Authorship's Wake examines the aftermath of the 1960s critique of the author, epitomized by Roland Barthes's essay, "The Death of the Author." This critique has given rise to a body of writing that confounds generic distinctions separating the literary and the theoretical. Its archive consists of texts by writers who either directly participated in this critique, as Barthes did, or whose intellectual formation took place in its immediate aftermath. These writers include some who are known primarily as theorists (Judith Butler), others known primarily as novelists (Zadie Smith, David Foster Wallace), and yet others whose texts are difficult to categorize (the autofiction of Chris Kraus, Sheila Heti, and Ben Lerner; the autotheory of Maggie Nelson). These writers share not only a central motivating question - how to move beyond the critique of the author-subject - but also a way of answering it: by writing texts that merge theoretical concerns with literary discourse. Authorship's Wake traces the responses their work offers in relation to four themes: communication, intention, agency, and labor.

Winner of the DHLSNA Biennial Award for a Book by a Newly Published Scholar Exploring draft manuscripts, alternative texts and publishers' typescripts, The Many Drafts of D. H. Lawrence reveals new insights into the writings and writing practices of one of the most important writers of the 20th century. Focusing on the most productive years of Lawrence's writing life, between 1909 and 1926 - a time that saw the writing of major novels such as Women in Love and the controversial The Plumed Serpent, as well as his first major short story collection - this book is the first to apply analytical methods from the field of genetic criticism to the archives of this canonical modernist author. The book unearths and re-evaluates a variety of themes including the body, death, love, trauma, depression, memory, the sublime, selfhood, and endings, and includes original transcriptions as well as reproductions from the manuscripts themselves. By charting Lawrence's writing processes, the book also highlights how the very distinction between 'process' and 'product' became a central theme in his work.

Gloria Maite Hernandez offers an engaging critical review of scholarly works on Spanish mystical literature during the twentieth and early twenty-first century in Europe and the Americas. Bringing together for the first time an ample variety of sources, and letting the scholars' own voices be heard, this study asks how their writings were influenced by their particular notions about mysticism and Spain's relationship with the Orient. A thematic survey like this one illustrates how ideas are created and re-created throughout time, resulting in the production of a more diverse scholarship. Readers will be enriched with a renewed sense of disciplinary awareness.

This work analyzes 21st-century realistic speculations of human extinction: fictions that imagine future worlds without interventions of as-yet uninvented technology, interplanetary travel, or other science fiction elements that provide hope for rescue or long-term survival. Climate change fiction as a genre of apocalyptic and post-apocalyptic writing usually resists facing the potentiality of human species extinction, following instead traditional generic conventions that imagine primitivist communities of human survivors with the means of escaping the consequences of global climate change. Yet amidst the ongoing sixth great extinction, works that problematize survival, provide no opportunities for social rebirth, and speculate humanity's final end may address the problem of how to reject the impulse of human exceptionalism that pervades climate change discourse and post-apocalyptic fiction. Rather than following the preferences of the genre, the ecocollapse fictions examined here manifest apocalypse where the means for a happy ending no longer exists. In these texts, diminished ecosystems, specters of cannibalism, and disintegrations of difference and othering render human self-identity as radically malleable within their confrontations with the stark materiality of all life. This book is the first in-depth exploration of contemporary fictions that imagine the imbrication of human and nonhuman within global species extinctions. It closely interrogates novels from authors like Peter Heller, Cormac McCarthy and Yann Martel that reject the impulse of human exceptionalism to demonstrate what it might be like to go extinct.

Contributions by Zoe Bursztajn-Illingworth, Marc DiPaolo, Emine Akkulah Do?fan, Caroline Eades, Noelle Hedgcock, Tina Olsin Lent, Rashmila Maiti, Jack Ryan, Larry T. Shillock, Richard Vela, and Geoffrey Wilson In Next Generation Adaptation: Spectatorship and Process, editor Allen H. Redmon brings together eleven essays from a range of voices in adaptation studies. This anthology explores the political and ethical contexts of specific adaptations and, by extension, the act of adaptation itself. Grounded in questions of gender, genre, and race, these investigations focus on the ways attention to these categories renegotiates the rules of power, privilege, and principle that shape the contexts that seemingly produce and reproduce them. Contributors to the volume examine such adaptations as Quentin Tarantino's Death Proof, Jacques Tourneur's Out of the Past, Taylor Sheridan's Sicario and Sicario: Day of the Soldado, Jean-Jacques Annaud's Wolf Totem, Spike Lee's He's Got Game, and Jim Jarmusch's Paterson. Each chapter considers the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another. Building on the growing trends in adaptation studies, these essays explore the ways filmic texts experienced as adaptations highlight ethical or political concerns and argue that spectators are empowered to explore implications being raised by the adaptations.

