In 1957 emigreer die negejarige Henk van Woerden vanaf Nederland met sy gesin na Kaapstad – leertas in die hand, mussie oor die ore, serp om die nek, glasoog in die oogkas. Eers veertig jaar later ontdek hy wat die rede was vir hierdie vertrek na Suid-Afrika: Sy pa was ’n kollaborateur in die Tweede Wêreldoorlog. Die emigrasie is die begin van ’n lewe as buitestaander en vorm later die goue draad in sy skilderye en literêre werk.

Koning Eenoog is ’n boeiende biografie van die ewig soekende emigrant Henk van Woerden (1947–2005), ’n skrywer wat nie net ’n bekroonde oeuvre agtergelaat het nie (Een mond vol glas – Alan Paton Award en die Frans Kellendonk-prys, Ultramarijn – Gouden Uil en Inktaap) maar ook die Nederlandse literatuur oor Suid-Afrika verander het.

The lives of South Africans have always been interwoven in complex ways. There is a long history of division; but also of profound (and often surprising) instances of mutual recognition. Recognition is an exciting anthology of short stories in which twenty-two South African writers render these intricate connections.

The writers whose stories have been selected use the transformative power of the imagination and the unique appeal of the short story to illuminate aspects of our past and present. Cumulatively their stories tell of a history tainted by misrecognition but not, finally, bound by it. Amongst the twenty-two contributors are some of our best-known short story writers: Pauline Smith, Herman Charles Bosman, H.I. E. Dhlomo, Can Themba, Nadine Gordimer, Alex La Guma, Dan Jacobson, Miriam Tlali, Ahmed Essop, Njabulo Ndebele, Mandla Langa, Chris van Wyk, Damon Galgut, Achmat Dangor and Zoe Wicomb. And there is also a selection of vibrant newer voices: Makhosazana Xaba, Nadia Davids, Mary Watson, Lindiwe Nkutha, Wamuwi Mbao and Kobus Moolman.

Chronologically the collection ranges from the 1920s to the twenty first century. It builds on its predecessor, Encounters, but devotes significant attention to the transitional and post-apartheid years: almost half the stories were published after 1994. The anthology includes a generous and detailed introduction, written by David Medalie. It traces the motif of recognition, discusses the general characteristics of short stories and the narrative devices used by writers, and includes a brief analysis of each short story.

Recognition will appeal to teachers and students of literature. It will be enjoyed by all those who love short stories and appreciate the craftsmanship involved in telling a memorable tale.

The first ever memoirs from the Number One global bestselling adventure author.

Wilbur Smith has lived an incredible life of adventure, and now he shares the extraordinary true stories that have inspired his fiction. From being attacked by lions to close encounters with deadly reef sharks, from getting lost in the African bush without water to crawling the precarious tunnels of gold mines, from marlin fishing with Lee Marvin to near death from crash-landing a Cessna airplane, from brutal school days to redemption through writing and falling in love, Wilbur Smith tells us the intimate stories of his life that have been the raw material for his fiction.

Always candid, sometimes hilarious, and never less than thrillingly entertaining, On Leopard Rock is testament to a writer whose life is as rich and eventful as his novels are compellingly unputdownable.

Die Singende Hand: Versamelde Gedigte 1984 – 2014 is Breyten Breytenbach se derde versamelbundel.

Dit vorm ’n drieluik met die vorige twee bande, Ysterkoei-Blues en Die Ongedanste Dans.

I Write What I Like features the writing of the famous activist and Black Consciousness leader, Steve Biko. Before his untimely death in detention at age 30, he was instrumental in uniting Black Africans in the struggle against the apartheid government in South Africa.

This 40th anniversary edition includes a foreword by Njabulo S. Ndebele, personal reflections on Steve Biko and Black Consciousness, as well as Biko’s first known published piece of writing. In addition, it features all the material of the original Picador Africa edition: a collection of Biko’s columns entitled I Write What I Like published in the journal of the South Africa Student Organisation under the pseudonym of ‘Frank Talk’; other journal articles, interviews and letters written by Steve Biko at the time; an Introduction by Nkosinathi Biko; a preface by Archbishop Desmond Tutu; and a moving memoir by Father Aelred Stubbs, which pays tribute to the courage and power of this young leader, who was to become one of Africa’s heroes.

