This book shows how African American literature emerged as a world-recognized literature: less as the product of a seamless tradition of writers signifying upon their ancestors and more the product of three generations of ambitious, competitive individuals aiming to be the first great African American writer. It charts a canon of fictional landmarks, beginning with The House Behind the Cedars and culminating in the National Book Award-Winner Invisible Man, and tells the compelling stories of the careers of key African American writers, including Charles Chesnutt, James Weldon Johnson, Jean Toomer, Zora Neale Hurston, Richard Wright, and Ralph Ellison. These writers worked within the white-dominated, commercial, Eurocentric literary field to put African American literature on the world literary map, while struggling to transcend the cultural expectations attached to their position as 'Negro authors'. Literary Ambition and the African American Novel tells as much about the novels that these writers could not publish as it does about their major achievements.

Each of these delightful interconnected tales is devoted to a family living in a fertile valley on the outskirts of Monterey, California, and the effects that one particular family has on them all.

Steinbeck tackles two important literary traditions here; American naturalism, with its focus on the conflict between natural instincts and the demand to conform to society's norms, and the short story cycle.

Set in the heart of 'Steinbeck land', the lush Californian valleys.

This Element analyses the relationship between gender and literary letterpress printing from the early 20th century to the beginning of the 21st. Drawing on examples from modernist writer/printers of the 1920s to literary book artists of the early 21st, it offers a way of thinking about the feminist historiography of printing as we confront the presence and particular character of letterpress in a digital age. This Element is divided into four sections: the first, 'Historicizing' traces the critical histories of women and print through to the twentieth and twenty-first centuries. The second section, 'Learning,' offers an analysis of some of the modes of discourse and training through which women and gender minorities have learned the craft of printing. The third section, 'Individualizing' offers brief biographical vignettes. The fourth section, 'Writing,' focuses on printers' own written reflections about letterpress. This title is also available as Open Access on Cambridge Core.

Analyses mid-twentieth century British spy thrillers as resistance to political oppression Espionage and Exile demonstrates that from the 1930s through the Cold War British writers Eric Ambler, Helen MacInnes, John le Carre, Pamela Frankau and filmmaker Leslie Howard combine propaganda and popular entertainment to call for resistance to political oppression. Their spy fictions deploy themes of deception and betrayal to warn audiences of the consequences of Nazi Germany's conquests and later, the fusion of Fascist and Communist oppression. With politically charged suspense and compelling plots and characters, these writers challenge distinctions between villain and victim and exile and belonging by dramatising relationships between stateless refugees, British agents, and most dramatically, between the ethics of espionage and responses to international crisis. Key Features The first narrative analysis of mid-twentieth century British spy thrillers demonstrating their critiques of political responses to the dangers of Fascism, Nazism, and Communism Combines research in history and political theory with literary and film analysis Adds interpretive complexity to understanding the political content of modern cultural production Original close readings of the fiction of Eric Ambler, John Le Carre and British women spy thriller writers of World War II and the Cold War, including Helen MacInnes, Ann Bridge, and Pamela Frankau as well as the wartime radio broadcasts and films of Leslie Howard

Shakespeare and Gender guides students, educators, practitioners and researchers through the complexities of the representation of gender and sexuality in Shakespeare's work. Informed by contemporary and early modern debates and insights into gender and sexuality, including intersectionality, feminist geography, queer and performance studies and fourth-wave feminism, this book provides a lucid and lively discussion of how gender and sexual identity are debated, contested and displayed in Shakespeare's plays and sonnets. Using close textual analysis hand-in- hand with diverse contextual materials, the book offers an accessible and intelligent introduction to how gender debates are integral to the plays and poems, and why we continue to read and perform them with this in mind. Topics and themes discussed include gendering madness, paternity and the patriarchy, sexuality, anxious masculinity, maternal bodies, gender transgression, and kingship and the male body politic.

Orientalism and Literature discusses a key critical concept in literary studies and how it assists our reading of literature. It reviews the concept's evolution: how it has been explored, imagined and narrated in literature. Part I considers Orientalism's origins and its geographical and multidisciplinary scope, then considers the major genres and trends Orientalism inspired in the literary-critical field such as the eighteenth-century Oriental tale, reading the Bible, and Victorian Oriental fiction. Part II recaptures specific aspects of Edward Said's Orientalism: the multidisciplinary contexts and scholarly discussions it has inspired (such as colonial discourse, race, resistance, feminism and travel writing). Part III deliberates upon recent and possible future applications of Orientalism, probing its currency and effectiveness in the twenty-first century, the role it has played and continues to play in the operation of power, and how in new forms, neo-Orientalism and Islamophobia, it feeds into various genres, from migrant writing to journalism.

