This book explores stylistic techniques that interweave different viewpoints in Modernist fiction. Consciousness was a central concern of the Modernist novel and there has been a strong critical interest in the techniques of its presentation. Critics are aware of the Modernist practice of refracting narratives through the consciousness of numerous characters, but while narratologists as well as stylisticians have studied the linguistic indices of narrative viewpoint, the linguistic mechanics of shifts across different characters' minds or across character's and narrator's voices have remained unexplored. This book offers the first stylistic analysis of the linguistic evidence and shows that the implications of such practices far exceed the attempt to simply juxtapose different characters' viewpoints and thereby interpret the narrative world through different perspectives; rather than simply co-existing in the tissue of the narrative, the viewpoints of D.H. Lawrence's and Virginia Woolf's characters are interconnected in dialogue that occurs at the interstices of viewpoint shifts. This is significant because it impacts on the very discourse of the novel itself as a genre, i.e. its dialogicity. James Joyce's rendering of consciousness intersects the voices of character and narrator, and this in turn implicates the reader in the construction of meaning. The identification of dialogic techniques in the presentation of consciousness serves to question a long accepted belief that the novel of consciousness is a novel of fragmentation and occlusion. Instead, the dialogic Modernism identified here suggests a more deliberate concern on the part of writers to engage directly with the philosophical questions of self and other that were being explored, in a very different format, by Heidegger, Bergson and Buber.

Hardy was a poet of ghosts. In his poetry he describes himself as posthumous; as rekindling the cinders of passion; as the guardian of the dead forgotten by history; and as haunted by ghosts, particularly the specter of the lost child (as in the rumor that he fathered a child in the 1860s). Using Derrida, Abraham, and Torok and other theorists, and referring to Victorian debates on materialism, this book investigates ghostliness, historicity, and memory in Hardy's poetry.

Pynchon and Philosophy radically reworks our readings of Thomas Pynchon alongside the theoretical perspectives of Wittgenstein, Foucault and Adorno. Rigorous yet readable, Pynchon and Philosophy seeks to recover philosophical readings of Pynchon that work harmoniously, rather than antagonistically, resulting in a wholly fresh approach. Dr. Martin Paul Eve is a lecturer in literature at the University of Lincoln, UK. In addition to editing the open access journal of Pynchon Studies, Orbit, he has work published or forthcoming in Textual Practise, Neo-Victorian Studies, C21, Pynchon Notes and several edited collections. This book was originally published with exclusive rights reserved by the Publisher in (2014) and was licensed as an open access publication in [SEPTEMBER 2021] under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license if changes were made. This is an open access book.

In Reflections on the Fantastic: Selected Essays from the Fourth International Conference on the Fantastic in the Arts, editor Michael R. Collings has selected the best of the conference proceedings reflecting the intent of the conference to discover aspects of the fantastic in every branch of the arts. The twelve essays commence with theoretical discussions of the fantastic as it relates to other genres and elements of life. The second section examines individual authors including Peter Beagle, French fantasists Alain Robbe-Grillet and Felix Labisse, and Spanish authors Amado Nervo and Jose Maria Merino. The third section discusses issues in contemporary science fiction, opening with a look at artificial language in the work of Samuel R. Delaney. It continues with examinations of the work of Brian W. Aldiss, and a look at the narrative structure in works by Ursula K. Le Guin and Frederik Pohl. The section concludes with a further discussion of artificial language by Gregory Shreve.

"Nabokov's Shakespeare" is a comprehensive study of an important and interesting literary relationship. It explores the many and deep ways in which the works of Shakespeare, the greatest writer of the English language, penetrate the novels of Vladimir Nabokov, one of the finest English prose stylists of the twentieth century. As a Russian youth, Nabokov read all of Shakespeare, in English. He claimed a shared birthday with the Bard, and some of his most highly regarded novels ("Lolita, Pale Fire" and "Ada") are infused with Shakespeare and Shakespeareanisms. Nabokov uses Shakespeare and Shakespeare's works in a surprisingly wide variety of ways, from the most casual references to deep thematic links.Schuman provides a taxonomy of Nabokov's Shakespeareanisms; a quantitative analysis of Shakespeare in Nabokov; an examination of Nabokov's Russian works, his early English novels, the non-novelistic writings (poetry, criticism, stories), Nabokov's major works, and his final novels; and a discussion of the nature of literary relationships and influence. With a Foreword by Brian Boyd.

This is the first book to consistently read English Modernist literature as testimony to trauma of the First and Second World Wars. Focusing upon T.S. Eliot and D.H. Lawrence, it examines the impact of war upon their lives and their strategies to resist it through literary innovation.