What does friendship have to do with racial difference, settler colonialism and post-apartheid South Africa? While histories of apartheid and colonialism in South Africa have often focused on the ideologies of segregation and white supremacy, Ties that Bind explores how the intimacies of friendship create vital spaces for practices of power and resistance. Combining interviews, history, poetry, visual arts, memoir and academic essay, the collection keeps alive the promise of friendship and its possibilities while investigating how affective relations are essential to the social reproduction of power. From the intimacy of personal relationships to the organising ideology of liberal colonial governance, the contributors explore the intersection of race and friendship from a kaleidoscope of viewpoints and scales. Insisting on a timeline that originates in settler colonialism, Ties that Bind uncovers the implication of anti-Blackness within nonracialism, and powerfully challenges a simple reading of the Mandela moment and the rainbow nation. In the wake of countrywide student protests calling for decolonization of the university, and reignited debates around racial inequality, this timely volume insists that the history of South African politics has always already been about friendship. Written in an accessible and engaging style, Ties that Bind will interest a wide audience of scholars, students, and activists, as well as general readers curious about contemporary South African debates around race and intimacy.

Twentieth Anniversary Edition with Contributions from Joe Hill and Owen King.

Part memoir, part masterclass by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported, near-fatal accident in 1999 - and how the inextricable link between writing and living spurred his recovery.

Immensely helpful and illuminating to any aspiring writer, this special edition of Stephen King's critically lauded, million-copy bestseller shares the experiences, habits, and convictions that have shaped him and his work.

Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it - fans, writers, and anyone who loves a great story well told.

York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced intorduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

Tense Future falls into two parts. The first develops a critical account of total war discourse and addresses the resistant potential of acts, including acts of writing, before a future that looks barred or predetermined by war. Part two shifts the focus to long interwar narratives that pit both their scale and their formal turbulence against total war's portrait of the social totality, producing both ripostes and alternatives to that portrait in the practice of literary encyclopedism. The book's introduction grounds both parts in the claim that industrialized warfare, particularly the aerial bombing of cities, intensifies an under-examined form of collective traumatization: a pretraumatic syndrome in which the anticipation of future-conditional violence induces psychic wounds. Situating this claim in relation to other scholarship on "critical futurities," Saint-Amour discusses its ramifications for trauma studies, historical narratives generally, and the historiography of the interwar period in particular. The introduction ends with an account of the weak theory of modernism now structuring the field of modernist studies, and of weak theory's special suitability for opposing total war, that strongest of strong theories.

