By Melody Graulich, Nicolas S. Witschi
Dirty phrases in “Deadwood” showcases literary analyses of the Deadwood television sequence by means of best western American literary critics. while past response to the sequence has principally addressed the query of old accuracy instead of intertextuality or literary complexity, Melody Graulich and Nicolas S. Witschi’s edited quantity brings a much-needed viewpoint to Deadwood’s illustration of the frontier West.
As Graulich observes in her creation: “With its emotional coherence, compelling characterizations, compressed structural brilliance, ethical ambiguity, language experiments, interpretation of the earlier, relevance to the current, and engagement with its literary forebears, Deadwood is a cultured triumph as historic fiction and, like a lot nice literature, makes a case for the humanistic price of storytelling.” From formerly unpublished interviews with sequence author David Milch to explorations of sexuality, incapacity, cinematic approach, and western narrative, this assortment specializes in Deadwood as a sequence finally concerning the mind's eye, as a verbal and visible build, and as a literary masterpiece that richly rewards shut research and interpretation.
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Extra info for Dirty Words in Deadwood: Literature and the Postwestern
Wild Bill Hickok . . . . . . William Bullock . . . . . . George Hearst . . . . . . Martha Bullock . . . . . . Ellsworth . . . . . . . . Johnny Burns . . . . . . . Con Stapleton . . . . . . Jewel . . . . . . . . . . Jack Langrishe . . . . . . Soﬁa Metz . . . . . . . . Francis Wolcott . . . . . . Samuel “Nigger General” Fields Pete Richardson . . . . . . A. W. Merrick . . . . . . . Hugo Jarry . . . . . . . . Brom Garret.
Xxxvi grau lich 3. 12). In creating his characters Milch might agree with Emerson that “a foolish consistency is the hobgoblin of little minds” (“Self Reliance,” in Brooks, Lewis, and Warren 1: 715). The large-minded — and large-hearted — “Al is a very good man with none of the behaviors of goodness” (Milch, Deadwood 17). ” While he believes that “seeming absolute contraries contain each other” (“Wedding Ceremony”), no Deadwood character could rest as comfortably in his contradictoriness as does Whitman: “Do I contradict myself?
However, occasionally authors, hearing different words or intonations, made small unnoted modiﬁcations to these transcriptions. Whenever possible we have taken Milch’s written lead; for instance, we use the spelling “hoople-head” as Milch did in Deadwood: Stories of the Black Hills. 9 — and omit the names of actors from individual essays. Instead we provide a list of episode names and numbers and a list of characters and actors immediately following this introduction. While many introductions provide brief summaries of the essays in the volume, we have chosen instead to write headnotes to essays, drawing parallels between them.
Dirty Words in Deadwood: Literature and the Postwestern by Melody Graulich, Nicolas S. Witschi