This study provides an authoritative overview of all Marlowe's work. It includes thorough investigations of his major plays, Tamburlaine, Edward II, The Jew of Malta and Doctor Faustus as well as a full discussion of The Massacre at Paris, Dido Queen of Carthage and all his extant poetry. Analysis of Faustus takes full account of both A and B text versions. Thoroughly researched and yet presented in an accessible, engaging style, A Preface to Marlowe reads Marlowe's life and times, as well as his work, in the light of current critical theory. Consequently, it is a vital guide for all students of early modern drama. As well as providing sharp analysis of stage history, Dr Simkin reflects on the wider significance of a stage-oriented approach. The result is a reading of Marlowe that re-opens debates about his status as a radical figure and as a subversive playwright and invites the reader to experience the plays as immediate, exciting, 'live' documents.

In the past decade, Raymond Chandler has come to be recognized as a major mid-century American novelist. Though an immensely popular writer of mysteries, Chandler is now receiving the serious attention of scholars. He is seen as a writer with a deliberate approach toward the creation of fictions that present a significant criticism of American life. The essays and reviews in this volume trace the response to Chandler's work from 1944 to the present.

This volume traces the changing reception of Chandler's works. It includes essays and reviews from 1944 to the present. These pieces treat various aspects of Chandler's art, such as his writing style, the nature of the hard-boiled detective hero, the relation of Chandler to his contemporaries, Los Angeles as the setting for his fiction, studies of individual novels, and analyses of films of Chandler's works. An introductory chapter provides a context for understanding Chandler as a writer, and the bibliography at the end of the volume demonstrates the growing amount of attention his novels are receiving.

Throughout George Eliot's fiction, not only do a remarkable number of her characters act under the influence of unwise consumption of alcohol and opium, but drugs also recur often as metaphors and allusions. Together, they create an extensive pattern of drug/disease references that represent socio-political problems as diseases in a social body and solutions to those problems (especially solutions that depend on some kind of written language) as volatile remedies that retain the potential to either kill or cure.

Latin American Fiction and the Narratives of the Perverse contains analysis of sexual perversion and narrative creativity in fictions from the Latin American boom and post-boom. O'Connor's main argument is that orthodox criticism of Latin American literature has neglected the eccentric singularities of other fictive trends in the corpus (especially in the second half of the twentieth-century). At the same time, by examining these eccentric singularities in their relationship to mainstream trends in the Latin American corpus, O'Connor forces his readers to view these master narratives and major trends (such as modernismo or magical realism) from surprisingly new angles. Five of the authors discussed (Puig, Lezama, Lima, Cortazar and Sarduy) have an established place in the Latin American literary canon. A fifth one, Rosario Ferre, may have come close to achieving that status with her earlier fictions. Others (Felisberto Hernandez, Alicia Borinsky, Cristina Peri Rossi and Silvia Molloy) are less well known, but they are certainly highly significant authors for scholars and students of contemporary Latin American fiction.

A study of London suburban-set writing, exploring the links between place and fiction. This book charts a picture of evolving themes and concerns around the legibility and meaning of habitat and home for the individual, and the serious challenges that suburbia sets for literature.

In Modernism and Market Fantasy, Carey Mickalites explores British modernist fiction's critical designs on the changing economic culture in which it took shape. Examining work that ranges from pre-war impressionism through the late modernism of the 1930s, he shows how modernist innovation engages directly with the transitions that mark early twentieth-century capitalism. Mickalites places modernist texts in relationship to particular economic structures: an investment and finance economy that imagines endlessly inflated returns through speculative trading; the anxieties of selfhood produced by capitalist exchange and private property; advertising and fashion culture's dream worlds of perpetual self-renewal; and commercial spectacle's capacity to generate new public affects. Demonstrating that prominent modernists viewed the market as an abstract space organized around irrational fantasies and anxieties, Mickalites argues that modernism reconfigures capitalist mythologies along the fault lines of their internal contradictions in an effort to blast an increasingly reified economic culture into a new historical consciousness of itself.

Critics have argued that the field of postcolonial studies has become melancholic due to its institutionalisation in recent years. This book identifies some limits of postcolonial studies and suggests ways of coming to terms with this issue via a renewed engagement with the literary dimension in the postcolonial text.

Far from being a conservative writer endorsing women's domestic role, Agatha Christie's book depicts women as adventurous, independent women who renegotiate sexual relationships along more equal lines. Women are also allowed the dangerous competency to disrupt society and yet the texts refuse to see them as double deviant because of their femininity. This detailed textual analysis of her oeuvre demonstrates exactly how quietly innovatory Christie was in relation to gender, beginning in nineteen twenty and concluding in the early seventies.

Literary Invention and the Cartographic Imagination: Early Modern to Late Modern is a wide-ranging, inter- and transdisciplinary approach grounded in the twin rigors of theory and history, which, through close readings of authors from Edmund Spenser to Olga Tokarczuk, and through considered discussions of the ideologies of walking and mapping, in performance art and cultural representation, assesses and analyses the significance of maps to literary texts, and which examines the ways in which the literary maps imaginary and real worlds. Together, the essays demonstrate convincingly the close relationship between text, map and culture.

Long before Ray Bradbury, Arthur C. Clarke, Gene Roddenberry, and Chris Carter, the names of David Lasser, Stanley G. Weinbaum, Hugo Gernsback, and Sam Moskowitz were well known by the first fans of a new kind of fiction. These pioneers were among the visionary individuals who launched the science fiction genre, which today enjoys such wide appeal.