Commonwealth of Letters complicates the traditional understanding of the relationship between elite, aging modernists like T.S. Eliot and the generation of colonial poets and novelists from Africa and the Caribbean- Kamau Brathwaite, Ngugi wa Thiong'o, Jean Rhys, and others-who rose to prominence after World War Two. Rather than a mostly one-sided relationship of exploitation, Kalliney emphasizes how both groups depended on-and thrived off-one another. The modernists, dispirited by the turn to a kind of bland, welfare-state realism in literature and the rise of commercial mass culture, sought rejuvenation and kindred spirits amongst a group of emigre writers from the Caribbean and Africa who had been educated in the literary curriculum exported to the colonies in the years before 1945. For their part, the postcolonial writers, ambitious for literary success and already skeptical of the trend toward corruption and philistinism among their compatriot anticolonial politicians, sought the access to cultural capital and the comforting embrace of literature provided by metropolitan modernists. As a result, modernist networks became defined by the exchange between metropolitan and colonial writers. In several chapters, Kalliney provides compelling analyses of colonial writers in postwar cultural institutions, such as the BBC, literary anthologies, and high profile English publishers such as Faber & Faber and Heinemann, developer of the African Writers Series. Throughout, Kalliney acknowledges the elements of cultural imperialism, and paternalism involved in these relationships; however, he broadens our perspective on postcolonial writers by emphasizing the strategic ways they manipulated these elite modernist networks to advance their own cultural agendas.Transatlantic Modernism and the Emergence of Postcolonial Literature is a study of midcentury literary institutions integral to modernism and postcolonial writing. Several organizations central to interwar modernism, such as the BBC, influential publishers, and university English departments, became important sites in the emergence of postcolonial literature after the war. How did some of modernism's leading figures of the 1930s, such as T.S. Eliot, Louis MacNeice, and Stephen Spender, come to admire late colonial and early postcolonial literature in the 1950s? Similarly, why did late colonial and early postcolonial writers-including Chinua Achebe, Kamau Brathwaite, Claude McKay, and Ngugi wa Thiong'o-actively seek alliances with metropolitan intellectuals? Peter Kalliney's original archival work on modernist cultural institutions demonstrates that this disparate group of intellectuals had strong professional incentives to treat one another more as fellow literary professionals, and less as political or cultural antagonists. Surprisingly, metropolitan intellectuals and their late colonial counterparts leaned heavily on modernist theories of aesthetic autonomy to facilitate their collaborative ventures. For white, metropolitan writers, T.S. Eliot's notion of impersonality could help recruit new audiences and conspirators from colonized regions of the world. For black, colonial writers, aesthetic autonomy could be used to imagine a literary sphere uniquely resistant to the forms of racial prejudice endemic to the colonial system. This strategic collaboration did not last forever, but it left a lasting imprint on the ultimate disposition of modernism and the evolution of postcolonial literature.

The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn't already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry's dynamic creation and re-creation of itself in the public imagination.

The greed, excess, and decadence of the long 1980s has been famously chronicled, critiqued, and satirized in epochal works like White Noise by Don DeLillo, American Psycho by Bret Easton Ellis, and Tom Wolfe's The Bonfire of the Vanities. Leigh Claire La Berge offers an in-depth study of these fictions alongside the key moments of financial history that inform them, contending that throughout the 1980s, novelists, journalists, and filmmakers began to reimagine the capitalist economy as one that was newly personal, masculine, and anxiety producing. The study's first half links the linguistic to the technological by exploring the arrival of ATMs and their ubiquity in postmodern American literature. In transformative readings of novels such as White Noise and American Psycho, La Berge traces how the ATM serves as a symbol of anxious isolation and the erosion of interpersonal communication. A subsequent chapter on Ellis' novel and Jane Smiley's Good Faith explores how male protagonists in each develop unique associations between money and masculinity. The second half of the monograph features chapters that attend to works-most notably Oliver Stone's Wall Street and Wolfe's The Bonfire of the Vanities-that capture aspects of the arrogance and recklessness that led to the savings-and-loan crisis and the 1987 stock market crash. Concluding with a coda on the recent Occupy Wall Street Movement and four short stories written in its wake, Scandals and Abstraction demonstrates how economic forces continue to remain a powerful presence in today's fiction.

Lin Shu, Inc. explores the dynamic interactions between literary translation, commercial publishing, and the politics of "traditional" Chinese culture in the late nineteenth and early twentieth centuries. It breaks new ground as the first full-length study in any Western language on the career and works of Lin Shu and his many collaborators in the publishing, academic, and business worlds. Integrating literary scholarship, translation studies, and print history, this book provides new insights into a controversial figure in world literature and his place in the profound transformations in authorship and cultural production in modern China. Well before Ezra Pound and Bertolt Brecht transformed Western-language poetry and theater with their inventions of Chinese culture, Lin Shu and his collaborators had already embarked on a translation project unique in modern literature. Although he knew no foreign languages, in a 20-year period Lin Shu worked with 19 different assistants schooled in English, French, and other tongues to complete more than 180 book-length translations into classical Chinese. Through burgeoning print outlets such as the Commercial Press (Shangwu yinshuguan), Lin and his collaborators offered many readers in China their first taste of "Western literature" - usually 19th-century novels and short stories from the United States, England, and France. At the same time, Lin Shu leveraged his labors as a translator to make himself into a leading authority on "traditional" Chinese literature and cultural values. From what one publisher called his "factory of words," Lin issued scores of textbooks and anthologies of classical-language literature, along with short stories, poems, essays, and a handful of full-length novels.

Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination.
Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-in poetry, drama, and art, but also in cartoons, advertising, and currency-was initially seized upon as a story of sexual awakening, then as a vehicle for social and political satire, and finally as a symbol of European unity. In contast, the minotaur provided artists ranging from Picasso to Durrenmatt with an image of the artist's sense of alienation, while the labyrinth suggested to many writers the threatening sociopolitical world of the twentieth century. Ziolkowski also considers the roles of such modern figures as Marx, Nietzsche, and Freud; of travelers to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, including T. S. Eliot and Thomas Mann, who hailed the use of myth in modern literature.
Minos and the Moderns concludes with a summary of the manners in which the economic, aesthetic, psychological, and anthropological revisions enabled precisely these myths to be taken up as a mirror of modern consciousness. The book will appeal to all readersinterested in the classical tradition and its continuing relevance and especially to scholars of Classics and modern literatures.

This books provides students with an introduction to the work of Ian McEwan that places his fiction in historical and theoretical context. It explores his biography and his hallmark literary techniques, and it looks at the issues of ethics and representation, focusing particularly on his most recent fiction. Including a timeline of key dates and an interview with the author, this guide offers an accessible reading of McEwan's work and an overview of the varied critical reception this has provoked.

This book explores the mental and literary awakening that many working-class women in the United States experienced when they left the home and began to work in factories early in the nineteenth century. Cook also examines many of the literary productions from this group of women ranging from their first New England magazine of belles lettres, The Lowell Offering, to Emma Goldman's periodical, Mother Earth; from Lucy Larcom's epic poem of women factory workers, An Idyl of Work, to Theresa Malkiel's fictional account of sweatshop workers in New York, The Diary of a Shirtwaist Striker. Working women's avid interests in books and writing evolved in the context of an American romanticism that encouraged ideals of self-reliance that were not formulated with factory girls in mind. Their efforts to pursue a life of the mind while engaged in arduous bodily labour also coincided with the emergence of middle-class women writers from private and domestic lives into the literary marketplace. However, while middle-class women risked forfeiting their status as ladies by trying to earn money by becoming writers, factory women were accused of selling out their class credentials by trying to be literary. Cook traces the romantic literariness of several generations of working-class women in their own writing and the broader literary responses of those who shared some, though by no means all, of their interests. The most significant literary interaction, however, is with middle-class women writers. Some of these, like Margaret Fuller, envisioned ideals of female self-development that inspired, without always including, working women. Others, like novelists Davis, Phelps, Alcott, and Scudder, created compassionate fictions of their economic and social inequities but balked at promoting their artistic and intellectual equality.

The most famous name in French literary circles from the late 1950s till his death in 1981, Roland Barthes maintained a contradictory rapport with the cinema. As a cultural critic, he warned of its surreptitious ability to lead the enthralled spectator toward an acceptance of a pre-given world. As a leftist, he understood that spectacle could be turned against itself and provoke deep questioning of that pre-given world. And as an extraordinarily sensitive human being, he relished the beauty of images and the community they could bring together.

Kafka's novel The Trial, written from 1914 to 1915 and published in 1925, is a multi-faceted, notoriously difficult manifestation of European literary modernism, and one of the most emblematic books of the 20th Century. It tells the story of Josef K., a man accused of a crime he has no recollection of committing and whose nature is never revealed to him. The novel is often interpreted theologically as an expression of radical nihilism and a world abandoned by God. It is also read as a parable of the cold, inhumane rationality of modern bureaucratization. Like many other novels of this turbulent period, it offers a tragic quest-narrative in which the hero searches for truth and clarity (whether about himself, or the anonymous system he is facing), only to fall into greater and greater confusion. This collection of nine new essays and an editor's introduction brings together Kafka experts, intellectual historians, literary scholars, and philosophers in order to explore the novel's philosophical and theological significance. Authors pursue the novel's central concerns of justice, law, resistance, ethics, alienation, and subjectivity. Few novels display human uncertainty and skepticism in the face of rapid modernization, or the metaphysical as it intersects with the most mundane aspects of everyday life, more insistently than The Trial. Ultimately, the essays in this collection focus on how Kafka's text is in fact philosophical in the ways in which it achieves its literary aims. Rather than considering ideas as externally related to the text, the text is considered philosophical at the very level of literary form and technique.

