In the richly interdisciplinary study, Challenging Addiction in Canadian Literature and Classrooms, Cara Fabre argues that popular culture in its many forms contributes to common assumptions about the causes, and personal and social implications, of addiction. Recent fictional depictions of addiction significantly refute the idea that addiction is caused by poor individual choices or solely by disease through the connections the authors draw between substance use and poverty, colonialism, and gender-based violence. With particular interest in the pervasive myth of the "Drunken Indian", Fabre asserts that these novels reimagine addiction as social suffering rather than individual pathology or moral failure. Fabre builds on the growing body of humanities research that brings literature into active engagement with other fields of study including biomedical and cognitive behavioural models of addiction, medical and health policies of harm reduction, and the practices of Alcoholics Anonymous. The book further engages with critical pedagogical strategies to teach critical awareness of stereotypes of addiction and to encourage the potential of literary analysis as a form of social activism.

In the early 1800s, American critics warned about the danger of literature as a distraction from reality. Later critical accounts held that American literature during the antebellum period was idealistic and that literature grew more realistic after the horrors of the Civil War. By focusing on three leading American authors Ralph Waldo Emerson, Walt Whitman, and Emily Dickinson Reading Reality challenges that analysis. Thomas Finan reveals how antebellum authors used words such as ""real"" and ""reality"" as key terms for literary discourse and claimed that the ""real"" was, in fact, central to their literary enterprise. He argues that for many Americans in the early nineteenth century, the ""real"" was often not synonymous with the physical world. It could refer to the spiritual, the sincere, or the individual's experience. He further explains how this awareness revises our understanding of the literary and conceptual strategies of American writers. By unpacking antebellum senses of the ""real,"" Finan casts new light on the formal traits of the period's literature, the pressures of the literary marketplace in nineteenth-century America, and the surprising possibilities of literary reading.

The authors studied in this book can be visualized as the islands that constitute an unknown, fragile and trembling literary and cultural Francophone archipelago. The archipelago does not appear on any map, in the middle of an ocean whose name we already know. No Francophone anthology would put these authors together as a matter of course because what connects them is a narrative grammar rather than a national origin or even a language. Yet, their writing techniques and their apprehension of the real (the ways in which they know and name the world) both reflect and actively participate in our evolving perception of what Gayatri Spivak calls the "planet". The Reparative in Narratives argues that argue that they repair trauma through writing. One description of these awe-inspiring, tender and sometimes horrifying tales is that their narrators are survivors who have experienced and sometimes inflicted unspeakable acts of violence. And yet, ultimately, despair, nihilism, cynicism or silence are never the consequences of their encounter with what some quickly call evil. The traumatic event has not killed them and has not killed their desire to write or perform, although the decidedly altered life that they live in the aftermath of the disaster forces them to become different types of storytellers. They are the first-person narrators of their story, and their narration reinvents them as speaking subjects. In turn, this requires that we accept new reading pacts. That pact is a temporal and geographical signature: the reparative narrative needs readers prepared to accept that healing belongs to the realm of possibilities and that exposure and denunciation do not exhaust the victim's range of possibilities. Rosello contends that this context-specific yet repeating pattern constitutes a response to the contemporary figuration of both globalized and extremely localized types of traumatic memories.

Best known for her Eisner Award-winning graphic novels, Exit Wounds and The Property, Rutu Modan's richly colored compositions invite readers into complex Israeli society, opening up a world too often defined only by news headlines. Her strong female protagonists stick out in a comics scene still too dominated by men, as she combines a mystery novelist's plotting with a memoirist's insights into psychology and trauma. The Comics of Rutu Modan: War, Love, and Secrets conducts a close reading of her work and examines her role in creating a comics arts scene in Israel. Drawing upon archival research, Kevin Haworth traces the history of Israeli comics from its beginning as 1930s cheap children's stories, through the counterculture movement of the 1970s, to the burst of creativity that began in the 1990s and continues full force today. Based on new interviews with Modan (b. 1966) and other comics artists, Haworth indicates the key role of Actus Tragicus, the collective that changed Israeli comics forever and launched her career. Haworth shows how Modan's work grew from experimental mini-comics to critically acclaimed graphic novels, delving into the creative process behind Exit Wounds and The Property. He analyzes how the recurring themes of family secrets and absence weave through her stories, and how she adapts the famous clear line illustration style to her morally complex tales. Though still relatively young, Modan has produced a remarkably varied oeuvre. Identifying influences from the United States and Europe, Haworth illustrates how Modan's work is global in its appeal, even as it forms a core of the thriving Israeli cultural scene.

