In The Meaning of Contemporary Realism (1957) Georg Lukacs discussed how the power struggle of the Cold War made it all the more pressing for literary writers to present 'concrete potentialities' of individual character in novel ways. Powers of Possibility explores how American experimental writers since the 1960s have set about presenting exactly that while engaging with specific issues of social power. The book's five chapters cover a range of writers, literary genres, and political issues, including: Allen Ginsberg's anti-Vietnam War poems; LeRoi Jones/Amiri Baraka and Black Power theatre; William S. Burroughs's novels and the Space Programmes; Kathy Acker's fiction and Biopolitics; and Lyn Hejinian, Language poetry, and the Cold War. Each chapter examines how relations of character and social power were widely discussed in terms of potentiality: Black Power groups, for example, debated the 'revolutionary potential' of African Americans, while advances in the space programmes led to speculation about the evolution of 'human potential' in space colonies. In considering how the literary writers engage with such debates, Alex Houen also shows how each writer's approach entails combining different meanings of 'potential': 'possible as opposed to actual'; 'a quantity of force'; a 'capacity' or 'faculty'; and 'potency'. Such an approach can be characterised as a literary 'potentialism' that turns literary possibilities (including experiments with style and form) into an affective aesthetic force with which to combat or reorient the effects of social power on people. Potentialism is not a literary movement, Houen emphasises, so much as a novel concept of literary practice-a concept that stands as a refreshing alternative to notions of 'postmodernism' and the 'postmodern avant-garde'.

The fin de siecle, the period 1880-1914, long associated with decadence and with the literary movements of aestheticism and symbolism, has received renewed critical interest recently. The essays in this volume form a valuable introduction to fin de siecle cultural studies and provide a commentary on important aspects of current critical debate and the place of culture in society.

Katharine Mansfield's arrival in London in 1908 marked the start of her professional career as a writer and this study marks a revival of her reputation as one of the foremost practitioners of the short story. The international line-up of contributors attests to Mansfield's global appeal. By discussing her fiction in relation to her life, the contributors to this critical work present reinterpretations and readings. Enhanced by new transcriptions of manuscripts and access to her diaries and letters, these readings combine biographical approaches with critical-theoretical ones and focus not only on philosophy and fiction, but class and gender, biography/autobiography. The historical and aesthetic studies of Mansfield's work all take place within a framework of modernist literature, criticism and theory, thereby expanding our understanding of what it means to be a Modernist while allocating Mansfield a firm place in any current study of Modernism.

Dickens is second only to Shakespeare in the range and intensity of critical discussion which his work has provoked. His writing is central to literature and culture across the English-speaking world. In this important new anthology, Steven Connor gathers together representative examples of the range of new critical approaches to Dickens over the last two decades.

The Literature of Terror: the Modern Gothic is the second volume in David Punter's impressive survey of gothic writing covering over two centuries. The text was originally published in 1980 to wide acclaim and following its publication, critical interest in gothic writing has risen substantially. This long awaited second edition has been expanded to take into account the latest critical research, and is now published in two volumes.Volume One covers the period from 1765 to the Edwardian age while Volume Two discusses modern gothic, starting with the 'decadent' gothic writing of Oscar Wilde and continuing through the twentieth century. David Punter's thorough analysis places gothic writing within its historical and sociological context. A new chapter on post-war fiction and film extends the scope of the original study, exploring the development of a contemporary 'culture of horror' and showing the continuing relevance of the Gothic as a means of expression. This new edition also contains a new chapter which analyses the relationship between cultural material and sociopathic behaviour, offering an important contribution to contemporary sociological debate. The two volumes combined pr

Modernist Fiction and News characterizes uses novel reading of Gertrude Stein, James Joyce, John Dos Passos, and Virginia Woolf to explore how these authors engaged with a rapidly expanding news industry in order to establish an experimental space in which to represent experience with the hope of greater immediacy and faithfulness to reality.

