Chicago and the Making of American Modernism: Cather, Hemingway, Faulkner, and Fitzgerald in Conflict

Cover\nHalf-title\nTitle\nCopyright\nContents\nAcknowledgments\nList of Abbreviations\nIntroduction\nPart One: The Fire, the Columbian Exhibition, and the Boosters\n	1. Henry Blake Fuller and Chicago\n	2. Harriet Monroe and Chicago\n		The Columbian Exhibition, the “Columbian Ode,” and copyright\n		Worker’s Rights and Arts and Crafts: The lawsuit and verdict in context\n	3. Edgar Lee Masters, Sherwood Anderson, and Chicago\n		Edgar Lee Masters’s critique of Chicago\n		Sherwood Anderson, Frank Lloyd Wright, and the Craftsman ideal\nPart Two: Making Modernism Out of Chicago\n	4. Willa Cather and Chicago\n		Elia Peattie and Willa Cather’s embrace of the modern\n		Willa Cather’s critique of Chicago: The Song of the Lark\n		Fanny Butcher and the crass commercialism of the book market\n	5. Ernest Hemingway and Chicago\n		Oak Park, Chicago, and the idea of the “good businessman”\n		The business of making good, honest modernism\n		Making good modernism out of bad business\n		The bad business of patronage\n	6. William Faulkner and Chicago\n		The Mosquitoes, double dealers, and confidence men\n		Sanctuary, gangsters, and Ulysses\n		Wild Palms and the historical exchange between Chicago and the South\n	7. F. Scott Fitzgerald and Chicago\n		Ginevra King: True to type\n		The Medills and the McCormicks: “The Camel’s Back”\n		Eleanor “Cissy” and Joseph Patterson: “May Day”\n		Chicago plots: Among the Ash Heaps and the Millionaires\nNotes\nWorks Cited\nIndex