Victorian literature for audiences of all ages provides a broad foundation upon which to explore complex and evolving ideas about young people. In turn, this collection argues, contemporary works for young people that draw on Victorian literature and culture ultimately reflect our own disruptions and upheavals, particularly as they relate to child and adolescent readers and our experiences of them. The essays herein suggest that we struggle now, as the Victorians did then, to assert a cohesive understanding of young readers and that this lack of cohesion is a result of or a parallel to the disruptions taking place on a larger (even global) scale.

Drawing on a dynamic set of "graphic texts of girlhood," Elizabeth Marshall identifies the locations, cultural practices, and representational strategies through which schoolgirls experience real and metaphorical violence. How is the schoolgirl made legible through violence in graphic texts of girlhood? What knowledge about girlhood and violence are under erasure within mainstream images and scripts about the schoolgirl? In what ways has the schoolgirl been pictured in graphic narratives to communicate feminist knowledge, represent trauma, and/or testify about social violence? Graphic Girlhoods focuses on these questions to make visible and ultimately question how sexism, racism and other forms of structural violence inform education and girlhood. From picture books about mean girls like The Recess Queen or graphic novels like Jane, The Fox and Me to Ronald Searle's ghastly pupils in the St. Trinian's cartoons to graphic memoirs about schooling by adult women, such as Ruby Bridges's Through My Eyes and Lynda Barry's One Hundred Demons texts for and about the schoolgirl stake a claim in ongoing debates about gender and education.

Beginning with Somerset Maugham's innovative, sexually dissident South Seas novel and tales and Alfred Hitchcock's gay-inflected revisiting of the Jack the Ripper sensation in silent film, this book considers the continuing presence of the past in future-oriented work of the 1930s and the Second World War by Sylvia Townsend Warner, Virginia Woolf, George Orwell, and the playwright and novelist, Patrick Hamilton. The final three chapters carry the discussion to the present in analyses of works by lesbian, postcolonial, and gay authors such as Sarah Waters, Amitav Ghosh, and Alan Hollinghurst. Focusing on questions about temporality and changes in gender and sexuality, especially gay and lesbian, straight and queer, following the rejection of the Victorian patriarchal marriage model, this study examines the continuing influence of late Victorian Aestheticist and Decadent culture in Modernist writing and its permutations in England.

Ulysses and Faust: Tradition and Modernism from Homer till the Present examines the most important authors of Western literature: Homer, Virgil, Dante, Shakespeare, Cervantes, Marlowe, Goethe, Joyce, Eliot, Mann, Bulgakov and Pasternak, who based their works on one or other of the two key myths of the West, Ulysses and Faust. This volume provides a synoptic view of Western literature, as a foundation text for literary studies at all levels and as a way of encouraging people to once more engage with the major authors of our literary heritage. Ulysses and Faust considers the artistic revolution known as Modernism at the start of the twentieth century and the subsequent events in Europe, such as the World Wars and the totalitarian regimes, which led to a major break in Western civilization reflected in its literature. Consequently, these detailed critical studies illuminate their authors' Weltanschauung, their view of life as it was lived in their time.

This book focuses on women and translation in cultures 'across other horizons' well beyond the European or Anglo-American centres. Drawing on transnational feminist connections, its editors have assembled work from four continents and included articles from Morocco, Mexico, Sri Lanka, Turkey, China, Saudi Arabia, Columbia and beyond. Thirteen different chapters explore questions around women's roles in translation: as authors, or translators, or theoreticians. In doing so, they open new territories for studies in the area of 'gender and translation' and stimulate academic work on questions in this field around the world. The articles examine the impact of 'Western' feminism when translated to other cultures; they describe translation projects devised to import and make meaningful feminist texts from other places; they engage with the politics of publishing translations by women authors in other cultures, and the role of women translators play in developing new ideas. The diverse approaches to questions around women and translation developed in this collection speak to the volume of unexplored material that has yet to be addressed in this field.

