Katherine Mansfield had a career-long engagement with the literary marketplace from the age of eighteen. This book examines how she developed as a writer within a range of book and periodical publishing contexts, reconsidering her writing's enactment of a commercially viable modern aesthetic in her experimentation with the short story form.

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.

The essays in this volume provide an overview and critical account of prevalent trends and theoretical arguments informing current investigations into literary treatments of motherhood and aging. They explore how two key stages in women's lives-maternity and old age-are narrated and defined in fictions and autobiographical writings by contemporary French and francophone women. Through close readings of Maryse Conde, Helene Cixous, Zahia Rahmani, Linda Le, Pierrette Fleutieux, and Michele Sarde, among others, these essays examine related topics such as dispossession, female friendship, and women's relationships with their mothers. By adopting a broad, synthetic approach to these two distinct and defining stages in women's lives, this volume elucidates how these significant transitional moments set the stage for women's evolving definitions (and interrogations) of their identities and roles.

This book promises to be a very useful reference work, covering material that has heretofore been hard to find. . . . . useful in academic libraries and large public libraries. "Reference Books Bulletin"

This dictionary provides an exhaustive reference guide to representative figures in Hispanic literature within the geographic, political, and cultural boundaries of the United States. While concentrating on contemporary writers who have made or promise to make a lasting contribution to multiethnic letters in this country, it is designed to make accessible to the English-language reader a literary world that has until now been articulated primarily in Spanish. Focusing mainly on Puerto Rican and Cuban writers, each entry summarizes the importance of the subject and indicates the literary genres and themes cultivated. There is a brief biography of each author, an analysis of major works and themes, and a survey of the criticism of the author's works.

The first and most comprehensive volume on the subject, this extraordinarily detailed sourcebook is a compilation of bio-bibliographical essays on leading Hispanic novelists, poets, and dramatists, and includes secondary bibliographies for each entry as well as a general bibliography on Hispanic literature. Especially highlighted are such authors as Nuyorican Miguel Pinero, winner of the New York Drama Critics Circle Award for Best American Play; Chilean novelist, critic, and editor Fernando Alegria; the Cuban-American chronicler of life in Miami's exile community, Roberto Fernandez, and others. Kanellos' work answers a definite need for comprehensive biographical and critical information on these writers, and it will be a significant addition to academic and public libraries, and to research in Spanish, English, bilingual education, and ethnic studies.

Gertrude Stein's works encompass a variety of genres. She explicitly called many of her works plays, operas, or novels intending her works to be read with certain generic expectations in mind, be it only to have them undermined. Although many writers depart from generic norms, Stein's generic transgressions are radical and are related to gender-specific traits of her writing. This work examines Stein's questions about gender hierarchies, classifications, and categories, and brings to light the direct relationship between gender and genre in her works. Gygax looks at a number of Stein's texts, including "Ida A Novel, A Circular Play, Everybody's Autobiography, The Geographical History of America, " and "Blood on the Dining-Room Floor, " which Stein called a detective story.

Readers bring to a text a set of expectations often relating to its genre. A novel, for example, is expected to share certain features with other novels, which is why it is not considered a play. But these distinctions are difficult to make, and writers often depart from generic conventions for the sake of being innovative. Generic expectations also closely relate to gender. For example, an autobiography may be read in light of the gender of the author. Like various genres, gender brings with it certain expectations, which are largely determined by social values. Some individuals transgress the conventional bounds of gender roles, just as some works of literature go beyond traditional generic frames.

The works of Gertrude Stein typically challenge the expectations of both gender and genre. As a lesbian writer, Stein was acutely aware of society's expectations with respect to gender. And in her writings, she is clearly concerned with genre. She explicitly calls many of her works plays, operas, or novels intending them to be read with certain generic expectations in mind only to transgress traditional generic expectations. Gygax explores why Stein was inevitably confronted with questions about gender and generic categories. Including a number of Stein's theoretical statements about writing, this insightful book illuminates the relationship between gender and genre in her works.