Chance, and its representation in literature, has a long and problematic history. It is a vital aspect of the way we experience the world, and yet its function is frequently marginalised and downplayed. Offering a new reading of the development of the novel during the mid-twentieth century, Jordan argues that this simple novelistic paradox became more pressing during a period in which chance became a cultural, scientific and literary preoccupation - through scientific developments such as quantum mechanics and the uncertainty principle, the influence of existential philosophy, the growth of gambling, and the uncertainty provoked by the Second World War. In tracing the novel's representation of chance during this crucial period, we see both the development of the novel, and draw wider conclusions about the relationship between narrative and the contingent, the arbitrary and the uncertain. While the novel had historically rejected, marginalised or undermined chance, during this period it becomes a creative and welcome co-contributor to the novel's development, as writers such as Samuel Beckett, B.S. Johnson, Henry Green and Iris Murdoch show.

The first edition was regarded as the definitive survey of Gothic and related terror writing in English. No other text considers this genre on such a scale and covers the theoretical perspectives so comprehensively. In the latest edition, the broad range of theoretical perspectives has been enlarged to include modern critical theories. Volume One is a thoroughly updated edition of the original text, covering the period from 1765 up to the Edwardian age, exploring the richness and literary diversity of the gothic form: from the original eighteenth-century gothic of Ann Radcliffe to the melodramatic fiction of Wilkie Collins.

This collection reveals the variety of literary forms and visual media through which travel records were conveyed in the long nineteenth century, bringing together a group of leading researchers from a range of disciplines to explore the relationship between travel writing, visual representation and formal innovation.

In exceptionally close analyses of six novels by black writer Oscar Micheaux (1884-1948?) beginning with "The Conquest," written in 1913, "The Forged Note" (1915), "The Homesteader" (1917), "The Wind from Nowhere" (1941), "The Case of Mrs. Wingate" (1945), and "The Story of Dorothy Stanfield" (1946), Young traces the development of Micheaux's racial theories and of his stance as apologist for American imperialism. Young argues that these novels are examples of the detrimental effect of oppressive myths on early twentieth-century black behavior and values. The characters in the novels tend to mirror the black stereotypes of the post-bellum confederate romanticists, both the Cavalier racists and the Negrophobes. Adopting the world view of the oppressor required that Micheaux reject both his own blackness and that of his racial kinsmen. Along with many other black writers, Micheaux believed that to assimilate, blacks must learn to pass for white by adopting Anglo-Saxon values, myths, and philosophy. The novels make statements about life from a point of view that exaggerates the worst side of black character, perpetuating the myth of black inferiority that the black protagonists transcend. Young explores the influences of both Jack London and Friedrich Nietzsche on Micheaux's heroes. Micheaux's significance lies less as a figure of literary merit than as an especially graphic example of a black artist unwittingly espousing the beliefs of the oppressor rather than writing out of a truly black aesthetic philosophy. Ironically, Micheaux not only perpetuated racist myths in his novels, but was the victim of such myths as well. Between 1919 and 1948 Micheaux also wrote, directed, and produced over thirty films and was perhaps the most important Afro-American filmmaker before the Civil Rights Movement.

The only in-depth study of Micheaux's novels, and one rich in period detail and insights into the evolution of black stereotypes as reflected in the novels of a black artist, "Black Novelist as White Racist" would be useful to students and teachers of Afro-American Literature and Plains and Western Literature, as well as to those interested in race theory, film history, and sociology.

This series gathers together a body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The selected sources range from important essays in the history of criticism to journalism and contemporary opinion, and documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects.

"The Critical Heritage" gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The selected sources range from important essays in the history of criticism to journalism and contemporary opinion, and documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. "The Critical Heritage" is available as a set of 67 volumes, as mini-sets selected by period (in slipcase boxes) or as individual volumes.

This volume of essays brings together critical analysis and commentary on the literary work of Michel Tournier.

Presenting an argument that Virginia Woolf taught herself to be a feminist artist and public intellectual through her revisionary reading, this study also gives a view of Woolf's tremendous body of knowledge and her contrast references to past literary periods.