This book explores the literary afterlives of one of Ireland's most enigmatic, shape-shifting and controversial sons, Roger Casement. A seminal human rights activist, a key figure in the struggle for Irish independence, a traitor to British imperialism and an enthusiastic recorder of a sexual life lived in the shadows: through Casement, writers have been able to commune and negotiate with a difficult past. Casement can be found in the most curious of places: from the imperial horrors of Heart of Darkness (1899) to the gay club culture of 1980s London in Alan Hollinghurst's The Swimming-Pool Library (1998); from George Bernard Shaw's play Saint Joan (1923) to a love affair between spies in Elizabeth Bowen's The Heat of the Day (1948); from the post-Easter Rising elegies of Eva Gore-Booth and Alice Milligan to the beguiling, opaque poetry of Medbh McGuckian. Drawing upon a variety of literary and cultural texts, alongside significant archival research, this book establishes dialogues between modernist and contemporary works to argue that Casement's ghost opens a fault line in our uneasy engagement with the cross-currents between history and memory, reality and fiction. It positions Casement as a vital and fascinating figure in the compromised and contradictory terrain of Anglo-Irish history.

The digital cultural record has a powerful role to play in both new and future strategies of creating new homes within the digital milieu. For example, the development and establishment of new digital archives around South Asian studies not only allows us to create new archives of the past but also to remember and commemorate the past differently. New maps transform how we understand space and place. And new digital comfort zones facilitate connections for those whose family and loved ones are only accessible online. Such interventions are essential to the recuperation of the integrity and soul of a people who have lived through and continue to shoulder the fraught and painful legacies of the British Empire and the communal bloodshed wrought by its demise. Building on the important history of digital humanities scholarship in South Asia and its diasporas that precedes this work, this book contends that South Asian studies is further positioned to offer a new genealogy of digital humanities, demonstrated through this assemblage of essays that reveal how the digital continues to shape notions of home, belonging, nation, identity, memory, and diaspora through a variety of humanistic methodologies and digital techniques. South Asian Digital Humanities thus demonstrates that postcolonial digital humanities has great possibility for creating some of the most important social justice scholarship in South Asian studies of the past century. It offers these essays as innovative interventions that complicate the digital cultural record while lodging a 'homelanding' for South Asians within it, positioning digital humanities as a method through which South Asian studies can strategically participate in the ongoing struggle for representation within digital knowledge production. This book was originally published as a special issue of South Asian Review.

In dialogue with groundbreaking technologies and scientific models, twentieth century fiction presents readers with a vast mosaic of perspectives on the cosmos. The literary imagination of the world beyond the human scale, however, faces a fundamental difficulty: if, as researchers in both cognitive science and narrative theory argue, fiction is a practice geared toward the human embodied mind, how can it cope with scientific theories and concepts- the Big Bang, quantum physics, evolutionary biology, and so on-that resist our common-sense intuitions and appear discontinuous, in spatial as well as temporal terms, with our bodies? This book sets out to answer this question by showing how the embodiment of mind continues to matter even as writers- and readers-are pushed out of their terrestrial comfort zone. Offering thoughtful commentary on work by both mainstream literary authors and science fiction writers (from Primo Levi to Jeanette Winterson, from Olaf Stapledon to Pamela Zoline), Embodiment and the Cosmic Perspective in Twentieth-Century Fiction explores the multiple ways in which narrative can radically defamiliarize our bodily experience and bridge the gap with cosmic realities. This investigation affords an opportunity to reflect on the role of literature as it engages with science and charts its epistemological and ethical ramifications.

This book surveys the labyrinthine relationship between Stephen King and American History. By depicting American History as a doomed cycle of greed and violence, King poses a number of important questions: who gets to make history, what gets left out, how one understands one's role within it, and how one might avoid repeating mistakes of the past. This volume examines King's relationship to American History through the illumination of metanarratives, adaptations, "queer" and alternative historical lenses, which confront the destructive patterns of our past as well as our capacity to imagine a different future. Stephen King and American History will present readers with an opportunity to place popular culture in conversation with the pressing issues of our day. If we hope to imagine a different path forward, we will need to come to terms with this enclosure-a task for which King's corpus is uniquely well-suited.