At the heart of Christian theology lies a paradox unintelligible to other religions and to secular humanism: that in the person of Jesus, God became man, and suffered on the cross to effect humanity's salvation. In his dual nature as mortal and divinity, and unlike the impassable God of other monotheisms, Christ thus became accessible to artistic representation. Hence the figure of Jesus has haunted and compelled the imagination of artists and writers for 2,000 years. This was never more so than in the 20th Century, in a supposedly secular age, when the Jesus of popular fiction and film became perhaps more familiar than the Christ of the New Testament. In Re-Writing Jesus: Christ in 20th Century Fiction and Film Graham Holderness explores how writers and film-makers have sought to recreate Christ in work as diverse as Anthony Burgess's Man of Nazareth and Jim Crace's Quarantine, to Martin Scorsese's The Last Temptation of Christ and Mel Gibson's Passion of the Christ. These works are set within a longer and broader history of 'Jesus novels' and 'Jesus films', a lineage traced back to Ernest Renan and George Moore, and explored both for their reflections of contemporary Christological debates, and their positive contributions to Christian theology. In its final chapter, the book draws on the insights of this tradition of Christological representation to creatively construct a new life of Christ, an original work of theological fiction that both subsumes the history of the form, and offers a startlingly new perspective on the biography of Christ.

President Barack Obama's Dreams of My Father (1995) and The Audacity of Hope (2006) have received positive and extensive critical attention from both professional reviewers and University scholars. While literary intellectuals have praised Obama's memoirs for the style in which he composed them, social scientists and partisan political analysts have thus far generally monopolized discussion of President Obama's writings. Yet there has been a recent surge of interest in the literary merits of Obama's writings. Our volume understands "literary" to indicate a host of a priori relationships that successful, artful writing brings to the surface of a written work. These are instantiated in narrative form, thereby revealing what Edward W. Said famously defined as the "worldliness" of the literary object. In the case of President Obama's writings, and Dreams from My Father in particular, those relationships are evident in the author's negotiation of literary tradition, rhetorical modes and historical narratives. By positioning the "literary" at this vantage, at the point where writing and the world converge, the volume's contributors assert the indispensable, and urgent, import of understanding the President not only in political terms, but, more importantly, in literary terms that place him within a long tradition of American literary-political authorship.

SHADOWS AND CHIVALRY studies the influence of George MacDonald, a nineteenth-century Scottish novelist and fantasy writer, upon one of the most influential writers of modern times, C. S. Lewis - the creator of Narnia, literary critic, and best-selling apologist. While other books, quoting Lewis himself, have only mentioned the fact that Lewis called MacDonald his "master," and that MacDonald's Phantastes helped "baptize" Lewis's imagination, this study attempts to trace the overall effect of MacDonald's work on Lewis's thought and imagination. Without ever ceasing to be a story of one man's influence upon another, the study also serves as an exploration of each writer's thought on, and literary visions of, good and evil. Lastly, using the metaphor of chivalry, McInnis looks at what Lewis and MacDonald believed to be greater than either suffering or hell: the severe and tender Love who longs to save.

"By far the most penetrating and exhaustive study that I have seen of the origin in George MacDonald's writings of so many of C. S. Lewis's ideas. Jeff McInnis's sensitive and highly informed judgments greatly enrich our understanding of their imaginative and devotional achievement. A genuinely enriching read for any earnest Christian mind."

Rolland Hein, Professor Emeritus, Wheaton College

Author of Through the Year with George MacDonald

"Jeff McInnis has written a book that henceforth will be indispensable to all students of C. S. Lewis who seek to understand the oft-mentioned but till now not fully fathomed debt of his literary and theological imagination to George MacDonald. His well conceived study has the further benefit of doing considerable justice to the angular graces of MacDonald's anti-Calvinistic under standing of redemption. McInnis's chapter on "The Chivalry of God" finds an indispensable key to this great, but out-of-time conversation between two lay theologians of enduring interest and literary power."

David Lyle Jeffrey, Distinguished Professor of Literature and the Humanities, Baylor University

Author of Christianity and Literature: Philosophical Foundations and Critical Practice

Jeff McInnis (PhD, University of St. Andrews) is Professor of English at Panola College in Carthage, Texas.

H. G. Wells was one of the most influential authors of the late 19th and early 20th centuries. He is best remembered today as the author of classic works of science fiction, such as The Invisible Man, The War of the Worlds, and The First Men in the Moon. He was also the author of The Outline of World History, an ambitious chronicle of the world from antiquity to the beginning of the 20th century. Through essays and reviews, this volume traces the critical reception of his works. An introductory essay overviews Wells's literary career and provides a context for understanding his works. Each of the sections that follow treats one of his major works, according to the publication date of his story. Within each section are reviews, essays, or excerpts that exemplify the critical response to that particular work from the time of its appearance to the present day. A bibliography at the end of the volume lists the most important modern critical studies of Wells and indicates the tremendous contemporary interest in Wells as an author.

