Editing Expressionism (section)

====Prose====
In prose, the early stories and novels of Alfred Döblin were influenced by Expressionism,<ref>{{cite journal|last=Cowan|first=Michael|title=Die Tücke Des Körpers: Taming The Nervous Body In Alfred Döblin's 'Die Ermordung Einer Butterblume' And 'Die Tänzerin Und Der Leib'.|journal=Seminar: A Journal of Germanic Studies|year=2007|volume=43|issue=4|pages=482–498|doi=10.3138/seminar.43.4.482|s2cid=197837029 }}</ref> and [[Franz Kafka]] is sometimes labelled an Expressionist.<ref>Walter H. Sokel, ''The Writer in Extremis''. Stanford, California: Stanford University Press, 1959, pp 3, 29, 84 especially; Richard Murphy, ''Theorizing the Avant-Garde''. Cambridge, Cambridge University Press,1999, especially pp 41,142.</ref>
Some further writers and works that have been called Expressionist include:
* [[Franz Kafka]] (1883–1924): "[[The Metamorphosis]]" (1915), ''[[The Trial]]'' (1925), ''[[The Castle (novel)|The Castle]]'' (1926)<ref>[[Silvio Vietta]], "Franz Kafka, Expressionism, and Reification" in ''Passion and Rebellion: The Expressionist Heritage'',  eds. Stephen Bronner and Douglas Kellner. New York: Universe Books, 1983 pp,  pp.201–16.</ref>
* [[Alfred Döblin]] (1878–1957): ''Berlin Alexanderplatz'' (1929)<ref>Richard Murphy, ''Theorizing the Avant-Garde: Modernism, Expressionism and the Problem of Postmodernity''. Cambridge: Cambridge University Press, 1999, pp.74–141;  Ulf Zimmermann, "Expressionism and Döblin's ''Berlin Alexanderplatz'' " in  ''Passion and Rebellion'', pp.217–234.</ref>
* [[Wyndham Lewis]] (1882–1957)<ref>Sheila Watson, ''Wyndham Lewis Expressionist''. Ph.D Thesis, University of Toronto, 1965.</ref>
* [[Djuna Barnes]] (1892–1982): ''[[Nightwood]]'' (1936)<ref>Sherrill E. Grace, ''Regression and Apocalypse: Studies in North American Literary Expressionism''. Toronto: University of Toronto Press, 1989, pp.141–162.</ref>
* [[Malcolm Lowry]] (1909–1957): ''[[Under the Volcano]]'' (1947)
* [[Ernest Hemingway]]<ref>Raymond S. Nelson, ''Hemingway, Expressionist Artist''. Ames, Iowa University Press, 1979; Robert Paul Lamb, ''Art matters: Hemingway, Craft, and the Creation of the Modern Short Story''. Baton Rouge: Louisiana State University Press, c.2010.</ref>
* [[James Joyce]] (1882–1941): "The Nighttown" section of ''[[Ulysses (novel)|Ulysses]]'' (1922)<ref>Walter H. Sokel, ''The Writer in Extremis''. Stanford, California: Stanford University Press, 1959,  p.1; R. S. Furness, ''Expressionism''. London: Methuen, 1973, p. 81.</ref>
* [[Patrick White]] (1912–1990)<ref>Sherrill E. Grace, p.7.</ref>
* [[D. H. Lawrence]]<ref>Sherrill E. Grace, p.7</ref>
* [[Sheila Watson (writer)|Sheila Watson]]: ''[[The Double Hook|Double Hook]]''<ref>Sherrill E. Grace, pp 185–209.</ref>
* [[Elias Canetti]]: ''[[Auto-da-Fé (novel)|Auto-da-Fé]]''<ref>Sherrill E. Grace, p.12.</ref>
* [[Thomas Pynchon]]<ref>Sherrill E. Grace, p.7, 241–3.</ref>
* [[William Faulkner]]<ref>Jeffrey Stayton, "Southern Expressionism: Apocalyptic Hillscapes, Racial Panoramas, and Lustmord in William Faulkner’s Light in August". ''The Southern Literary Journal'', Volume 42, Number 1, Fall 2009, pp. 32–56.</ref>
* [[James Hanley (novelist)|James Hanley]] (1897–1985)<ref>Ken Worpole, ''Dockers and Detectives''. London: Verso Editions, 1983, pp. 77–93.</ref>
* [[Raul Brandão]] (1867–1930): ''Húmus'' (1917)
* [[Leonid Andreyev]] (1871–1919): ''Devil's Diary'' (1919)