This book surveys the labyrinthine relationship between Stephen King and American History. By depicting American History as a doomed cycle of greed and violence, King poses a number of important questions: who gets to make history, what gets left out, how one understands one's role within it, and how one might avoid repeating mistakes of the past. This volume examines King's relationship to American History through the illumination of metanarratives, adaptations, "queer" and alternative historical lenses, which confront the destructive patterns of our past as well as our capacity to imagine a different future. Stephen King and American History will present readers with an opportunity to place popular culture in conversation with the pressing issues of our day. If we hope to imagine a different path forward, we will need to come to terms with this enclosure-a task for which King's corpus is uniquely well-suited.

Queering Modernist Translation explores translations by Ezra Pound, Langston Hughes, and H.D. through the concept of queering translation. As Bancroft argues, queering translation is an intersectional lens for gleaning identity and socio-cultural issues in translation, such as gender, sexuality, diaspora, and race. Using theories espoused by Jack Halberstam, Jose Esteban Munoz, Elizabeth Grosz, Sara Ahmed, and Rinaldo Walcott as foundations for his arguments, Bancroft demonstrates that queering translation offers more expansive ways of imagining the relationship between translation and the identities, cultures, and societies that produce them. Intervening in new Modernist studies and translation studies, Queering Modernist Translation furthers contemporary conversations regarding Modernism and its lasting importance in the twenty-first century.

This book uses the conceptual framework of animism, the belief in the spiritual qualities of nonhuman matter, to analyze representations of trauma in postcolonial fiction from Nigeria and India. Toward an Animist Reading of Postcolonial Trauma Literature initiates a conversation between contemporary trauma literatures of Nigeria and India on animism. As postcolonial nations move farther away from the event of decolonization in real time, the experience of trauma take place within and is generated by an increasingly precarious environment of resource scarcity, over-accelerated industrialization, and ecological crisis. These factors combine to create mixed environments marked by constantly changing interactions between human and nonhuman matter. Examining novels by authors such as Chinua Achebe, Jhumpa Lahiri, Nnedi Okorafor, and Arundhati Roy, the book considers how animist beliefs shape the aesthetic representation of trauma in postcolonial literature, paying special attention to complex metaphor and narrative structure. These literary texts challenge the conventional wisdom that working through trauma involves achieving physical and psychic integrity in a stable environment. Instead, a type of provisional but substantive healing emerges in an animist relationship between human trauma victims and nonhuman matter. In this context, animism becomes a pivotal way to reframe the process of working through trauma. Offering a rich framework for analyzing trauma in postcolonial literature, this book will be of interest to scholars of postcolonial literature, Nigerian literature and South Asian literature.

Modernist Literature and European Identity examines how European and non-European authors debated the idea of Europe in the first half of the twentieth century. It shifts the focus from European modernism to modernist Europe, and shows how the notion of Europe was constructed in a variety of modernist texts. Authors such as Ford Madox Ford, T. S. Eliot, Gertrude Stein, Aime Cesaire, and Nancy Cunard each developed their own notion of Europe. They engaged in transnational networks and experimented with new forms of writing, supporting or challenging a European ideal. Building on insights gained from global modernism and network theory, this book suggests that rather than defining Europe through a set of core principles, we may also regard it as an open or weak construct, a crossroads where different authors and views converged and collided.

This is the first book to examine how Australian fiction writers draw on family histories to reckon with the nation's colonial past. Located at the intersection of literature, history, and sociology, it explores the relationships between family storytelling, memory, and postcolonial identity. With attention to the political potential of family histories, Reckoning with the Past argues that authors' often autobiographical works enable us to uncover, confront, and revise national mythologies. An important contribution to the emerging global conversation about multidirectional memory and the need to attend to the effects of colonisation, this book will appeal to an interdisciplinary field of scholarly readers.