This study explores the subtle and complex significance of food and eating in the fiction of contemporary women writers. Sarah Sceats' lively analysis demonstrates that food and its consumption are not simply fundamental to life but are inseparable from questions of gender, power and control. Focusing on the work of Doris Lessing, Angela Carter, Margaret Atwood, Michèle Roberts and Alice Thomas Ellis, she makes powerful connections between food and love, motherhood, sexual desire, self identity and social behavior, and engages with issues as diverse as cannibalism and eating disorders.

While much of the critical discussion about the emerging genre of 9/11 fiction has centred on the trauma of 9/11 and on novels by EuroAmerican writers, this book draws attention to the diversity of what might be meant by "post" -9/11 by exploring the themes of uncanny terror through a close reading of four "post" -9/11 South Asian diasporic fictions.

"Rereading B.S. Johnson" offers a thorough introduction to the innovative work of the controversial British writer acclaimed in the 1960s and early 1970s. Growing academic interest and the republication of his major works have been reinforced by Jonathan Coe's award-winning biography "Like A Fiery Elephant" (2004). With a preface by Coe, this collection, co-edited by two leading Johnson scholars, offers an annotated bibliography, a chronology and original readings of the author and his work in fourteen new essays.

Katherine Mansfield (1888-1923) was one of the leading figures in the development of the modernist short story and her writings were a profound influence on writers such as Virginia Woolf and D.H. Lawrence. Presenting for the first time draft manuscripts of some of her most important stories, this book gives scholars and students alike vivid new insight into Mansfield’s creative process. With manuscripts for each text presented in facsimile and transcript, detailed notes throughout compare early drafts with later revisions and the final published work. In the final section of the book leading scholars offer vivid new critical readings exploring the manuscript history of these stories. A detailed descriptive listing of the major Mansfield archives is also included to help researchers explore the work further. The stories included are: ‘Je ne parle pas francais’; ‘Sun and Moon’; ‘Revelations’; ‘The Stranger’; ‘The Daughters of the Late Colonel’; ‘Mr and Mrs Dove’; ‘Marriage à la Mode’; ‘The Voyage’; ‘Six Years After’; ‘The Fly’.

This book discusses selected works by six contemporary Indian novelists writing in English - Vikram Seth, Salman Rushdie, Nayantara Sahgal, Arundhati Roy, Ruchir Joshi and Rupa Bajwa - all of whom have made the Indian nation a central theme in their fiction. All these writers respond, in varying ways, to the idea of India as united in diversity, a construct most readily associated with the nationalist vision of Jawaharlal Nehru, India's first prime minister. In considering India's past and looking towards the future, they struggle with and attempt to extend the available language of cultural diversity.

'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.

"Race and White Identity in Southern Fiction" explores a form of racial passing that has gone largely unnoticed. Duvall makes visible the means by which southern novelists repeatedly imagined their white characters as fundamentally black in some sense. Beginning with William Faulkner, Duvall traces a form of figurative and rhetorical masking in twentieth-century southern fiction that derives from whiteface minstrelsy. In the fiction of such subsequent writers as Flannery O'Connor, John Barth, Dorothy Allison, and Ishmael Reed, the reader sees characters who present a white face to the world, even as they unconsciously perform cultural blackness. These queer performances of race repeatedly reveal that being merely Caucasian is insufficient to claim Southern Whiteness.

Although the dramatic dimension to Joseph Conrad's fiction is frequently acknowledged, his own experiments in drama have traditionally been marginalized. However, in all of Conrad's plays we see a distinct effort to investigate seriously the dramatic form and some of his plays are startlingly ahead of their time. Furthermore, all of the plays are adaptations and comprise One Day More , based on Tomorrow , Laughing Anne , based on Because of the Dollars, Victory: A Drama and The Secret Agent . The creation of these reveals much about the history, theory and practice of this fascinating cultural process.

