizing a course. This does make this book less appealing for survey courses, which are already at a challenge in trying to cover so much historical and literary material in a short amount of time. In that sense, while the clarity of style makes the introductions accessible, I would consider the organization as a deterrent especially to lower-level courses.

Interface rating: 5

The PDF that I first downloaded had consistent links, including in the table of contents. Other formats appeared to work well though I mostly worked with the PDF for this review. It would have been nice if bolded terms linked to the glossary. The creators offered four different formats - e-book, online, PDF, and Word. These different formats should offer flexibility for students and instructors.

Grammatical Errors rating: 3

I downloaded the PDF version. In it, there are some typos (hard returns in the middle of words, etc. in some of the introductions, as well as spacing, justification, indentation issues, and other small errors that may nevertheless impede meaning or distract readers. Some book titles are not italicized. The glossary has one listing out of order.

Cultural Relevance rating: 2

This book lacked adequate representation for me as an instructor who tries to represent American literature as multicultural, representing numerous races, heritages, genders, and class backgrounds.

Reviewed by Rachael Hammond, Lecturer of English, Shenandoah University on 4/14/23

Comprehensiveness rating: 4 see less

The provided selections are generally the “hits” –both critically and popularly. The book includes perennial favorites, such as “A Rose for Emily,” “The Yellow Wall-paper,” “The Red Wheelbarrow,” and more. Some selections do take the reader from an embedded link to an outside source. This departure from the text (to the Internet Archive site) could fracture the students’ reading experience and take them into rabbit holes, with the pop-up advertisement on those newly opened pages (more of a concern for students who might get easily distracted). Some links could be confusing; Streetcar Named Desire departs to the Internet Archive where some pages seem to be omitted, yet a login for borrowing is offered.

The text includes some thoughtful and helpful introductions to some of the works (such as Stevens’s “Emperor of Ice Cream”). The provided review questions are also strong. These items could prove quite helpful for professors who include homework assignments and who might want to use those questions or who might find that they inspire similar homework questions or just talking points for a class discussion.

Content Accuracy rating: 4

Well-conceived unit introductions are a true strength in this text. The wording is clear and direct, suggesting these portions could prove very helpful to students who are considering main ideas of the referenced literary movements as well as key historical events that affect the various literary trends. Some of these portions include emboldened terms. –Very helpful! Being more consistent with the emboldening, in the various chapters, would enhance the help to students even more.

The text’s overall introduction is clear and personable. It should prove engaging to most student readers. This main introduction is also very direct in its discussion of AI and how AI contributed to this book. Professors considering this text might want to consider how this fact and admission would (or would not) complement their approaches to including this text in their course study. (Admittedly, Ai is “here to stay,” but professors who’ve had academic integrity issues with AI might have mixed feelings about the book’s embrace of AI.

Relevance/Longevity rating: 5

This text offers a gentle and brief introduction to key works of American literature since 1865. If the educator wants a basic text, then this one could "fit the bill," so to speak. Most of the included works could be described as the best or better known examples.

Clarity rating: 5

Overall, the book is clear. The unit introductions offer some fresh --and sometimes unexpected, perspectives; however, the writing itself is clear and direct. Any students using this book, especially at the college-level, should not need to consult dictionary.com or Google to learn a word or to investigate the phrases.

Consistency rating: 4

The text in this book shows a consistency. The text style suggests that the editorial team considered each other's ideas. Some of the sequencing did distract form the overall sense of consistency, however.

Modularity rating: 3

The book’s approach to units and chapters is clear in its titling. Some of the literary movement “bundles” seem a little unexpected, however. For instance, combining the Naturalism with Modernism and combining the Southern Literary Renaissance with Post-Modernism for various units was unexpected, not what I am accustomed to seeing in these anthologies. On one hand, I appreciate the fresh possibilities for interpretation that an arise from these movement pairings. At the same time, I wonder about the experience for a student who is new to the study of American literature. Would these pairings help that student to develop the broad spectrum as easily and as clearly as possible?

Organization/Structure/Flow rating: 3

The sequencing also requires some adjustment for any reader expecting more of a chronological approach. For instance, Faulkner appears in the book before Whitman. The book begins with an introduction to and samples of contemporary fiction. Several chapters later the book features nineteenth century fiction. –Yet, the chronology does not consistently move backwards, either. Nor does the book sequence by theme. And nor does it sequence by literary genre; chronologies, movements, and samples vary throughout.

This overall sequencing is at once intriguing but concerning. While it can elicit fresh ideas for the course instructor, the concern is for students who might need a clearer approach to the overall sequencing of material. Admittedly, a professor can assign the works in the preferred order –chronological, thematic, or genre; nevertheless, in some ways the provided sequence is a bit puzzling.

Interface rating: 4

The text offers 4 viewing options. I sampled the PDF version on my Smartphone. It worked quite nicely; I have no complaints about the download or agility of the text. Of course, the embedded links do not work in a PDF, but that’s because of the nature of PDF’s rather than an error in the textbook functionality.
On my laptop, I sampled the other 3 viewing options: eBook, Online, and MS Word download. The first two worked pretty well. The content dropdown options on the left were especially well-done. The links between sections of the text work nicely, as well. In addition, I appreciate how the book “remembers” where you were if you close it and return later –a nice feature! Overall, the eBook option seems the most user-friendly.

The Word format did not want to work on my school laptop (an Apple Air), however. At first, the book seems to download, but then an error says that some of the content won’t be readable. It asks for the go ahead, but after an affirmative click, a new error appears: “Word experienced an error trying to open the file. Try these suggestions. Check the file permissions for the document or drive. Make sure there is sufficient free memory and disk space. Open the file with the Text Recovery converter. (American-Literatures-After-1865-16755...)”. Space is not an issue. Possibly download permissions need to be reviewed or updated. That said, most teacher and student users would probably prefer the eBook and online versions, anyway.

Grammatical Errors rating: 5

The general introduction as well as the unit introductions appear to be thoughtfully composed and carefully edited.

Cultural Relevance rating: 4

The readings include a variety of works composed by key African-American authors and some LGBTQIA+ writers. Including even more variety –such as other diverse and immigrant voices, would strengthen the text, even further (such as Native American authors, Asian American voices, Latinx, etc.). While copyrights for more recent authors, like Amy Tan or Louise Erdrich, might be elusive, others such as Chief Joseph or Sui Sin Far, might be available on Project Gutenberg or other open and free sites.

Comments

American Literatures After 1865 offers a very solid option for an open education resource text for an American Literature 2 survey class.

American Literatures after 1865 offers various strengths, most notably: usability functions in eBook and Online versions; unit and some work introductions; and offered homework questions. Some drawbacks might be in the unexpected pairings of literary movements and in the potential to include more diversity among the included authors and texts.

American Literatures after 1865 could prove useful as a complementary text for a survey course. Its editorial content could help it to serve as a main text, but the professor might want to complement it with additional notes and sample readings.