Over the past few years, 'dystopia' has become a word with increasing cultural currency. This volume argues that we live in dystopian times, and more specifically that a genre of fiction called "dystopia" has, above others, achieved symbolic cultural value in representing fears and anxieties about the future. As such, dystopian fictions do not merely mirror what is happening in the world: in becoming such a ready referent for discussions about such varied topics as governance, popular culture, security, structural discrimination, environmental disasters and beyond, the narrative conventions and generic tropes of dystopian fiction affect the ways in which we grapple with contemporary political problems, economic anxieties and social fears. The volume addresses the development of the narrative methods and generic conventions of dystopian fiction as a mode of socio-political critique across the first half of the twentieth century. It examines how a series of texts from an age of political extremes contributed to political discourse and rhetoric both in its contemporary setting and in the terms in which we increasingly cast our cultural anxieties. Focusing on interactions between temporality, spatiality and narrative, the analysis unpicks how the dystopian interacts with social and political events, debates and ideas, Stock evaluates modern dystopian fiction as a historically responsive mode of political literature. He argues that amid the terrors and upheavals of the first half of the twentieth century, dystopian fiction provided a unique space for writers to engage with historical and contemporary political thought in a mode that had popular cultural appeal. Combining literary analysis informed by critical theory and the history of political thought with archival-based historical research, this volume works to shed new light on the intersection of popular culture and world politics. It will be of interest to students and scholars in literary studies, cultural and intellectual history, politics and international relations.

Posthumanism in the Novels of Kurt Vonnegut: Matter That Complains So re-examines the prevailing critical consensus that Kurt Vonnegut was a humanist writer. While more difficult elements of his work have often been the subject of scholarly attention, the tendency amongst critics writing on Vonnegut is to disavow them, or to subsume them within a liberal humanist framework. When Vonnegut's work is read from a posthumanist perspective, however, the productive paradoxes of his work are more fully realised. Drawing on New Materialist, Eco-Critical and Systems Theory methodologies, this book highlights posthumanist themes in six of Vonnegut's most famous novels, and emphasises the ways in which Vonnegut troubles human/non-human, natural/artificial, and material/discursive hierarchical binaries

This is the first monograph to fully explores Sherwood's use of the classical past.

The book is based on the papers presented at the Mendel Friedman Yiddish conference held at St Hilda's College, University of Oxford, in August 2012, revisits the rich and diverse legacy of the Yiddish writer Pinkhas Kahanovitsh, known by his penname Der Mister.

Sylvia Townsend Warner has increasingly become recognized as a significant and distinctive talent amongst twentieth-century authors. This volume explores her remarkable relationship with Valentine Ackland - her partner for forty years - by closely examining their letters and diaries alongside a selection of their other texts, in particular their poetry. This analysis reveals the crucial role their writing played in establishing, maintaining, and defending their intimacy and describes the emergence of an alternative textual world upon which they became wholly reliant. Examining how Warner and Ackland exploited the distance between their lived life and their accounts of it, gives rise to many fascinating and untold stories. Furthermore, in investigating the fluidity of the boundaries between letters, diaries and fiction this book also provides a fresh perspective on these life-writing forms. Warner and Ackland's need to speak as women, writers and lovers, shaped their texts, so that they became not simply records of events, nor acts of communication, but complex documents in which love is won and lost, myths are created, and lives are changed, as will be the perspectives of those who read this book.

Migrant and Tourist Encounters: The Ethics of Im/mobility in 21st Century Dominican and Cuban Cultures analyzes the effects of clashing flows of voluntary and involuntary travelers to and from these countries due to an increase in migration and tourism during the last three decades. I compare the ways in which literary works and films reflect on and critique the power relations and ethics of im/mobility and encounter, both on the islands and in destinations abroad. The works draw attention to the interconnectedness of migration, tourism, and other forms of travel as well as immobility, and portray growing local and global inequalities through characters' disparate access to free, voluntary movement. I consider how the works respond to the question of the moral potential of encounters produced by im/mobilities and the possibility of connection across differences. I argue that Dominican and Cuban artists not only critique neo-colonial paradigms of power and im/mobility, but envision and enact strategies for belonging and, in some cases, suggest a path toward de-colonial cosmopolitanism.