Joseph Conrad, Jean Rhys, and Pramoedya Ananta Toer are writers renowned for crafting narratives of great technical skill that resonate with potent truths on the colonial condition. Yet given the generational and geographical boundaries that separated them, they are seldom considered in conjunction with one another. The Passage of Literature unites the three in a bracing comparative study that breaks away from traditional conceptions of modernism, going beyond temporal periodization and the entrenched Anglo-American framework that undergirds current scholarship.
This study nimbly traces a trio of distinct yet interrelated modernist genealogies. English modernism as exemplified by Conrad's Malay trilogy is productively paired with the hallmark work of Indonesian modernism, Pramoedya's Buru quartet. The two novel sequences, penned years apart, narrate overlapping histories of imperialism in the Dutch East Indies, and both make opera central for understanding the cultural dynamic of colonial power. Creole modernism--defined not only by the linguistic diversity of the Caribbean but also by an alternative vision of literary history--provides a transnational context for reading Rhys's Good Morning, Midnight and Wide Sargasso Sea, each novel mapped in relation to the colonial English and postcolonial Indonesian coordinates of Conrad's The Shadow-Line and Pramoedya's This Earth of Mankind. All three modernisms-English, Creole, and Indonesian-converge in a discussion of the Indonesian figure of the nyai, a concubine or house servant, who represents the traumatic core of transnational modernism. Throughout the study, Pramoedya's extraordinary effort to reconstruct the lost record of Indonesia's emergence as a nation provides a model for reading each fragmentary passage of literature as part of an ongoing process of decolonizing tradition.
Drawing on translated and un-translated works of fiction and nonfiction, GoGwilt effectively reexamines the roots of Anglophone modernist studies, thereby laying out the imperatives of a new postcolonial philology even as he resituates European modernism within the literary, linguistic, and historical context of decolonization.

We are still a long way from knowing how to read the rhythms of free verse, a poetry which has been largely neglected by metrical theory. Clive Scott's readable and scholarly study indicates the strategies of reading needed if justice is to be done to free verse's rhythmic versatility. The core of Reading the Rhythm is an analysis of key French twentieth-century poets and poems, including Perse's Eloges, Cendrars's Prose du Transsiberien, Dix-neuf poemes elastiques, and Documentaires; Apollinaire's Calligrammes; Supervielle's Gravitations; and Reverdy's Sources de vent. Contemporary trends in the visual arts - Cubism, Futurism, Orphism, photography - are called upon as perceptual models to illuminate free verse and a further perspective is added by the theme of travel and movement. This is an accomplished examination of the rhythms of free verse, and of its implications for our reading of regular verse. It is also a significant study of modernist poetics.

Copyright looms large in the digital world. As users and creators of expressive works, we all know more about copyright than we did a decade ago. But scholars of modernism have felt a special urgency in grappling with this branch of law, whose rapid expansion in recent years has prolonged or revived the rights in many modernist works. Indeed, thanks to public clashes between estates and users, 'modernism' has lately begun to seem like a byword for contested intellectual property. At the same time, today's volatile legal climate has prompted us to ask how modernism was, from its beginning, shaped by intellectual property law-and how modernists sought variously to exploit, reform, anoint, and evade copyright. We are beginning to discover, too, how copyright's transatlantic and imperial asymmetries during the modernist decades helped set the stage for its geopolitical role in the new millennium. Modernism and Copyright is the first book to take up these questions and discoveries in all their urgency. A truly multi-disciplinary study, it brings together essays by well-known scholars of literature, theater, cinema, music, and law as well as by practicing lawyers and caretakers of modernist literary estates. Its contributors' methods are as diverse as the works they discuss: Ezra Pound's copyright statute and Charlie Parker's bebop compositions feature here, as do early Chaplin, EverQuest, and the Madison Avenue memo. As our portrait of modernism expands and fragments, Modernism and Copyright locates works like these on one of the few landscapes they all clearly share: the uneven terrain of intellectual property law.