James Joyce and Catholicism is the first historicist study to explore the religious cultural contexts of Joyce's final masterpiece. Drawing on letters, authorial manuscripts and other archival materials, the book works its way through a number of crucial themes; heresy, anticlericalism, Mariology, and others. Along the way, the book considers Joyce's vexed relationship with the Catholic Church he was brought up in, and the unique forms of Catholicism that blossomed in Ireland at the turn of the last century, and during the first years of the Irish Free State.

Many of the most important black intellectual movements of the second half of the twentieth century were perceived as secular, if not profane. When religion has figured into scholarly accounts of these moments, it has almost always appeared as tangential or inconsequential. In Spirit in the Dark, Josef Sorett upends this narrative by exploring the ways in which religion continued to animate and organize African American literary visions throughout the years between the New Negro Renaissance of the 1920s and the Black Arts movement of the 1960s. Sorett unveils the contours of a literary history that remained preoccupied with religion even as it was typically understood, by authors, readers and critics alike, to be secular. In doing so, he reveals how religion, especially Christianity, remained pivotal to the very ideas and aspirations of African American literature across much of the twentieth century. More specifically, Sorett shows that religion and spirituality are key categories for identifying what is (or is not) perceived to constitute or contribute to a black culture. By examining figures and movements that have typically been cast as "secular," he offers theoretical insights that blur the boundaries of the "sacred" in scholarship on African American religion and culture. Ultimately, Spirit in the Dark reveals religion to be an essential ingredient, albeit one that was always questioned and contested, to the forging of an African American literary tradition.

Samuel Beckett's private writings and public work show his deep interest in the workings of the human mind. Samuel Beckett and Psychology is an innovative study of the author's engagement with key concepts in early experimental psychology and rapidly developing scientific ideas about perception, attention and mental imagery. Through innovative new readings of Beckett's later dramatic and prose works, the book reveals the links between his aesthetic method and the methodologies of experimental psychology through the 20th century. Covering important later works including Happy Days, Not I and Footfalls, Samuel Beckett and Psychology sheds important new light on Beckett's depictions of the workings of the embodied mind.

The "Bidun" ("without nationality") are a stateless community based across the Arab Gulf. There are an estimated 100,000 or so Bidun in Kuwait, a heterogeneous group made up of tribes people who failed to register for citizenship between 1959 and 1963, former residents of Iraq, Saudi and other Arab countries who joined the Kuwait security services in '60s and '70s and the children of Kuwaiti women and Bidun men. They are considered illegal residents by the Kuwaiti government and as such denied access to many services of the oil-rich state, often living in slums on the outskirts of Kuwait's cities. There are few existing works on the Bidun community and what little research there is is grounded in an Area Studies/Social Sciences approach. This book is the first to explore the Bidun from a literary/cultural perspective, offering both the first study of the literature of the Bidun in Kuwait, and in the process a corrective to some of the pitfalls of a descriptive, approach to research on the Bidun and the region. The author explores the historical and political context of the Bidun, their position in Kuwaiti and Arabic literary history, comparisons between the Bidun and other stateless writers and analysis of the key themes in Bidun literature and their relationship to the Bidun struggle for recognition and citizenship.

Edouard Glissant was a leading voice in debates centering on the postcolonial condition and on the present and future of globalisation. Prolific as both a theorist and a literary author, Glissant started his career as a contemporary of Frantz Fanon in the early days of francophone postcolonial thought. In the latter part of his career Glissant's vision pushed beyond the boundaries of postcolonialism to encompass the contemporary phenomenon of globalisation. Sam Coombes offers a detailed analysis of Glissant's thought, setting out the reasons why Glissant's vision for a world of intercultural interaction both reflects but also seeks to provide a correction to some of the leading tendencies commonly associated with contemporary theory today.