Does Thoreau belong to the past or to the future? Instead of canonizing him as a celebrant of "pure" nature apart from the corruption of civilization, the essays in "Thoreauvian Modernities" reveal edgier facets of his work--how Thoreau is able to unsettle as well as inspire and how he is able to focus on both the timeless and the timely. Contributors from the United States and Europe explore Thoreau's modernity and give a much-needed reassessment of his work in a global context.
The first of three sections, "Thoreau and (Non)Modernity," views Thoreau as a social thinker who set himself against the "modern" currents of his day even while contributing to the emergence of a new era. By questioning the place of humans in the social, economic, natural, and metaphysical order, he ushered in a rethinking of humanity's role in the natural world that nurtured the environmental movement. The second section, "Thoreau and Philosophy," examines Thoreau's writings in light of the philosophy of his time as well as current philosophical debates. Section three, "Thoreau, Language, and the Wild," centers on his relationship to wild nature in its philosophical, scientific, linguistic, and literary dimensions. Together, these sixteen essays reveal Thoreau's relevance to a number of fields, including science, philosophy, aesthetics, environmental ethics, political science, and animal studies.
"Thoreauvian Modernities" posits that it is the germinating power of Thoreau's thought--the challenge it poses to our own thinking and its capacity to address pressing issues in a new way--that defines his enduring relevance and his modernity.
Contributors: Kristen Case, Randall Conrad, David Dowling, Michel Granger, Michel Imbert, Michael Jonik, Christian Maul, Bruno Monfort, Henrik Otterberg, Tom Pughe, David M. Robinson, William Rossi, Dieter Schulz, Francois Specq, Joseph Urbas, Laura Dassow Walls.

Part of the American Literatures Initiative Series From the patricians of the early republic to post-Reconstruction racial scientists, from fin de siecle progressivist social reformers to post-war sociologists, character, that curiously formable yet equally formidable "stuff," has had a long and checkered history giving shape to the American national identity. Bodies of Reform reconceives this pivotal category of nineteenth-century literature and culture by charting the development of the concept of "character" in the fictional genres, social reform movements, and political cultures of the United States from the mid-nineteenth to the early-twentieth century. By reading novelists such as Herman Melville, Mark Twain, Pauline Hopkins, and Charlotte Perkins Gilman alongside a diverse collection of texts concerned with the mission of building character, including child-rearing guides, muscle-building magazines, libel and naturalization law, Scout handbooks, and success manuals, James B. Salazar uncovers how the cultural practices of representing character operated in tandem with the character-building strategies of social reformers. His innovative reading of this archive offers a radical revision of this defining category in U.S. literature and culture, arguing that character was the keystone of a cultural politics of embodiment, a politics that played a critical role in determining-and contesting-the social mobility, political authority, and cultural meaning of the raced and gendered body.

In his quest for a truly native idiom, Walt Whitman (1819-1892) incarnated the American geography and its people in a new and transcendent poetic form. His monumental work, Leaves of Grass, celebrates sexuality, gender equality, and the astonishing beauty of the everyday. For Whitman, "The true use for the imaginative faculty of modern times is to give ultimate vivification to facts, to science and to common lives, endowing them with glows and glories and final illustriousness which belong to real things, and to real things only."
This complete edition of Leaves of Grass, which includes "Sands at Seventy" (from November Boughs) and "Good-bye My Fancy," contains those poems that have become part of the great American literature, including "Song of Myself," "When Lilacs Last in the Dooryard Bloom'd," "I Sing the Body Electric," and "O Captain, My Captain."

The French art novel, with its tales of artists, models and creative struggles, is often thought to be a specifically nineteenth-century phenomenon, which dies out by 1900. This wide-ranging, interdisciplinary study argues that the art novel does not in fact disappear but rather undergoes a series of transformations in the early twentieth century, in step with radical changes in the visual arts of the period. Examining both well-known and all-but-forgotten novels, Shingler examines the ways in which they move on from their nineteenth-century predecessors, as the development of avant-garde movements makes questions of aesthetic value and authenticity ever more pressing; as changing gender roles increasingly put pressure on writers to acknowledge female creativity; and as the emergent art of the cinema comes to compete with painting as the primary visual reference point for writers.