Approaching Romanian literature as world literature, this book is a critical-theoretical manifesto that places its object at the crossroads of empires, regions, and influences and draws conclusions whose relevance extends beyond the Romanian, Romance, and East European cultural systems. This "intersectional" revisiting of Romanian literature is organized into three parts. Opening with a fresh look at the literary ideology of Romania's "national poet," Mihai Eminescu, part I dwells primarily on literary-cultural history as process and discipline. Here, the focus is on cross-cultural mimesis, the role of strategic imitation in the production of a distinct literature in modern Romania, and the shortcomings marking traditional literary historiography's handling of these issues. Part II examines the ethno-linguistic and territorial complexity of Romanian literatures or "Romanian literature in the plural." Part III takes up the trans-systemic rise of Romanian, Jewish Romanian, and Romanian-European avant-garde and modernism, Socialist Realism, exile and emigre literature, and translation.

Compiled over many years in the 1800s by Edward William Lane, The Arabic-English Lexicon is a massive Arabic-English dictionary based on several medieval Arabic dictionaries, mainly the Taj al-'Arus, or "Crown of the Bride" by al-Zabidi, also written in the 19th century. The Lexicon consists only of Book I, the dictionary; Book II was to contain rare words and explanations, but Lane died before its completion. After his death, Dr. G.P. Badger described Lane's lexicon: "This marvelous work in its fullness and richness, its deep research, correctness and simplicity of arrangement far transcends the Lexicon of any language ever presented to the world." Presented here in eight volumes, this work is one of the most concise and comprehensive Arabic-English dictionaries to date. Volume I includes a Preface by the author, a Postscript to the Preface, and Book I of the dictionary, which includes the first through the fourth letters of the Arabic alphabet, categorized by Arabic, rather than English, characters. EDWARD WILLIAM LANE (1801-1876) was a British translator, lexicographer, and Orientalist. Instead of studying at college as a young man, Lane moved to London with his brother to study engraving, at which time he also began to study Arabic. When his health began failing, he moved to Egypt for a change of atmosphere and to continue his studies. While in Egypt, Lane began to study ancient Egypt, but soon became more entranced by modern customs and society. He relied on Egyptian men to help him gather information, especially on the topic of Egyptian women, on which he wrote many books. Lane also translated One Thousand and One Nights, though his greatest work remains The Arabic-English Lexicon. Born in 1854 in London, England, STANLEY LANE-POOLE was a British historian, orientalist, and archaeologist. Lane-Poole worked in the British Museum from 1874 to 1892, thereafter researching Egyptian archaeology in Egypt. From 1897 to 1904 he was a professor of Arabic studies at Dublin University. Before his death in 1931, Lane-Poole authored dozens of books, including the first book of the Arabic-English Lexicon started by his uncle, E.W. Lane.

The stories of the Cherokee people presented here capture in written form tales of history, myth, and legend for readers, speakers, and scholars of the Cherokee language. Assembled by noted authorities on Cherokee, this volume marks an unparalleled contribution to the linguistic analysis, understanding, and preservation of Cherokee language and culture. Cherokee Narratives spans the spectrum of genres, including humor, religion, origin myths, trickster tales, historical accounts, and stories about the Eastern Cherokee language. These stories capture the voices of tribal elders and form a living record of the Cherokee Nation and Eastern Band of Cherokee Indians' oral tradition. Each narrative appears in four different formats: the first is interlinear, with each line shown in the Cherokee syllabary, a corresponding roman orthography, and a free English translation; the second format consists of a morpheme-by-morpheme analysis of each word; and the third and fourth formats present the entire narrative in the Cherokee syllabary and in a free English translation. The narratives and their linguistic analysis are a rich source of information for those who wish to deepen their knowledge of the Cherokee syllabary, as well as for students of Cherokee history and culture. By enabling readers at all skill levels to use and reconstruct the Cherokee language, this collection of tales will sustain the life and promote the survival of Cherokee for generations to come.