Norman Gottwald's monumental The Tribes of Yahweh caused an immediate sensation when first published in 1979, and its influence has continued to be felt, both in the area of biblical politics and in the application of sociological methods to the Hebrew Bible. This book reflects on the impact and the implications of the work after twenty years. The distinguished contributors are David Jobling, Frank Frick, Charles Carter, Carol Meyers, Jacques Berlinerblau, Itumeleng Mosala, Gerald West, Roland Boer and, in a response to contributors as well as an interview with the editor, Norman Gottwald himself.

"I always thought that building] bridges is the best job there is because roads go over bridges, and without roads we'd still be like savages. In short, bridges are like the opposite of borders, and borders are where wars start." --Primo Levi, 'La chiave a stella' (The Wrench)
Primo Levi (1919-1987) was one of Italy's most distinguished writers. A survivor of the Holocaust, his memoirs on the Nazi death camps (If This Is a Man and The Truce) are internationally recognised as among the most powerful and profound testimonies to have come out of the extermination of the European Jewry.
This book is the first comprehensive introduction to Levi and his writing for English-speaking readers. The author draws attention to the literary worth of Levi's entire output -- not just the Holocaust testimonies for which he is primarily known -- and situates his works in the context of Italian culture and society from the 1920s to the 1980s. A man with many identities -- chemist, industrial manager and writer -- he tried, through his writing, to build bridges between different cultures and fields of enquiry.
General readers who are acquainted with Levi's writings will find this book fascinating, as will students and scholars of Holocaust Literature, Italian Studies and Contemporary Italian Literature.

"Cultivating Allegiance argues that British representations of America, Americans, and Anglo-American relations at the turn of the twentieth century provided an important forum for promoting the improving effects of culture, particularly literature. Analyzing America provided an indirect form of self-scrutiny for British writers and readers, safely insulated by the superiority invoked by critiquing American difference. Operating within a reflexive transatlantic print culture, writers crafted cultivated personae as markers of an ideal Britishness. In so doing, they deployed a variety of images of the United States as counterparts to their visions of these ideals. Thus, British representations of America provide an important linkage between nineteenth and twentieth century visions of British culture and national identity"--Provided by publisher.

This book sets out to write nothing short of a new theory of the heroic for today's world. It delves into the "why" of the hero as a natural companion piece to the "how" of the hero as written by Northrop Frye and Joseph Campbell over half a century ago. The novels of Saul Bellow and Don DeLillo serve as an anchor to the theory as it challenges our notions of what is heroic about nymphomaniacs, Holocaust survivors, spurious academics, cult followers, terrorists, celebrities, photographers and writers of novels who all attempt to claim the right to be "hero."

This sophisticated book argues that human rights literature both helps the persecuted to cope with their trauma and serves as the foundation for a cosmopolitan ethos of universal civility-a culture without borders. Michael Galchinsky maintains that, no matter how many treaties there are, a rights-respecting world will not truly exist until people everywhere can imagine it. The Modes of Human Rights Literature describes four major forms of human rights literature: protest, testimony, lament, and laughter to reveal how such works give common symbolic forms to widely held sociopolitical emotions.

Privacy is not often thought of as a marker of modernity but a look at British women's writing of the early twentieth century suggests that it should be so. This book examines the female pursuit of privacy, particularly of the spatial kind, as women began to claim privacy as an entitlement of the modern, middle-class woman.

The latest in a renowned research-level series, this volume focuses on Yeats's multifarious (especially occult) reading and his iconography. Closely examining the making of his work - a new unfinished play for dancers is presented - the volume turns to his immediate influence in Japan via Yone Noguchi and in England on the work of Dorothy Wellesley, as well as to his legacy in the elegiac poems of W.H. Auden and Seamus Heaney.

Appropriation emerged during the Celtic Revival as a singular mode of engaging with the Shakespearean text to conceptualise and frame national identities in Ireland using the English language. With The Celtic Revival in Shakespeare's Wake, Adam Putz has examined the ways in which the discourse of Anglo-Irish cultural politics shaped the Shakespeares of Matthew Arnold, Edward Dowden, and W. B. Yeats. His close readings underscore the instability of the binary oppositions upon which these writers relied to predicate their appropriations. However, Putz finds in James Joyce an urgent concern for the pernicious manner in which the discourse of Anglo-Irish cultural politics mediated the relationship with Shakespeare for a generation of Irish men and women. Therefore, Putz reconsiders periodization and literary inheritance, the nation and modernity in order to point up the contingency of those values located in and imposed upon Shakespeare during the Revival.