In addition to contributing significantly to the growing field of Burroughs scholarship, Burroughs Unbound also directly engages with the growing fields of textual studies, archival research, and genetic criticism, asking crucial questions thereby about the nature of archives and their relationship to a writer's work. These questions about the archive concern not only the literary medium. In the 1960s and 1970s Burroughs collaborated with filmmakers, sound technicians, and musicians, who helped re-contextualized his writings in other media. Burroughs Unbound examines these collaborations and explores how such multiple authorship complicates the authority of the archive as a final or complete repository of an author's work. It takes Burroughs seriously as a radical theorist and practitioner who critiqued drug laws, sexual practice, censorship, and what we today call a society of control. More broadly, his work continues to challenge our common assumptions about language, authorship, textual stability, and the archive in its broadest definition.

The works of D.H. Lawrence have always generated critical controversy. From the early prosecution of "The RainboW" (1915) to more recent disputes about feminist criticism, Lawrence engenders strong feelings, both for and against his writings. His appeal, both artistic and intellectual, knows no boundaries. His works remain in print and are widely taught, anthologized, and translated around the world. So too, his texts have engaged some of the best critical minds, and scholarship on Lawrence and his works continues to grow. This reference chronicles the critical response to his writings.

A chronology presents the highlights in his publishing career, while an introductory essay summarizes the major trends in Lawrence criticism. The sections that follow present previously published reviews and essays on his novels, plays, poems, short fiction, and prose and letters. These items are arranged chronologically to illustrate the response to Lawrence over time. The volume closes with a selected, general bibliography.

What did Britain look like to the Muslims who visited and lived in the country in increasing numbers from the late eighteenth century onwards? This book is a literary history of representations of Muslims in Britain from the late eighteenth century to the eve of Salman Rushdie's publication of The Satanic Verses (1988).

"British Fiction and Cross-Cultural Encounters" reveals that British modernists read widely in anthropology and ethnography, conducted their own "fieldwork," and thematized the challenges of cultural encounters in their fiction. By bringing canonical and popular fiction together with travel writing, ethnographic monographs, and other anthropological texts, this interdisciplinary study demonstrates how ethnographic ideas and methods not only permeated the subject matter of literary modernism, but also helped stimulate many of its most important aesthetic innovations.

This book proposes a new departure point for the investigation of transnational literary alliances: the traumatic constellation of translatio imperii, which followed the dissolution of the East-Central European empires in the 1920s and the crumbling of the West European colonial empires in the 1950s. To prevent their breakdown, the former transitioned from a 'sovereign' to a 'disciplinary' mode of administration of their peripheries, the latter from the merciless assimilation of their colonial constituencies to their affirmative regeneration. This book treats Franz Kafka as the writer of the first transition, prefiguring J. M. Coetzee as the writer of the second. In a series of close readings, it investigates the particular ways in which the restructuring of power relations between the agencies in their fictions is a response to the delineated post-imperial reconfiguration of the new countries' governmental techniques. By displacing their narrative authority beyond the reach of their readers, they laid bare the sudden withdrawal of transcendental guarantees from the world of human commonality. This entailed an unstable and elusive configuration of their fictional worlds as a key feature of post-imperial literature.

This book stages a series of interventions and inventions of urban space between 1880 and 1930 in key literary texts of the period. Making sharp distinctions between modernity and modernism, the volume reassesses the city as a series of singular sites irreducible to stable identities, concluding with an extended reading of The Waste Land .

The December 2006 Iran Holocaust Denial Conference and the following international excoriation of it reveal a paradox of two cultural strands that are emblematic of the legacy of the twentieth century: official denial and historical amnesia on the one hand; and public, cooperative attempts at truth telling and redress on the other. "Amnesia and Redress in Contemporary American Fiction" shows how this dynamic of amnesia and truth telling shapes literary constructions of history. Focusing on works by Don DeLillo, Toni Morrison, Michelle Cliff, Bharati Mukherjee, and Julie Otsuka, Marni Gauthier identifies a new form of the historical novel that, arising from this distinct climate, articulates a politics of truth.

Science Fiction, Alien Encounters, and the Ethics of Posthumanism offers a typology of alien encounters and addresses a range of texts including classic novels of alien encounter by H.G. Wells and Robert Heinlein; recent blockbusters by Greg Bear, Octavia Butler and Sheri Tepper; and experimental science fiction by Peter Watts and Housuke Nojiri.