Between the 1880s and the 1940s, opportunities for southern white women writers increased dramatically, bolstered by readers' demands for southern stories in northern periodicals. Confined by magazine requirements and social expectations, writers often relied on regional settings and tropes to attract publishers and readers before publishing work in a collection. Selecting and ordering magazine stories for these collections was not arbitrary or dictated by editors, despite a male-dominated publishing industry. Instead, it allowed writers to privilege stories, or to contextualize a story by its proximity to other tales, as a form of social commentary. For Kate Chopin, Ellen Glasgow, Marjorie Kinnan Rawlings, and Katherine Anne Porter-the authors featured in this book-publishing a volume of stories enabled them to construct a narrative framework of their own. Arranging Stories: Framing Social Commentary in Short Story Collections by Southern Women Writers is as much about how stories are constructed as how they are told. The book examines correspondence, manuscripts, periodicals, and first editions of collections. Each collection's textual history serves as a case study for changes in the periodical marketplace and demonstrates how writers negotiated this marketplace to publish stories and garner readership. The book also includes four tables, featuring collected stories' arrangements and publication histories, and twenty-five illustrations, featuring periodical publications, unpublished letters, and manuscript fragments obtained from nine on-site and digital archives. Short story collections guide readers through a spatial experience, in which both individual stories and the ordering of those stories become a framework for interpreting meaning. Arranging Stories invites readings that complicate how we engage collected works.

Market relations are changing not only the distribution and promotion of literary works but also their content, their language, and their social and political function. This book penetrates the intricacies of literary production, circulation and reception, focusing on some of the most original and representative authors of today such as Roberto Bolano, Gabriela Cabezon Camara, Yuri Herrera, and Irmgard Emmelhainz, among others. The book also illuminates on the "materialitity" of literature and the strategies of literary marketing: festivals, book fairs, digitalization, and translation. Globalization and regional particularisms meet, then, in the symbolic territories of the literary world, and expose their dynamics and intrinsic negotiations.

At least 50 million people worldwide have epilepsy. Representing Epilepsy, the latest volume in LUP's acclaimed Representations series, seeks to understand the epileptic body as a literary or figurative device intelligible beyond a medical framework. Jeannette Stirling argues that neurological discourse from the late-nineteenth century through to the mid-twentieth century is as much forged by the cultural conditions and representational politics of the times as it is by the science of western medicine. Along the way she explores narratives of epilepsy depicting ideas of social disorder, tainted bloodlines, sexual deviance, spiritualism and criminality in works as diverse as David Copperfield and The X Files. This path-breaking book will be required reading for cultural disability studies scholars and for anyone seeking greater understanding of this common condition. 'Representing Epilepsy offers a clever exploration of the cultural history of this condition, based on an effective interdisciplinary approach. It will be of particular interest to scholars and students in the field of Medical Humanities, as well as to all those involved in the care of people with epilepsy, who wish to improve their understanding of the socio-cultural repercussions of the condition.' Maria Vaccarella, King's College London

This volume brings together candid, revealing interviews with one of the twentieth century's master prose writers. Vladimir Nabokov (1899-1977) was a Russian American scientist, poet, translator, and professor of literature. Critics throughout the world celebrated him for developing the luminous and enigmatic style which advanced the boundaries of modern literature more than any author since James Joyce. In a career that spanned over six decades, he produced dozens of iconic works, including Lolita, Pale Fire, Ada, and his classic autobiography, Speak, Memory. The twenty-eight interviews and profiles in this collection weredrawn from Nabokov's numerous print and broadcast appearances over a period of nineteen years. Beginning with the controversy surrounding the American publication of Lolita in 1958, he offers trenchant, witty views on society, literature, education, the role of the author, and a range of other topics. He discusses the numerousliterary and symbolic allusions in his work, his use of parody and satire, as well as analyses of his own literary influences. Nabokov also provided a detailed portrait of his life-from his aristocratic childhood in pre-revolutionary Russia, education at Cambridge, apprenticeship as an emigre writer in the capitals of Europe, to his decision in 1940 to immigrate to the United States, where he achieved renown and garnered an international readership. The interviews in this collection are essential for seeking aclearer understanding of the life and work of an author who was pivotal in shaping the landscape of contemporary fiction.

Literary Translation and the Making of Originals engages such issues as the politics and ethics of translation; how aesthetic categories and market forces contribute to the establishment and promotion of particular "originals"; and the role translation plays in the formation, re-formation, and deformation of national and international literary canons. By challenging the assumption that stable originals even exist, Karen Emmerich also calls into question the tropes of ideal equivalence and unavoidable loss that contribute to the low status of translation, translations, and translators in the current literary and academic marketplaces.