Repetition and Race explores the literary forms and critical frameworks occasioned by the widespread institutionalization of liberal multiculturalism by turning to the exemplary case of Asian American literature. Whether beheld as "model minorities" or objects of "racist love," Asian Americans have long inhabited the uneasy terrain of institutional embrace that characterizes the official antiracism of our contemporary moment. Repetition and Race argues that Asian American literature registers and responds to this historical context through formal structures of repetition. Forwarding a new, dialectical conception of repetition that draws together progress and return, motion and stasis, agency and subjection, creativity and compulsion, this book reinterprets the political grammar of four forms of repetition central to minority discourse: trauma, pastiche, intertextuality, and self-reflexivity. Working against narratives of multicultural triumph, the book shows how texts by Theresa Cha, Susan Choi, Karen Tei Yamashita, Chang-rae Lee, and Maxine Hong Kingston use structures of repetition to foreground moments of social and aesthetic impasse, suspension, or hesitation rather than instances of reversal or resolution. Reading Asian American texts for the way they allegorize and negotiate, rather than resolve, key tensions animating Asian American culture, Repetition and Race maps both the penetrating reach of liberal multiculturalism's disciplinary formations and an expanded field of cultural politics for minority literature.

A portrait of the writer Mikhail Bulgakov, fighting for his work and his life in a society riven with fear of Stalin's tyranny Mikhail Bulgakov was born in Kiev in 1891. He started as a career writing articles and satiric short stories about the revolution and the economic reconstruction in the young Soviet state. He drew on these writings in many of his stage plays which brought him into conflict with the authorities. He died in 1940.

In this perceptive and original study of one of the most popular of English poets, Douglas Kerr has written the life of Wilfred Owen's language. The book explores the meaning in Owen's life of the family, the Church, the army, and English poets of the past. It examines the language of these four communities, and shows how their discourses helped to mould the poet's own. The language in which Owen's extraordinary poems and letters are written was learned in and from these communities which shaped his short career. But there were times too when he hated each of them. As Douglas Kerr shows, much of the power of Owen's writing derives from his desire to transform the communities which formed him. Accessible and lucid, and informed by the insights of recent theory, Wilfred Owen's Voices throws important new light on the best-known of the English war poets, and on both the cultural history and intense personal drama to be read in his work.

Derived from the word "to propagate," the idea and practice of propaganda concerns nothing less than the ways in which human beings communicate, particularly with respect to the creation and widespread dissemination of attitudes, images, and beliefs. Much larger than its pejorative connotations suggest, propaganda can more neutrally be understood as a central means of organizing and shaping thought and perception, a practice that has been a pervasive feature of the twentieth century and that touches on many fields. It has been seen as both a positive and negative force, although abuses under the Third Reich and during the Cold War have caused the term to stand in, most recently, as a synonym for untruth and brazen manipulation. Propaganda analysis of the 1950s to 1989 too often took the form of empirical studies about the efficacy of specific methods, with larger questions about the purposes and patterns of mass persuasion remaining unanswered. In the present moment where globalization and transnationality are arguably as important as older nation forms, when media enjoy near ubiquity throughout the globe, when various fundamentalisms are ascendant, and when debates rage about neoliberalism, it is urgent that we have an up-to-date resource that considers propaganda as a force of culture writ large. The handbook will include twenty-two essays by leading scholars from a variety of disciplines, divided into three sections. In addition to dealing with the thorny question of definition, the handbook will take up an expansive set of assumptions and a full range of approaches that move propaganda beyond political campaigns and warfare to examine a wide array of cultural contexts and practices.