Pierre Michon is one of France's most significant contemporary writers. Since the publication in 1984 of his first book, Vies minuscules, Michon's work has never ceased to evade generic classifications. His work ingests books, lives and thought and probes their complex interrelationship and those moments of convergence that transform an ordinary name into that of an 'Author' or of an 'Artist'. The contents of Michon's work are well documented: they are drawn from canonical novels, chronicles, archives and the biographies of artists' lives and are worked into cross-generic forms that revive names and make us rethink the uncertainty of literature. Less has been written of his engagement with avant-garde thought. The legacy of French avant-garde thinkers of the 1960s and 1970s, in particular the work of Roland Barthes, informs Michon's work. Barthes's notions of the referent, of intertextuality and of authorship, for example, are transposed, reconfigured and sometimes contested within Michon's work. In this way, Barthes's name, the afterlife of his thought, remains encrypted within Michon's prose. This book situates and reads Michon's texts through the complex inscription and transformation of names drawn from the Creuse, literature, art and avant-garde thought. And it is within this matrix that Michon puts in play his own name and its uncertain relation to literature.

This is a key monograph surveying the portrayal of finance and money in British fiction over the last thirty years.Fiction has become increasingly concerned with the political and imaginative significance of finance, speculation and the money markets - from Ian Fleming's "Goldfinger" to Jonathan Coe's "What a Carve Up" and Martin Amis' "Money". This book argues that recent British fiction demystifies the 'weightless' economy of contemporary money and critiques the popular sense of money as being everywhere but nowhere. The monograph provides a comprehensive survey of a large body of fictional texts that have striven to represent and understand the formative significance of finance capital on contemporary culture. In these novels, the implications of finance capitalism for political identity, for class politics, for the sovereignty of the nation state and a new global order are all explored, dramatised and critiqued. Authors covered include Margaret Drabble, Ian McEwan, Jonathan Coe, Alan Hollinghurst, Martin Amis and Malcolm Bradbury.

Brian Friel is Ireland's foremost living playwright, whose work spans fifty years and has won numerous awards, including three Tonys and a Lifetime Achievement Arts Award. Author of twenty-five plays, and whose work is studied at GCSE and A level (UK), and the Leaving Certificate (Ire), besides at undergraduate level, he is regarded as a classic in contemporary drama studies. Christopher Murray's Critical Companion is the definitive guide to Friel's work, offering both a detailed study of individual plays and an exploration of Friel's dual commitment to tradition and modernity across his oeuvre.Beginning with Friel's 1964 work "Philadelphia, Here I Come ," Christopher Murray follows a broadly chronological route through the principal plays, including "Aristocrats," "Faith Healer," "Translations," "Dancing at Lughnasa," "Molly Sweeney" and "The Home Place." Along the way it considers themes of exile, politics, fathers and sons, belief and ritual, history, memory, gender inequality, and loss, all set against the dialectic of tradition and modernity. It is supplemented by essays from Shaun Richards, David Krause and Csilla Bertha providing varying critical perspectives on the playwright's work.

This book undertakes a psychotropic analysis of texts that deal with the violence of drug trafficking and interdiction, especially in Mexico. While most critics of so-called narcoculture have either focused on an aesthetic "sobriety" in these works or discounted them altogether as exploitative and unworthy of serious attention, Drugs, Violence, and Latin America illuminates how such work may reflect and intervene in global networks of intoxication. Theorizing a "dialectics of intoxication" that illustrates how psychotropy may either solidify or destabilize the self and its relationship to the other, it proposes that these tendencies influence human behavior in distinct ways and are leveraged for social control within both licit and illicit economies. A consideration of a countercultural genealogy in Latin America provides a contrastive psychotropic context for contemporary novels that exposes links between narcoviolence and consumerism, challenging our addictions of thought and feeling about ourselves and our relationships to drugs and narco-violence.

'Rich girl meets poor boy who liberates her then dies.' Or, 'low-life girl is trashed by lower-life boy.' The contemporary middle-class fictions of poverty that inform films such as "Titanic" and "Kids" are a far cry from the nineteenth-century genres: rags-to-riches stories and seduction tales. Our fictions of class turn the older tales upside down. By the surprising juxtaposition of recent films and the classic writings and unusual lives of Zora Neale Hurston, Stephen Crane, Henry Miller, and Michel Foucault, the book shocks the reader into a reappraisal of these authors' works and lives, our myths about class, and poststructural theory.

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.

