Please note this is a 'Palgrave to Order' title (PTO). Stock of this book requires shipment from an overseas supplier. It will be delivered to you within 12 weeks. In this first study of Latino/a literature to systematically examine the post-Sixties generation of writers, The Latino/a Canon challenges the ways that Latino/a literary studies imagines the relationship between art, politics, and the market.

The extraordinary flowering of Southern literary talent in the early twentieth century, the Southern Literary Renascence, has continued virtually unabated, showing increasing vitality in recent decades. These newer fiction writers, poets, dramatists, and journalists reflect in their work the changing social conditions of the South while also presenting traditional Southern values and qualities. Their astonishing output constitutes a phenomenon worthy of being called a Second Southern Literary Renascence. Joseph M. Flora and Robert Bain, editors of the acclaimed Fifty Southern Writers before 1900 and Fifty Southern Writers after 1900, found that they could only begin to suggest the continuing abundance and significance of Southern writing in the latter volume. Retaining the same format, they have developed two new volumes for the contemporary period. The first, focusing on fiction, comprises forty-nine talented novelists, including such popular figures as Pat Conroy, Gail Godwin, T. R. Pearson, Anne Tyler, and Alice Walker. The companion volume, (Contemporary Poets, Dramatists, Essayists, and Novelists: A Bio-Bibliographical Sourcebook forthcoming from Greenwood Press) will cover primarily poets, playwrights, and essayists as well as fiction writers who have made major contributions to these other genres. The essays, written by scholars and critics, present in each case a biographical sketch, an analysis of the writer's style and major themes, an assessment of reviews and scholarship, a chronological list of works, and a bibliography of selected criticism. Considered individually and comparatively and with attention to the editors' introductory essay, these bio-bibliographical studiesclearly demonstrate the state and strength of Southern letters.

This study reclaims a lost body of theatrical work by focusing on four labor plays of the 1930s. These works dramatize union organizing efforts in American industry, using documentary detail in the dialogue and plot. To date, little attention has been given to the use of documentary detail in American scripts. Placing the labor plays in a social and historical context, Duffy raises interesting questions about the depiction of women as labor leaders and the overlooked role of women playwrights in the 1920s and 30s. The discussion focuses on the function of the plays and the question of whether they were merely didactic or if they served greater propagandistic ends. This work will be of interest to scholars in theatre history, American studies, southern history, and American labor history.

A diverse and multinational volume, this book showcases the passages of Joseph Conrad's narratives across geographical and disciplinary boundaries, focusing on the transtextual and transcultural elements of his fiction. Featuring contributions from distinguished and emergent Conrad scholars, it unpacks the transformative meanings which Conrad's narratives have achieved in crossing national, cultural and disciplinary boundaries. Featuring studies on the reception of Conrad in modern China, an exploration of Conrad's relationship with India, a comparative study of the hybrid art of Conrad and Salman Rushdie, and the responses of Conrad's narratives to alternative media forms, this volume brings out transtextual relations among Conrad's works and various media forms, world narratives, philosophies, and emergent modes of critical inquiry. Gathering essays by contributors from Canada, Hong Kong, India, Japan, Norway, Poland, Taiwan, the United Kingdom, and the United States, this volume constitutes an inclusive, transnational networking of emergent border-crossing scholarship.

Warren's major theme--whether man can live on a purely naturalistic level--is seen as a parallel to the major intellectual currents of American literature in the past 25 years.

A full account of Lawrence, ranging from his talent as a young writer to the continuing genius of his later work, and concentrating on his exceptionally acute powers of observation, both human and natural.

In the first half of the twentieth century, modernist works appeared not only in obscure little magazines and books published by tiny exclusive presses but also in literary reprint magazines of the 1920s, tawdry pulp magazines of the 1930s, and lurid paperbacks of the 1940s. In his nuanced exploration of the publishing and marketing of modernist works, David M. Earle questions how and why modernist literature came to be viewed as the exclusive purview of a cultural elite given its availability in such popular forums. As he examines sensational and popular manifestations of modernism, as well as their reception by critics and readers, Earle provides a methodology for reconciling formerly separate or contradictory materialist, cultural, visual, and modernist approaches to avant-garde literature. Central to Earle's innovative approach is his consideration of the physical aspects of the books and magazines - covers, dust wrappers, illustrations, cost - which become texts in their own right. Richly illustrated and accessibly written, Earle's study shows that modernism emerged in a publishing ecosystem that was both richer and more complex than has been previously documented.