Human encounters with the natural world are inseparable from the history of travel. Nature, as fearsome obstacle, a wonder to behold or a source of therapeutic refuge, is bound up with the story of human mobility. Stories of this mobility give readers a sense of the diversity of the natural world, how they might interpret and respond to it and how human preoccupations are a help or a hindrance in maintaining bio-cultural diversity. Travel writing has constantly shaped how humans view the environment from foreign adventures to flight-shaming. If much of modern travel writing has been based on ready access to environmentally damaging forms of transport how do travel writers deal with a practice that is destroying the world they claim to cherish? This Element explores human travel encounters with the environment over the centuries and asks, what is the future for travel writing in the age of the Anthropocene?

Thomas Hardy and Animals examines the human and nonhuman animals who walk and crawl and fly across and around the pages of Hardy's novels. Animals abound in his writings, yet little scholarly attention has been paid to them so far. This book fills this gap in Hardy studies, bringing an important author within range of a new and developing area of critical inquiry. It considers the way Hardy's representations of animals challenged ideas of human-animal boundaries debated by the Victorian scientific and philosophical communities. In moments of encounter between humans and animals, Hardy questions boundaries based on ideas of moral sense or moral agency, language and reason, the possession of a face, and the capacity to suffer and perceive pain. Through an emphasis on embodied encounters, his writings call for an extension of empathy to others, human or nonhuman. In this accessible book Anna West offers a new approach to Hardy criticism.

"My greatest thought in living is  Heathcliff. If all else perished, and he remained, I should  still continue to be... Nelly, I am  Heathcliff! He's always, always in my mind: not as  a pleasure... but as my own being."  Wuthering Heights is the only novel of  Emily Bronte, who died a year after its  publication, at the age of thirty. A brooding Yorkshire tale  of a love that is stronger than death, it is also  a fierce vision of metaphysical passion, in which  heaven and hell, nature and society, are  powerfully juxtaposed. Unique, mystical, with a timeless  appeal, it has become a classic of English  literature.

A field guide to the trade and art of editing, this book pulls back the curtain on the day-to-day responsibilities of a literary magazine editor in their role, and to the specific skills necessary to read, mark-up and transform a piece of writing. Combining a break-down of an editor's tasks - including creating a vision, acquisitions, responding to submissions and corresponding with authors - with a behind-the-scenes look at manuscripts in progress, the book rounds up with a test editing section that teaches, by way of engaging exercises, the nitty-gritty strategies and techniques for working on all kinds of texts. Generous in its insight and access to practicing editors' annotations and thought processes, The Invisible Art of Literary Editing offers an exclusive look at nonfiction, fiction and poetry manuscripts as they were first submitted, as they were marked up by an editor and how the final piece was presented before featuring an interview with the editor on the choices they made about that piece of work, as well as their philosophies and working practices in their job. As a skill and a trade learnt through practice and apprenticeship, this is the ultimate companion to editing any piece of work, offering opportunities for learning-by-doing through exercises, reflections and cases studies, and inviting readers to embody the role of an editor to improve their craft and demystify the processes involved in this exciting and highly coveted profession.

Nineteenth-Century American Literature and the Discourse of Natural History illuminates how literary experimentation with natural history provides penumbral views of environmental survival. The book brings together feminist revisions of scientific objectivity and critical race theory on diaspora to show how biogeography influenced material and metaphorical concepts of species and race. It also highlights how lesser known writers of color like Simon Pokagon and James McCune Smith connected species migration and mutability to forms of racial uplift. The book situates these literary visions of environmental fragility and survival amidst the development of Darwinian theories of evolution and against a westward expanding American settler colonialism.

In October 1991, three weather systems collided off the coast of Nova Scotia to create a storm of singular fury, boasting waves over one hundred feet high. Among its victims was the Gloucester, Massachusetts-based swordfishing boat the Andrea Gail, which vanished with all six crew members aboard. "Drifting down on swimmers is standard rescue procedure, but the seas are so violent that Buschor keeps getting flung out of reach. There are times when he's thirty feet higher than the men trying to rescue him. . . . [I]f the boat's not going to Buschor, Buschor's going to have to go to it. SWIM! they scream over the rail. SWIM! Buschor rips off his gloves and hood and starts swimming for his life." It was the storm of the century, boasting waves over one hundred feet high a tempest created by so rare a combination of factors that meteorologists deemed it "the perfect storm." When it struck in October 1991, there was virtually no warning. "She's comin' on, boys, and she's comin' on strong," radioed Captain Billy Tyne of the Andrea Gail off the coast of Nova Scotia, and soon afterward the boat and its crew of six disappeared without a trace. In a book taut with the fury of the elements, Sebastian Junger takes us deep into the heart of the storm, depicting with vivid detail the courage, terror, and awe that surface in such a gale. Junger illuminates a world of swordfishermen consumed by the dangerous but lucrative trade of offshore fishing, "a young man's game, a single man's game," and gives us a glimpse of their lives in the tough fishing port of Gloucester, Massachusetts; he recreates the last moments of the Andrea Gail crew and recounts the daring high-seas rescues that made heroes of some and victims of others; and he weaves together the history of the fishing industry, the science of storms, and the candid accounts of the people whose lives the storm touched, to produce a rich and informed narrative. The Perfect Storm is a real-life thriller that will leave readers with the taste of salt air on their tongues and a sense of terror of the deep.