In his attitude toward religion, George Orwell has been characterised in various terms: as an agnostic, humanist, secular saint or even Christian atheist. Drawing on the full range of his public and private writings - from major works such as Keep the Aspidistra Flying, 1984 and Down and Out in Paris and London to his shorter journalism and private letters and journals - George Orwell and Religion is a major reassessment of Orwell's life-long engagement with religion. Exploring Orwell's life and work, Michael Brennan illuminates for the first time how this profound engagement with religion informed the intensely humanitarian spirit of his writings.

Comedy is often held to be incompatible with trauma and suffering; it triggers anxiety and moral disquiet around the pleasure we take in reading or watching another's pain. Such concern is particularly acute in relation to suffering that has assumed the status of a cultural trauma, such as that caused by the Holocaust and the Second World War. This long overdue study explores the significance of the comical in German and Austrian postwar cultural representations of suffering. It analyses how the comical challenges the expectations and ethics of representing suffering and trauma. It does so, moreover, by critically examining the conceptions of trauma and victimhood which currently enjoy so much status - such as that of trauma and the nowadays automatic validity and universal applicability of victim identity. The study focuses on the work of Ingeborg Bachmann, Rainer Werner Fassbinder, W. G. Sebald, Volker Koepp, Reinhard Jirgl, Ruth Kluger. Edgar Hilsenrath and Jonathan Littell. Comedy is often held to be incompatible with trauma and suffering; it triggers anxiety and moral disquiet around the pleasure we take in reading or watching another's pain. Such concern is particularly acute in relation to suffering that has assumed the status of a cultural trauma, such as that caused by the Holocaust and the Second World War. This long overdue study explores the significance of the comical in German and Austrian postwar cultural representations of suffering. It analyses how the comical challenges the expectations and ethics of representing suffering and trauma. It does so, moreover, by critically examining the conceptions of trauma and victimhood which currently enjoy so much status - such as that of trauma and the nowadays automatic validity and universal applicability of victim identity. The study focuses on the work of Ingeborg Bachmann, Rainer Werner Fassbinder, W. G. Sebald, Volker Koepp, Reinhard Jirgl, Ruth Kluger. Edgar Hilsenrath and Jonathan Littell.

The year is 1932. In Rome, the Fascist leader Benito Mussolini unveils a giant obelisk of white marble, bearing the Latin inscription MVSSOLINI DVX. Invisible to the cheering crowds, a metal box lies immured in the obelisk's base. It contains a few gold coins and, written on a piece of parchment, a Latin text: the Codex fori Mussolini. What does this text say? Why was it buried there? And why was it written in Latin? The Codex, composed by the classical scholar Aurelio Giuseppe Amatucci (1867-1960), presents a carefully constructed account of the rise of Italian Fascism and its leader, Benito Mussolini. Though written in the language of Roman antiquity, the Codex was supposed to reach audiences in the distant future. Placed under the obelisk with future excavation and rediscovery in mind, the Latin text was an attempt at directing the future reception of Italian Fascism. This book renders the Codex accessible to scholars and students of different disciplines, offering a thorough and wide-ranging introduction, a clear translation, and a commentary elucidating the text's rhetorical strategies, historical background, and specifics of phrasing and reference. As the first detailed study of a Fascist Latin text, it also throws new light on the important role of the Latin language in Italian Fascist culture.

THE ULTIMATE GUIDES TO EXAM SUCCESS from York Notes - the UK's favourite English Literature Study Guides. York Notes for AS & A2 have been specifically designed to help AS and A2 students get the very best grade you can. They are comprehensive, easy to use, packed with valuable features and written by experienced examiners and teachers to give you an expert understanding of the text, critical approaches and the all-important exam. This edition covers The Kite Runner and includes: An enhanced exam skills section which includes essay plans, expert guidance on understanding questions and sample answers. You'll know exactly what you need to do and say to get the best grades. A wealth of useful content like key quotations, revision tasks and vital study tips that'll help you revise, remember and recall all the most important information. The widest coverage and the best, most in-depth analysis of characters, themes, language, form, context and style to help you demonstrate an exhaustive understanding of all aspects of the text. York Notes for AS & A2 are also available for these popular titles: The Bloody Chamber(9781447913153) Doctor Faustus(9781447913177) Frankenstein (9781447913214) The Great Gatsby(9781447913207) Macbeth(9781447913146) Othello(9781447913191) WutheringHeights(9781447913184)