This study reads Auden's poetry and plays through the shifts from modernism to postmodernism. It analyzes the experiments in Auden's writings for their engagement with crucial contemporary problems: that of the individual in relation to others, loved ones, community, society, but also transcendental truths. It shows that, rather than providing firm answers, Auden's poetry emphasizes the absence of certainties. Yet far from becoming nihilistic, it generates hope, affection, and most importantly, an ethical challenge of responsibility out of its discoveries.

In recent years the spatial turn in literary and cultural studies has opened up new ways of looking at the interactions among writers, readers, texts, and places. Geocriticism offers a timely new approach, and "Geocritical Explorations "presents an array of concrete examples and readings, which also reveal the broad range of geocritical practices. Representing various areas of literary and cultural studies, as well as different parts of the globe and multiple types of space, "Geocritical Explorations" provides a succinct overview of geocriticism and a point of departure for further exploration.

"The scope of the work is broad, with European and Latin American influences well represented. Recommended for collections that emphasize fiction of the past two decades." Library Journal

An original mapping of women's writing in the 1940s and 1950s, this book looks at Englishness and national identity in women's writing and includes writing from Scotland, Wales, Ireland the Indian subcontinent and Africa. The authors discussed include Virginia Woolf, Daphne Du Maurier, Doris Lessing and Muriel Spark.

Melvin Burgess has made a powerful name for himself in the world of children's and young adult literature, emerging in the 1990s as the author of over twenty critically acclaimed novels. This collection of original essays by a team of established and new scholars introduces readers to the key debates surrounding Burgess's most challenging work, including controversial young adult novels Junk and Doing It. Covering a variety of critical and theoretical perspectives, the volume also presents exciting new readings of some of his less familiar fiction for children, and features an interview with the author.

This bold intervention into the debate over the memory and post-memory of the Holocaust both scrutinises recent academic theories of post-Holocaust trauma and provides a new reading of literary and architectural memory texts related to the Holocaust.

This book is a concise and engaging analysis of contemporary literature viewed through the critical lens of cosmopolitan theory. It covers a wide spectrum of issues including globalization, cosmopolitanism, nationhood, identity, philosophical nomadism, posthumanism, climate change, devolution and love.

Interest in Johannes Bobrowski (1917-1965) has suffered from an impression of the complexity of his works and of the narrowness of his focus: on 'The Germans and their Eastern European neighbours'. The current study re-examines aspects of Bobrowski's 'Sarmatian' works, especially their chronological development, but places them within the wider context of the whole of his oeuvre. It looks at the long period of development before he discovered his 'theme' in the early 1950s and examines his development after Sarmatische Zeit and Schattenland Stroeme, seeing the volume Wetterzeichen as moving increasingly away from the past and towards more contemporary issues. His short stories and novels are related to the issues confronting him in East Germany and develop increasingly into responses to immediate poetic and social problems. Far from being a remote and backward orientated 'Sarmatian', Bobrowski emerges as a writer attempting to communicate with a society which, he felt, threatened to ignore basic human needs and aspirations. The study makes use of material from Bobrowski's Nachlass to present a figure looking for and offering patterns for orientation in his East German society, but with renewed relevance for post-unification Germany.

This study of selected literary and cinematic works by Michael Ondaatje investigates the political potential of the Canadian authors aesthetics. Contributing to current debates about affect and representation, ideology critique and the artwork, trauma and testimony, this book uses the concept of the haptic to demonstrate how Ondaatjes multisensory, fluid and historically inflected writing can forge an enabling relationship between audience, author and text. This is where Ondaatjes micropolitics, often misconstrued as ideologically suspect aestheticism, emerges: a praxis that intimates how one can write and read politically with a difference.

