American Theater of the 1960s

By Zoltán Szilassy | Go to book overview

Crosscurrents/ Modern Critiques/ Third Series

I N THE EARLY 1960s, when the Crosscurrents/Modern Critiques series was developed by Harry T. Moore, the contemporary period was still a controversial one for scholarship. Even today the elusive sense of the present dares critics to rise above mere impressionism and to approach their subject with the same rigors of discipline expected in more traditional areas of study. As the first two series of Crosscurrents books demonstrated, critiquing contemporary culture often means that the writer must be historian, philosopher, sociologist, and bibliographer as well as literary critic, for in many cases these essential preliminary tasks are yet undone.

To the challenges that faced the initial Crosscurrents project have been added those unique to the past two decades: the disruption of conventional techniques by the great surge in innovative writing in the American 1960s just when social and political conditions were being radically transformed, the new worldwide interest in the Magic Realism of South American novelists, the startling

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