This book provides a new interpretation of the Northern Irish Troubles. From internment to urban planning, the hunger strikes to post-conflict tourism, it asserts that concepts of capitalism have been consistently deployed to alleviate and exacerbate violence in the North. Through a detailed analysis of the diverse cultural texts, Legg traces the affective energies produced by capitalism's persistent attempt to resolve Northern Ireland's ethnic-national divisions: a process he calls the politics of boredom. Such an approach warrants a reconceptualization of boredom as much as cultural production. In close readings of Derek Mahon's poetry, the photography of Willie Doherty and the female experience of incarceration, Legg argues that cultural texts can delineate a more democratic - less philosophical - conception of ennui. Critics of the Northern Irish Peace Process have begun to apprehend some of these tensions. But an analysis of the post-conflict condition cannot account for capitalism's protracted and enervating impact in Northern Ireland. Consequently, Legg returns to the origins of the Troubles and uses influential theories of capital accumulation to examine how a politicised sense of boredom persists throughout, and after, the years of conflict. Like Left critique, Legg's attention to the politics of boredom interrogates the depleted sense of humanity capitalism can create. What Legg's approach proposes is as unsettling as it is radically new. By attending to Northern Ireland's long-standing experience of ennui, this book ultimately isolates boredom as a source of optimism as well as a means of oppression. -- .

There are important letters here to Muzot, Lou Andreas-Salome, to Princess Marie of Thurn and Taxis Hohenlohe, and many others. The most significant of the Wartime Letters: 1914-1921 are also included. An Introduction briefly traces the development of Rilke's work during these years; the Notes provide the necessary framework of biographical details and point up significant references to the poetry.

Augustine's Confessions and Shakespeare's King Lear are two of the most influential and enduring works of the Western canon or world literature. But what does Stratford-upon-Avon have to do with Hippo, or the ascetical heretic-fighting polemicist with the author of some of the world's most beautiful love poetry? To answer these questions, Kim Paffenroth analyses the similarities and differences between the thinking of these two figures on the themes of love, language, nature and reason. Pairing and connecting the insights of Shakespeare's most nihilist tragedy with those of Augustine's most personal and sometimes self-condemnatory, sometimes triumphal work, challenges us to see their worldviews as more similar than they first seem, and as more relevant to our own fragmented and disillusioned world.

The Pro Milone numbers among Cicero's most famous speeches. In it he defends his friend T. Annius Milo against the charge of murdering P. Clodius Pulcher, Cicero's own archenemy. Clodius' death, Milo's trial, and their aftermath consumed Roman public life in 52 BC, involving every major political figure of the day. Although Cicero's defense failed, the published speech remains one of his finest, a fascinating document from a turbulent time, full of interest both historical and rhetorical. This edition, aimed at students and scholars alike, provides readers with the help that they need to appreciate the speech as a literary masterpiece and a historical text. Including a comprehensive introduction and a newly constituted Latin text, it provides detailed treatment of Cicero's language, style, and rhetorical techniques, as well as full discussion of the historical background and the larger social and cultural issues relevant to the speech.

Virgil's great epic transforms the Homeric tradition into a triumphal statement of the Roman civilizing mission. Translated by Robert Fitzgerald.

Life Writing in the Posthuman Anthropocene is a timely collection of insightful contributions that negotiate how the genre of life writing, traditionally tied to the human perspective and thus anthropocentric qua definition, can provide adequate perspectives for an age of ecological disasters and global climate change. The volume's eight chapters illustrate the aptness of life writing and life writing studies to critically reevaluate the role of "the human" vis-a-vis non-human others while remaining mindful of persisting inequalities between humans regarding who causes and who suffers damage in the Anthropocene age. The authors in this collection not only expand the toolbox of life writing studies by engaging with critical insights from the fields of posthumanism and ecocriticism, but, in turn, also enrich those fields by offering unique approaches to contemplate the responsibility of humans for as well as their relational existence in the posthuman Anthropocene.