Verbal imagery and visual images as well as the intricate relationships between verbal and visual representations have long shaped the imagination and the practice of intercultural relationships. The contributions to this volume take a fresh look at the ideology of form, especially the gendered and racial implications of the gaze and the voice in various media and intermedial transformations. Analyses of how culturally specific forms of visual and verbal expression are individually understood and manipulated complement reflections on the potential and limitations of representation. The juxtaposition of visual and verbal signifiers explores the gap between them as a space beyond cultural boundaries. Topics treated include: Caliban; English satirical iconotexts; Oriental travel writing and illustration; expatriate description and picturesque illustration of Edinburgh; ethnographic film; African studio photography; South African cartoons; imagery, ekphrasis, and race in South African art and fiction; face and visuality, representation and memory in Asian fiction; Bollywood; Asian historical film; Asian-British pop music; Australian landscape in painting and fiction; indigenous children's fiction from Aotearoa New Zealand, Canada, and the USA; Canadian photography; Native Americans in film. Writers and artists discussed include: Philip Kwame Apagya; the Asian Dub Foundation; Breyten Breytenbach; Richard Burton; Peter Carey; Gurinder Chadha; Daniel Chodowiecki; J.M. Coetzee; Ashutosh Gowariker; Patricia Grace; W. Greatbatch; Hogarth; Francis K. Honny; Jim Jarmusch; Robyn Kahukiwa; Seydou Keita; Thomas King; Vladyana Krykorka; Alfred Kubin; Michael Arvaarluk Kusugak; Kathleen and Michael Lacapa; Laszlo Lakner; George Littlechild; Ken Lum; Franz Marc; Zakes Mda; Ketan Mehta; M.I.A. (Maya Arulpragasam); Timothy Mo; William Kent Monkman; Lady Mary Wortley Montagu; John Hamilton Mortimer; Sidney Nolan; Jean Rouch; Salman Rushdie; William Shakespeare; Robert Louis Stevenson; Richard Van Camp; Zapiro.

Beckett's bilingual oeuvre has been approached from many angles, most of which stress its autonomy from understandings of Irishness emerging from the Irish Literary Revival. Emilie Morin shows that such autonomy is only apparent, and that Beckett's avant-garde practices remain bound to the exigencies that govern their very development.

As twentieth-century writers confronted the political violence of their time, they were overcome by rhetorical despair. Unspeakable acts left writers speechless. They knew that the atrocities of the century had to be recorded, but how? A dead body does not explain itself, and the narrative of the suicide bomber is not the story of the child killed in the blast. In the past, communal beliefs had justified or condemned the most horrific acts, but the late nineteenth-century crisis of belief made it more difficult to come to terms with the meaning of violence. In this major new study, Joyce Wexler argues that this situation produced an aesthetic dilemma that writers solved by inventing new forms. Although Symbolism, Expressionism, Modernism, Magic Realism, and Postmodernism have been criticized for turning away from public events, these forms allowed writers to represent violence without imposing a specific meaning on events or claiming to explain them. Wexler's investigation of the way we think and write about violence takes her across national and period boundaries and into the work of some of the greatest writers of the century, among them Joseph Conrad, T. S. Eliot, D. H. Lawrence, James Joyce, Alfred Doeblin, Gunter Grass, Gabriel Garcia Marquez, Salman Rushdie, and W. G. Sebald.

This comprehensive introduction places the work of Julian Barnes into historical and theoretical context. Including a timeline of key dates, this guide explores his characteristic literary techniques, offers extensive readings of all ten novels and provides an overview of the varied critical reception his work has provoked.

Salman Rushdie's writing is engaged with translation in many ways: translator-figures tell and retell stories in his novels, while acts of translation are catalysts for climactic events. Covering his major novels as well as his often-neglected short stories and writing for children, "Salman Rushdie and Translation" explores the role of translation in Rushdie's work. In this book, Jenni Ramone draws on contemporary translation theory to analyse the part translation plays in Rushdie's appropriation of historical and contemporary Indian narratives of independence and migration.

In her spare, stark style, Annie Ernaux documents the desires and indignities of a human heart ensnared in an all-consuming passion. Blurring the line between fact and fiction, an unnamed narrator attempts to plot the emotional and physical course of her two-year relationship with a married foreigner where every word, event, and person either provides a connection with her beloved or is subject to her cold indifference. With courage and exactitude, she seeks the truth behind an existence lived entirely for someone else, and, in the pieces of its aftermath, she is able to find it.