This book examines Austen's novels in relation to her philosophical and religious context, demonstrating that the combination of the classical and theological traditions of the virtues is central to her work. Austen's heroines learn to confront the fundamental ethical question of how to live their lives. Instead of defining virtue only in the narrow sense of female sexual virtue, Austen opens up questions about a plurality of virtues. In fresh readings of the six completed novels, plus Lady Susan, Emsley shows how Austen's complex imaginative representations of the tensions among the virtues engage with and expand on classical and Christian ethical thought.

This collection of essays sets out to challenge the dominant narrative about Victorian theatre by placing the practices and products of the Victorian theatre in relation to Victorian visual culture, through the lens of the concept of 'Ruskinian theatre, ' an approach to theatre which values its educative purpose as well as its aesthetic expression.

Metafiction is one of the most distinctive features of postwar fiction, appearing in the work of novelists as varied as Eco, Borges, Martin Amis and Julian Barnes. It comprises two elements: firstly cause, the increasing interpenetration of professional literary criticism and the practice of writing; and secondly effect: an emphasis on the playing with styles and forms, resulting from an enhanced self-consciousness and awareness of the elusiveness of meaning and the limitations of the realist form.
Dr Currie's volume examines first the two components of metafiction, with practical illustrations from the work of such writers as Derrida and Foucault. A final section then provides the view of metafiction as seen by metafictional writers themselves.

A fresh set of concerns face the twenty-first century British novelist. In this study of the four key novelists Zadie Smith, Nadeem Aslam, Hari Kunzru and David Mitchell, the the changes in narrative approaches and critical directions of a new post-1989 fiction are explored. Close readings of the writers are informed by a range of contemporary theorists, critics and commentators to reveal the emphases of twenty-first century fiction. Terror, fear, consumerism, multinationalism, and corporatism: the terms circulating in culture and social networks are evident in Smith's faith in ethical living, Aslam's consideration of multiculturalism, the novels Kunzru builds around the politics of identity and in the importance Mitchell places on the interconnectedness of human life. By putting the emergence of a new British literary dynamic in the context of ethical as well as global contexts, this study analyzes the transformed fictional perceptions of a world no longer defined by the stand off of super powers.

With a career spanning 50 years, Kurt Vonnegut is one of the most prolific and popular American writers of the 20th century. Though his works have often met with mixed reviews, and have been difficult to categorize, his status of cultural icon and one of the most important contemporary novelists is well established. This critical companion, perfect for students, skillfully guides readers through seven of Vonnegut's most important novels including "Player Piano" (1952), "Mother Night" (1961), "Cat's Cradle" (1963), and "Slaughterhouse Five" (1969). A full chapter is devoted to each work, with clear analysis of plot, character development, thematic concerns, symbolism, and a close critical reading. A chapter on the life of Kurt Vonnegut gives an up-to-date biography, with interesting details relating the facts of his life to his writings. The Literary Contexts section, devoted to examining issues of genre, influences and themes in Vonnegut's writing, adds to a fuller understanding of the man and his literary works.

This exceptionally well-written Critical Companion will help students and interested readers appreciate Vonnegut's most important and popular novels. Close critical readings offer feminist, Marxist, and new historicist perspectives on these works. A bibliography helps students undertaking research identify additional sources for biographical and critical information, and provides reviews and a comprehensive list of Vonnegut's publications to date.

'Beer offers an assemblage of discrete essays ( written in the spirit of the short story itself), connected by generic and thematic concerns, with the delightful result of giving us a series of lucidly written close readings from the perspective of what Virginia Woolf calls 'the common reader' - Katherine Joslin, Western Michigan University A wide range of short fiction by Kate Chopin, Edith Wharton and Charlotte Perkins Gilman is the focus for this study, examining both genre and theme. Chopin's short short stories, Wharton's novellas, Chopin's frankly erotic writing and the homilies in which Gilman warns of the dangers of the sexually transmitted disease are compared. There are also essays on ethnicity in the work of Chopin, Wharton's New England stories, Gilman's innovative use of genre and 'The Yellow Wallpaper' on film.