"These essays trace the Western poem as it confronts indigenous alterity in Latin America. Rather than extend Western conceptions of writing in search of an alleged Amerindian ethno-literature, Ajens approaches literature as a Western invention. This book discusses a wide range of indigenous American, Hispanic, and European texts, with a focus on language, authorship, genre, and translation"--

This tribute collection reflects the wide range and diversity of James Gibbs's academic interests. The focus is on Africa, but comparative studies of other literatures also receive attention. Fiction, drama, and poetry by writers from Nigeria, Ghana, Sierra Leone, Eritrea, Malawi, Zimbabwe, South Africa, Ireland, England, Germany, India, and the Caribbean are surveyed alongside significant missionaries, scientists, performers, and scholars. The writers discussed include Wole Soyinka, Chinua Achebe, Kobina Sekyi, Raphael Armattoe, J.E. Casely Hayford, Michael Dei-Anang, Kofi Awoonor, Ayi Kwei Armah, John Kolosa Kargbo, Dele Charley, Ngugi wa Thiong'o, Okot p'Bitek, Jonathan Sajiwandani, Samuel E. Krune Mqhayi, A.S. Mopeli-Paulus, Kelwyn Sole, Anna Seghers, Raja Rao, and Arundhati Roy. Other essays treat the black presence in Ireland, anonymous rap artists in Chicago, the Jamaican missionary Joseph Jackson Fuller in the Cameroons, the African-American actor Ira Aldridge in Sweden, the Swedish naturalist Anders Sparrman in South Africa, and the literary scholar and editor Eldred Durosimi Jones in Sierra Leone. Interviews with the Afro-German Africanist Theodor Wonja Michael and the Irish-Nigerian dramatist Gabriel Gbadamosi are also included. Also offered are poems by Jack Mapanje and Kofi Anyidoho, short stories by Charles R. Larson and Robert Fraser, plays by Femi Osofisan and Martin Banham, and an account of a dramatic reading of a script written and co-performed by James Gibbs. Contributors: Anne Adams, Sola Adeyemi, Kofi Anyidoho, Awo Mana Asiedu, Martin Banham, Eckhard Breitinger, Gordon Collier, James Currey, Geoffrey V. Davis, Chris Dunton, Robert Fraser, Raoul J. Granqvist, Gareth Griffiths, C.L. Innes, Charles R. Larson, Bernth Lindfors, Leif Lorentzon, Jack Mapanje, Christine Matzke, Mpalive-Hangson Msiska, Femi Osofisan, Eustace Palmer, Jane Plastow, Lynn Taylor, and Pia Thielmann.

Charles Dickens in Cyberspace opens a window on a startling set of literary and scientific links between contemporary American culture and the nineteenth-century heritage it often repudiates. Surveying a wide range of novelists, scientists, filmmakers, and theorists from the past two centuries, Jay Clayton traces the concealed circuits that connect the telegraph with the Internet, Charles Babbage's Difference Engine with the digital computer, Frankenstein's monster with cyborgs and clones, and Dickens' life and fiction with all manner of contemporary popular culture--from comic books and advertising to recent novels and films. In the process, Clayton argues for two important principles: that postmodernism has a hidden or repressed connection with the nineteenth-century and that revealing those connections can aid in the development of a historical cultural studies. In Charles Dickens in Cyberspace nineteenth-century figures--Jane Austen, Charles Darwin, Charles Dickens, Thomas Hardy, Henry James, Ada Lovelace, Joseph Paxton, Mary Shelley, and Mary Somerville--meet a lively group of counterparts from today: Andrea Barrett, Greg Bear, Peter Carey, Helene Cixous, Alfonso Cuaron, William Gibson, Donna Haraway, David Lean, Richard Powers, Salman Rushdie, Ridley Scott, Susan Sontag, Neal Stephenson, Bruce Sterling, and Tom Stoppard. The juxtaposition of such a diverse cast of characters leads to a new way of understanding the "undisciplined culture" the two eras share, an understanding that can suggest ways to heal the gap that has long separated literature from science. Combining storytelling and scholarship, this engaging study demonstrates in its own practice the value of a self-reflective stance toward cultural history. Its personal voice, narrative strategies, multiple points of view, recursive loops, and irony emphasize the improvisational nature of the methods it employs. Yet its argument is serious and urgent: that the afterlife of the nineteenth century continues to shape the present in diverse and sometimes conflicting ways.