Through exclusive interviews, Eric Leif Davin takes readers back to the late 1920s, when Gernsback, "the father of science fiction," founded the world's first science fiction magazine, Amazing Stories. Lasser, one of Gernsback's editors, recalls his own amazing book The Conquest of Space-the first work in English to seriously probe the possibility of space flight. Other highlights include a discussion with the widow of Stanley G. Weinbaum ("A Martian Odyssey"), the first author to write about an alien in sympathetic terms; talks with the giants of early sci-fi Frank K. Kelly and Raymond Z. Gallun; Wolf Man creator and science fiction script writer Curt Siodmak; pioneer book publisher and writer Lloyd Arthur Eshbach; plus commentary on popular sci-fi magazines.

The lives, experiences, memories, and insights provided in Pioneers of Wonder are a treasure for all fans of this dynamic literary phenomenon.

From its beginnings narratology has incorporated a communicative model of literary narratives, considering these as simulations of natural, oral acts of communication. This approach, however, has had some problems with accounting for the strangeness and anomalies of modern and postmodern narratives. As many skeptics have shown, not even classical realism conforms to the standard set by oral or 'natural' storytelling. Thus, an urge to confront narratology with the difficult task of reconsidering a most basic premise in its theoretical and analytical endeavors has, for some time, been undeniable. During the 2000s, Nordic narratologists have been among the most active and insistent critics of the communicative model. They share a marked skepticism towards the idea of using 'natural' narratives as a model for understanding and interpreting all kinds of narratives, and for all of them, the distinction of fiction is of vital importance. This anthology presents a collection of new articles that deal with strange narratives, narratives of the strange, or, more generally, with the strangeness of fiction, and even with some strange aspects of narratology.

During the past 10 years, the situation of women writers in Latin America has dramatically changed as has the interest the reading public has shown in their work. In the United States, the rise of women's studies programs has fostered a heightened awareness of literature written by women. Publishers have noted the growing significance of Latin American women writers and have responded by increasing the availability of the work of these women. Thus many anthologies now include English translations of Latin American short fiction written by women. The inclusion of Latin American short fiction in anthologies has made the work of these women more available to students, but the collections in which particular works appear are sometimes difficult to locate. This reference provides a full listing of these anthologies and the works contained in them.

The first part of the volume contains entries for 165 anthologies published between 1938 and 1996. The entries are arranged alphabetically by editor or author and each provides full bibliographic information and a list of all short stories and novel excerpts by Latin American women authors contained in the work. The nationality of each author is cited parenthetically. These entries are assigned alphanumeric codes, which are cross-referenced in the volume's other indexes. The additional indexes allow the user to locate short fiction by author, country, and title. The volume concludes with a list of bibliographies of Latin American literature in translation.

Pearl S. Buck's portrayal of Chinese peasants was the first literary representation, in China as well as in America, of the majority of the Chinese population. Her work changed the image of the Chinese people in the American mind--ultimately facilitating the 1943 repeal of the 61-year-old Chinese Exclusion Act and arousing Americans' support of the Chinese resistance against the Japanese aggression in World War II. From a multicultural point of view, Chinese scholar Kang Liao analyzes Buck's phenomenal success and the ensuing neglect of her works by American critics. Liao's insights into Buck's function as one of the few writers from an age of Eurocentrism who shed light on a new age of multiculturalism will be of interest to both students and scholars interested in race, class, and gender issues.

This scholarly edition presents for the first time all of the known surviving letters of British novelist Sarah Harriet Burney (1772-1884). The overwhelming majority of these letters--more than ninety percent--have never before been published. Burney's accomplishments, says Lorna J. Clark, have been unjustly overlooked. She published five works of fiction between 1796 and 1839, all of which met with reasonable success, including "Traits of Nature" (1812), which sold out within three months. These letters position Burney among her fellow women writers and shed light on her relations with her publisher and her ambivalence toward her own work and her readership. Her lively observation of the literary scene evinces the range and scope of her reading, as well as her awareness of literary trends and developments. Burney was, for example, remarkably prescient in recognizing, and praising from the first, the talent of Jane Austen, and met several of the authors of her day. A challenging new perspective on family matters also emerges in the letters. The youngest child of the second marriage of Charles Burney, and the only daughter to remain unmarried, Sarah Harriet had the unenviable task of caring for her father in his later years. Her letters reveal a darker side of Dr. Burney, and also help to round out our image of a more favored daughter, Sarah Harriet's half-sister (and fellow novelist), Frances Burney. As literature, Clark observes, Burney's letters are, arguably, her best work. Thoroughly versed in the epistolary arts, she sought always to amuse and entertain her correspondents. Burney ultimately emerges as a quiet but heroic single woman, relegated to the margins of society where she struggled for independence and self-respect. Displaying literary qualities and a lively sense of humor, the letters provide a fascinating insight into the literary, political, and social life of the day.