This book focuses on non-fictional, visual narratives (including comics; graphic narratives; animated documentaries and online, interactive documentaries) that attempt to represent violent experiences, primarily in the Levant. In doing so it explores, from a philosophical perspective, the problem of representing trauma when language seems inadequate to describe our experiences and how the visual narrative form may help us with this. The book uses the concept of the ineffable to expand the notion of representation beyond the confines of a western, individualist notion of trauma as event based. In so doing, it engages a postcolonial perspective of trauma, which treats violence as ongoing and connected to several incidents of violence across time and space. This book demonstrates how the formal qualities of visual, non-fiction may help close the gap between representation and experience through the process of 'dark' writing.

On September 11, 1973, Chile's General Pinochet led a quick and brutal military coup ousting the Allende government. Ignacio Lopez-Calvo argues that the rise of the Pinochet dictatorship and the subsequent imprisonment of any Allende sympathizers shaped Chilean narrative into two structural forms: liberationist narrative--cathartic, journalistic testimonies that provide models for revolutionary behavior against authoritarianism and demystifying narrative, which uses the events of 1973, as well as the colonial aspirations of European countries, as a "Paradise Lost" backdrop in which the characters of this type of fiction are able to create their non-political realities that become models of democratization.

This book considers the ways in which contemporary American fiction seeks to imagine a mode of 'planetary memory' able to address the scalar and systemic complexities of the Anthropocene - the epoch in which the combined activity of the human species has become a geological force in its own right. Authors examine the recent emergence of a literary and cultural imaginary of planetary memory, an imaginary which attempts to give form to the complex interrelations between human and non-human worlds, between local, national, and global concerns, and, perhaps most importantly, between historical and geological pasts, presents and futures. Chapters highlight distinct regions and landscapes of the US - from the Appalachians, to the South West, the Rust Belt, New York City, Alaska, New Orleans and the Rocky Mountains - in order to examine how the ecological, economic and historical specificity of these environments is underpinned by their implication on networks of planetary significance and scope. Overall, the collection aims to study, develop, and recognise new models of cultural memory and anxious anticipation as they emerge and evolve, thus opening new conversations about practices of remembering and remembrance on an increasingly fragile planet. This book was originally published as a special issue of Textual Practice.

Lorca in English examines the evolution of translations of Federico Garcia Lorca into English as a case of rewriting and manipulation through politically and ideologically motivated translation. As new translations of Federico Garcia Lorca continue to appear in the English-speaking world and his literary reputation continues to be rewritten through these successive re-translations, this book explores the reasons for this constant desire to rewrite Lorca since the time of his murder right into the 21st century. From his representation as the quintessential Spanish Republican martyr, to his adoption through translation by the Beat Generation, to his elevation to iconic status within the Queer Studies movement, this volume analyzes the reasons for this evolution and examines the current direction into which this canonical author is heading in the English-speaking world.

Given Ulysses' perhaps unparalleled attention to the operations of the human mind, it is unsurprising that critics have explored the work's psychology. Nonetheless, there has been very little research that draws on recent cognitive science to examine thought and emotion in this novel. Hogan sets out to expand our understanding of Ulysses, as well as our theoretical comprehension of narrative-and even our views of human cognition. He revises the main narratological accounts of the novel, clarifying the complex nature of narration and style. He extends his cognitive study to encompass the anti-colonial and gender concerns that are so obviously important to Joyce's work. Finally, through a combination of broad overviews and detailed textual analyses, Hogan seeks to make this notoriously difficult book more accessible to non-specialists.