Keith Brown's literary essays, published at intervals over the course of a long career, are marked by their engaging flair and independence from intellectual fashion. They often explore aspects of the interaction of craftsmanship and ideas that are unnoticed or ignored in the mainstream of critical debate. However, the full potential of his approach only emerges when these essays are taken together. A notable concern of Brown's critical method is to uncover the latent organising principles - naturally as various as the author's intentions - that lie beneath the surface of any worthwhile extended literary work. His 'sightings' reveal the actual contours of literary landscapes seen dimly before.

Here the spirituality of the East and the West have met in a novel that enfigures deep human wisdom with a rich and colorful imagination. Written in a prose of almost biblical simplicity and beauty, it is the story of a soul's long quest in search of he ultimate answer to the enigma of man's role on this earth. As a youth, the young Indian Siddhartha meets the Buddha but cannot be content with a disciple's role: he must work out his own destiny and solve his own doubt--a tortuous road that carries him through the sensuality of a love affair with the beautiful courtesan Kamala, the temptation of success and riches, the heartache of struggle with his own son, to final renunciation and self-knowledge. The name "Siddhartha" is one often given to the Buddha himself--perhaps a clue to Hesse's aims in contrasting the traditional legendary figure with his own conception, as a European (Hesse was Swiss), of a spiritual explorer.

The central themes of this collection of essays are the mystery of time past, present and future, and the problem of redemption. They are concerned with modern literature, with the threat of meaninglessness in the postmodern condition, and with the possibility of salvation. In an age of deferral and difference, this book addresses itself to eschatology and apocalypse, and redemption in, through, but particularly of, time itself. Hell and madness are never far away, yet the refiguration of time and the breaking in of the transcendent continue to suggest theological possibilities beyond the wastelands of the twentieth century. To those possibilities we look in hope.

Seamus Heaney, Tom Paulin and Medbh McGuckian are the three most influential poets from Northern Ireland who have composed poems with a link to pre- and post-revolutionary Russia. Their attraction to the Tsarist Empire and the Soviet Union reflects the increasing fascination with Eastern European literature among western writers. Russian authors finding their way into the poetry are, among others, Alexander Pushkin, Osip Mandelstam, Vladimir Mayakovsky, Anna Akhmatova, Marina Tsvetaeva, Boris Pasternak and Joseph Brodsky. By incorporating intertextual links into their work, Heaney, Paulin and McGuckian establish parallels between Russia and Northern Ireland in terms of history, politics, literature and culture. They attempt to reconsider the Northern Irish conflict through a Russian framework in order to subvert the established discourse of the Troubles based on British Unionism and Irish Nationalism. Their references to Russia allow the three poets to achieve a geographical and mental detachment in order to turn a fresh eye on the Northern Irish situation.

How does irony affect the evaluation and perception of the First World War both then and now? "Irony and the Poetry of the First World War "traces one of the major features of war poetry from the author's application as a means of disguise, criticism or psychological therapy to its perception and interpretation by the reader.

For too long Sarah Orne Jewett (1849-1909) was dismissed as a timid New England local colorist, known principally for her novels and short stories based in her native state of Maine. But in addition to her fiction, she also wrote poetry, plays, and essays. She enjoyed an extensive acquaintance with most of the established writers of her time and was on friendly terms with many lesser-known women of her era. With the publication of a selection of her letters in 1956, scholarly books and articles soon followed. And with the advent of the women's movement came a renewal of interest in Jewett's life and writings. She is now recognized as a uniquely sharp, compassionate observer of women and their lives in 19th-century New England.

Included in this reference book are alphabetically arranged entries for Jewett's writings, characters, family members, friends, acquaintances, and professional associates and admirers. Entries on the most important works and persons include brief bibliographies. The volume begins with a concise introductory essay, and a chronology highlights the chief events in Jewett's life and career. The book closes with a general bibliography of works about Jewett. Given Jewett's complex characterizations and her subtle crafting of plots and settings, this book will be a valuable guide both for those approaching Jewett's works for the first time and for more advanced readers.