The satirist Juvenal remains one of antiquity's greatest question marks. His Satires entered the mainstream of the classical tradition with nothing more than an uncertain name and a dubious biography to recommend them. Tom Geue argues that the missing author figure is no mere casualty of time's passage, but a startling, concerted effect of the Satires themselves. Scribbling dangerous social critique under a historical maximum of paranoia, Juvenal harnessed this dark energy by wiping all traces of himself - signature, body, biographical snippets, social connections - from his reticent texts. This last major ambassador of a once self-betraying genre took a radical leap into the anonymous. Juvenal and the Poetics of Anonymity tracks this mystifying self-concealment over the whole Juvenalian corpus. Through probing close readings, it shows how important the missing author was to this satire, and how that absence echoes and amplifies the neurotic politics of writing under surveillance.

A bold new interpretation of Nat Turner and the slave rebellion that stunned the American South In 1831 Virginia, Nat Turner led a band of Southampton County slaves in a rebellion that killed fifty-five whites, mostly women and children. After more than two months in hiding, Turner was captured, and quickly convicted and executed. In the Matter of Nat Turner penetrates the historical caricature of Turner as befuddled mystic and self-styled Baptist preacher to recover the haunting persona of this legendary American slave rebel, telling of his self-discovery and the dawning of his Christian faith, of an impossible task given to him by God, and of redemptive violence and profane retribution. Much about Turner remains unknown. His extraordinary account of his life and rebellion, given in chains as he awaited trial in jail, was written down by an opportunistic white attorney and sold as a pamphlet to cash in on Turner's notoriety. But the enigmatic rebel leader had an immediate and broad impact on the American South, and his rebellion remains one of the most momentous episodes in American history. Christopher Tomlins provides a luminous account of Turner's intellectual development, religious cosmology, and motivations, and offers an original and incisive analysis of the Turner Rebellion itself and its impact on Virginia politics. Tomlins also undertakes a deeply critical examination of William Styron's 1967 novel, The Confessions of Nat Turner, which restored Turner to the American consciousness in the era of civil rights, black power, and urban riots. A speculative history that recovers Turner from the few shards of evidence we have about his life, In the Matter of Nat Turner is also a unique speculation about the meaning and uses of history itself.

What are Monsters? Monsters are everywhere, from cyberbullies online to vampires onscreen: the twenty-first century is a monstrous age. The root of the word "monster" means "omen" or "warning", and if monsters frighten us, it's because they are here to warn us about something amiss in ourselves and in our society. Humanity has given birth to these monsters, and they grow and change with us, carrying the scars of their birth with them. This collection of original and accessible essays looks at a variety of contemporary monsters from literature, film, television, music and the internet within their respective historical and cultural contexts. Beginning with a critical introduction that explores the concept of the monster in the work of Jeffrey Jerome Cohen, Jack Halberstam, Elaine Showalter and more, the book takes a broad approach to the monster, including not only classic slasher films, serial killers (Bates Motel), the living dead (Game of Thrones) and aliens (District 9), but also hyper-contemporary examples like clones (Orphan Black), cyberbullies (Cyberbully), viral outbreaks (The Strain) and celebrities (Lady Gaga). Gender and culture are especially emphasized in the volume, with essays on the role of gender and sexuality in defining the monster (AHS Apocalypse) and global monsters (Cleverman, La Llorona). This compact guide to the monster in contemporary culture will be useful to teachers, students and fans looking to expand their understanding of this important cultural figure.

Penelope Fitzgerald (1916-2000) has been acclaimed as one of the finest British novelists of the late twentieth century. Four of her novels were shortlisted for the Booker Prize and one of them, Offshore (1979), won; her final work of historical fiction, The Blue Flower (1995), won the US National Book Critics' Circle Award. Fitzgerald's works are distinguished by their acute wit, deft handling of emotional tone and an unsentimental yet deeply felt commitment to portraying the lives of those men, women and children 'who seem to have been born defeated'. Admirers have long recognised the brilliance of Fitzgerald's writing, yet the deceptive simplicity of her style invariably leads readers to ask, 'How is it done?' This book seeks to answer that question, providing the first sustained exposition of Penelope Fitzgerald's compositional method, working both inwards from the surface of her writing and outwards from the archival evidence of Fitzgerald's own drafts and working papers.

This revised volume follows the complete unabridged text as corrected in 1961. Contains the original foreword by the author and the historic court ruling to remove the federal ban. It also contains page references to the first American edition of 1934.