Brian James Baer explores the central role played by translation in the construction of modern Russian literature. Peter I's policy of forced Westernization resulted in translation becoming a widely discussed and highly visible practice in Russia, a multi-lingual empire with a polyglot elite. Yet Russia's accumulation of cultural capital through translation occurred at a time when the Romantic obsession with originality was marginalizing translation as mere imitation. The awareness on the part of Russian writers that their literature and, by extension, their cultural identity were "born in translation" produced a sustained and sophisticated critique of Romantic authorship and national identity that has long been obscured by the nationalist focus of traditional literary studies. By offering a re-reading of seminal works of the Russian literary canon that thematize translation, alongside studies of the circulation and reception of specific translated texts, Translation and the Making of Modern Russian Literature models the long overdue integration of translation into literary and cultural studies.

Despite the deep-seated notion that the archetypal American poet sings a solitary "Song of Myself," much of the most enduring American poetry has actually been preoccupied with friendship and its pleasures, contradictions, and discontents. Beautiful Enemies examines this obsession with the problems and paradoxes of friendship, tracing its eruption in the New American Poetry that emerges after the Second World War as a potent avant-garde movement. The book argues that a clash between friendship and nonconformity is central to postwar American poetry and its development. By focusing on of some of the most important and influential postmodernist American poets-the New York School poets John Ashbery, Frank O'Hara, and their close contemporary Amiri Baraka-the book offers a new interpretation of the peculiar dynamics of American avant-garde poetic communities and the role of the individual within them. At the same time, this study challenges both the reductive critiques of American individualism and the idealized, heavily biographical celebrations of literary camaraderie one finds in much critical discussion. Beautiful Enemies foregrounds a fundamental paradox: that at the heart of experimental American poetry pulses a commitment to individualism and dynamic movement that runs directly counter to an equally profound devotion to avant-garde collaboration and community. Delving into unmined archival evidence (including unpublished correspondence, poems, and drafts), the book demonstrates that this tense dialectic-between an aversion to conformity and a poetics of friendship-actually energizes postwar American poetry, drives the creation, meaning, and form of important poems, frames the interrelationships between certain key poets, and leaves contemporary writers with a complicated legacy to negotiate. Combining extensive readings of the poets with analysis of cultural, philosophical, and biographical contexts, Beautiful Enemies uncovers the collision between radical self-reliance and the siren call of the interpersonal at the core of twentieth-century American poetry

Winner, 2021 NACCS Book Award, given by the National Association for Chicano and Chicana Studies Explores the how, why, and what of contemporary Chicanx culture, including punk rock, literary fiction, photography, mass graves, and digital and experimental installation art Racial Immanence attempts to unravel a Gordian knot at the center of the study of race and discourse: it seeks to loosen the constraints that the politics of racial representation put on interpretive methods and on our understanding of race itself. Marissa K. Lopez argues that reading Chicanx literary and cultural texts primarily for the ways they represent Chicanxness only reinscribes the very racial logic that such texts ostensibly set out to undo. Racial Immanence proposes to read differently; instead of focusing on representation, it asks what Chicanx texts do, what they produce in the world, and specifically how they produce access to the ineffable but material experience of race. Intrigued by the attention to disease, disability, abjection, and sense experience that she sees increasing in Chicanx visual, literary, and performing arts in the late-twentieth century, Lopez explores how and why artists use the body in contemporary Chicanx cultural production. Racial Immanence takes up works by writers like Dagoberto Gilb, Cecile Pineda, and Gil Cuadros, the photographers Ken Gonzales Day and Stefan Ruiz, and the band Pinata Protest to argue that the body offers a unique site for pushing back against identity politics. In so doing, the book challenges theoretical conversations around affect and the post-human and asks what it means to truly consider people of color as writersand artists. Moving beyond abjection, Lopez models Chicanx cultural production as a way of fostering networks of connection that deepen our attachments to the material world.