Postcolonial African writers have made an enormous contribution to world literature. These writers frequently examine such issues as emerging identities in the postcolonial climate, neo-colonialism and new forms of oppression, cultural and political hegemonies, neo-elitism, language appropriation, and economic instability. During the last decade, their works have elicited increasing critical attention. This reference book overviews the richness of postcolonial African literature. The volume focuses on how postcoloniality is reflected in the novels, poetry, prose, and drama of major, minor, and emerging writers from diverse countries in Africa, including representative North and South African writers as well as writers of the Indian diaspora born in Africa. While authors in indigenous African languages continue to produce valuable works, the volume principally considers Anglophone and Francophone authors, along with two Lusophone writers. The reference book begins with an introductory essay on postcolonial criticism and African writing. The volume then presents alphabetically arranged profiles of approximately 60 writers, such as Chinua Achebe, Ama Ata Aidoo, Tsitsi Dangarembga, Buchi Emecheta, Nadine Gordimer, Bessie Head, Tabar Ben Jelloun, Doris Lessing, Peter Nazareth, Gabriel Okara, Femi Osofisan, and Efua Theodora Sutherland. Each entry includes a brief biography, a discussion of major works and themes that appear in the author's writings, an overview of the critical response to the author's works, and a bibliography of primary and secondary sources. These profiles are written by expert contributors and reflect many valuable perspectives. The volume concludes with a selectedgeneral bibliography of the most important critical works on postcolonial African literature.

"Locating Exiled Writers in Contemporary Russian Literature" proposes an interdisciplinary approach to reading and situating narratives of repatriation produced by former exiles. It examines the work of exiles from the Soviet Union who returned to a reformed post-Soviet Russia to initiate narrative processes of self-definition at a time of social, political and cultural transition. It is the first study to demonstrate how narratives of return variously reorganize the poetics of exilic writing and engage the reader in the project of constructing stable identities within a changing national imaginary.

In "The Public Intellectualism of Ralph Waldo Emerson and W.E.B. Du Bois," Ryan Schneider shows how and why two of America's most influential public intellectuals--writing from opposite sides of the color line--defined race not only in biological and geo-cultural terms but also as an emotional phenomenon. Drawing on and advancing recent work in Cognitive Literary Studies, Critical Race Theory, and the History of Emotions, Schneider comparatively examines the range of feelings Emerson and Du Bois attribute to the experience of racial difference; his innovative close readings reveal the surprising extent to which they conceive of race reform as an emotive process and how expressions of personal feeling underwrite their public commitments to re-imagining black-white relations.

This monograph undertakes the first extensive comparative analysis of the works of Iain Sinclair and Peter Ackroyd, placing the fiction and non-fiction of both writers in relation to the broader cultural, social and political contexts of London from 1979. It begins by tracing the two different Londons of both writers, arguing that their literary and cultural projects are intrinsically linked, yet have remained under explored in academic criticism. Alex Murray argues that while both Sinclair and Ackroyd attempt to utilise radical narrative practices to challenge the dominant historical discourses within contemporary London, those challenges must be placed in relation to broader issues of cultural history, government appropriation of historical narratives and debates about the relationship between literature and the city. This argument is traced from the 'radical' historical fiction of the 1980s which launched the career of both writers, through to their extensive bodies of work on creating a specifically London form of literary history, to their engagements towards the turn of the millennium with larger questions of historiography and material history. This study then links these issues of narrative and material history, demonstrating the increasingly problematic relationship that both writers have as their fictionally 'radical' recalling of London is transformed into issues of material history, primarily the issues of politics and ethics in historical representation, and the relationship between history and commodification.

Shortlisted for the 2017 AUHE Prize for Literary Scholarship Ordinary Matters is the first major interdisciplinary study of the ordinary in modernist women's literature and photography. It examines how women photographers and writers including Helen Levitt, Lee Miller, Virginia Woolf and Dorothy Richardson envision the sphere of ordinary life in light of the social and cultural transformations of the period that shaped and often radically re-shaped it: for example, urbanism, instrumentalism, the Great Depression and war. Through a series of case studies that explore such topics as the street, domestic things, gesture and the face, Sim contends that the paradigmatic shifts that define early twentieth-century modernity not only inform modernist women's aesthetics of the everyday, but their artistic and ethical investments in that sphere. The everyday has been noted as a "keynote of the New Modernist Studies" (Todd Avery). Ordinary Matters comprises a vital contribution to recent scholarship on the topic and will be of value to scholars working in British and American modernism, multimedia modernisms, photography, twentieth-century literature, and critical and cultural histories of the everyday.