Occupy Pynchon examines power and resistance in the writer's post-Gravity's Rainbow novels. As Sean Carswell shows, Pynchon's representations of global power after the neoliberal revolution of the 1980s shed the paranoia and meta physical bent of his first three novels and share a great deal in common with the work of Michael Hardt and Antonio Negri's critical trilogy, Empire, Multitude, and Commonwealth. In both cases, the authors describe global power as a horizontal network of multinational corporations, national governments, and supranational institutions. Pynchon, as do Hardt and Negri, theorizes resistance as a horizontal network of individuals who work together, without sacrificing their singularities, to resist the political and economic exploitation of empire. Carswell enriches this examination of Pynchon's politics as made evident in Vineland (1990), Mason & Dixon (1997), Against the Day (2006), Inherent Vice (2009), and Bleeding Edge (2013) by reading the novels alongside the global resistance movements of the early 2010s. Beginning with the Arab Spring and progressing into the Occupy Movement, political activists engaged in a global uprising. The ensuing struggle mirrored Pynchon's concepts of power and resistance, and Occupy activists in particular constructed their movement around the same philosophical tradition from which Pynchon, as well as Hardt and Negri, emerges. This exploration of Pynchon shines a new light on Pynchon studies, recasting his post-1970s fiction as central to his vision of resisting global neoliberal capitalism.

Over the last 20 years, Jacqueline Wilson has published well over 100 titles and has become firmly established in the landscape of Children's Literature. She has written for all ages, from picture books for young readers to young adult fiction and tackles a wide variety of controversial topics, such as child abuse, mental illness and bereavement. Although she has received some criticism for presenting difficult and seemingly 'adult' topics to children, she remains overwhelmingly popular among her audience and has won numerous prizes selected by children, such as the Smarties Book Prize. This collection of newly commissioned essays explores Wilson's literature from all angles. The essays cover not only the content and themes of Wilson's writing, but also her success as a publishing phenomenon and the branding of her books. Issues of gender roles and child/carer relationships are examined alongside Wilson's writing style and use of techniques such as the unreliable narrator. The book also features an interview with Jacqueline Wilson herself, where she discusses the challenges of writing social realism for young readers and how her writing has changed over her lengthy career.

The first decades of the twenty-first century have been beset by troubling social realities: coalition warfare, global terrorism and financial crisis, climate change, epidemics of family violence, violence toward women, addiction, neo-colonialism, continuing racial and religious conflict. While traumas involving large-scale or historical violence are widely represented in trauma theory, familial trauma is still largely considered a private matter, associated with personal failure. This book contributes to the emerging field of feminist trauma theory by bringing focus to works that contest this tendency, offering new understandings of the significance of the literary testimony and its relationship to broader society. The Poetics of Transgenerational Trauma adopts an interdisciplinary approach in examining how the literary testimony of familial transgenerational trauma, with its affective and relational contagion, illuminates transmissive cycles of trauma that have consequences across cultures and generations. It offers bold and insightful readings of works that explore those consequences in story-Alison Bechdel's Fun Home: A Family Tragicomic (2006), Helene Cixous's Hyperdream (2009), Marguerite Duras's The Lover (1992), Pat Barker's Regeneration Trilogy (1999), and Alexis Wright's Carpentaria (2006) and The Swan Book (2013), concluding that such testimony constitutes a fundamentally feminist experiment and encounter. The Poetics of Transgenerational Trauma challenges the casting of familial trauma in ahistorical terms, and affirms both trauma and writing as social forces of political import.

Spoken word is one of the most popular styles of poetry in North America. While its prevalence is often attributed to the form's strong ties to oral culture, Recalling Recitation in the Americas reveals how poetry memorization and recitation curricula, shaped by British Imperial policy, influenced contemporary performance practices. During the early twentieth century, educators frequently used the recitation of canonical poems to instill "proper" speech and behaviour in classrooms in Canada, the Caribbean, and the United States. Janet Neigh critically analyses three celebrated performance poets - E. Pauline Johnson-Tekahionwake (1861-1913), Langston Hughes (1902-1967), and Louise Bennett (1919-2006) - who refashioned recitation to cultivate linguistic diversity and to resist its disciplinary force. Through an examination of the dialogues among their poetic projects, Neigh illuminates how their complicated legacies as national icons obscure their similar approaches to resisting Anglicization. Recalling Recitation in the Americas focuses on the unexplored relationship between education history and literary form and establishes the far-reaching effects of poetry memorization and recitation on the development of modern performance poetry in North America.