Shows how Adler, Wander, Hilsenrath, and Klüger intertwine transgressive political criticism with the shadow of trauma, revealing new perspectives on canon formation and exclusion in postwar German literature. How did German-speaking Holocaust survivors pursue literary careers in an often-indifferent postwar society? How did their literary life writings reflect their postwar struggles? This monograph focuses on four authors who bore literary witness to the Shoah - H. G. Adler, Fred Wander, Edgar Hilsenrath, and Ruth Klüger. It analyzes their autofictional, critical, and autobiographical works written between the early 1950s and 2015, which depict their postwar experiences of writing, publishing, and publicizing Holocaust testimony. These case studies shed light on the devastating aftermaths of the Holocaust in different contexts. Adler depicts his attempts to overcome marginalization as a writer in Britain in the 1950s. Wander reflects on his failure to find a home either in postwar Austria or in the GDR. Hilsenrath satirizes his struggles as an emigrant to the US in the 1960s and after returning to Berlin in the 1980s. Finally, in her 2008 memoir, Ruth Klüger follows up her earlier, highly impactful memoir of the concentration camps by narrating the misogyny and antisemitism she experienced in US and German academia. Helen Finch analyzes how these under-researched texts intertwine transgressive political criticism with the shadow of trauma. Drawing on scholarship on Holocaust testimony, transnational memory, and affect theory, her book reveals new perspectives on canon formation and exclusion in postwar German literature.

"Stylistics" is the study of language in the service of literary ends, and in Style in Fiction, Geoffrey Leech and Mick Short demonstrate how stylistic analysis can be applied to novels and stories. Writing for both students of English language and English literature, they show the practical ways in which linguistic analysis and literary appreciation can be combined, and illuminated, through the study of literary style. Drawing mainly on major works of fiction of the last 150 years, their practical and insightful examination of style through texts and extracts leads to a deeper understanding of how prose writers achieve their effects through language. Since its first publication in 1981, Style in Fiction has established itself as a key textbook in its field, selling nearly 30,000 copies. Now, in this revised edition, the authors have added substantial new material, including two completely new concluding chapters. These provide an extensive, up-to-date survey of developments in the field over the past 25 years, and apply the methods presented in earlier chapters to an analysis of an entire short story. The Further Reading section and the bibliographical references have also been thoroughly updated. In 2005 Style in Fiction was awarded the 25th Anniversary Prize by PALA (The Poetics and Linguistics Association) as the most influential book published in the field of stylistics 1980. Further proof, if proof were needed, that Style in Fiction remains a classic guide to its discipline.

Beginning with Somerset Maugham's innovative, sexually dissident South Seas novel and tales and Alfred Hitchcock's gay-inflected revisiting of the Jack the Ripper sensation in silent film, this book considers the continuing presence of the past in future-oriented work of the 1930s and the Second World War by Sylvia Townsend Warner, Virginia Woolf, George Orwell, and the playwright and novelist, Patrick Hamilton. The final three chapters carry the discussion to the present in analyses of works by lesbian, postcolonial, and gay authors such as Sarah Waters, Amitav Ghosh, and Alan Hollinghurst. Focusing on questions about temporality and changes in gender and sexuality, especially gay and lesbian, straight and queer, following the rejection of the Victorian patriarchal marriage model, this study examines the continuing influence of late Victorian Aestheticist and Decadent culture in Modernist writing and its permutations in England.

This volume is the first to address Jane Austen's writings within the traditions of Romanticism. Tuite's study presents a series of historically contextualized readings of Austen's juvenilia (Catharine, or The Bower and The History of England), Sense and Sensibility, Mansfield Park and Austen's posthumously published novel, Sanditon, to examine ways in which Romantic-period definitions of nation, culture and literature continue to function in contemporary readings of Austen and her period.

This book surveys the labyrinthine relationship between Stephen King and American History. By depicting American History as a doomed cycle of greed and violence, King poses a number of important questions: who gets to make history, what gets left out, how one understands one's role within it, and how one might avoid repeating mistakes of the past. This volume examines King's relationship to American History through the illumination of metanarratives, adaptations, "queer" and alternative historical lenses, which confront the destructive patterns of our past as well as our capacity to imagine a different future. Stephen King and American History will present readers with an opportunity to place popular culture in conversation with the pressing issues of our day. If we hope to imagine a different path forward, we will need to come to terms with this enclosure-a task for which King's corpus is uniquely well-suited.

This book surveys the labyrinthine relationship between Stephen King and American History. By depicting American History as a doomed cycle of greed and violence, King poses a number of important questions: who gets to make history, what gets left out, how one understands one's role within it, and how one might avoid repeating mistakes of the past. This volume examines King's relationship to American History through the illumination of metanarratives, adaptations, "queer" and alternative historical lenses, which confront the destructive patterns of our past as well as our capacity to imagine a different future. Stephen King and American History will present readers with an opportunity to place popular culture in conversation with the pressing issues of our day. If we hope to imagine a different path forward, we will need to come to terms with this enclosure-a task for which King's corpus is uniquely well-suited.

Touchstones examines the ways in which John McGahern became a writer through his reading. This reading, it is shown, was both extensive and intensive, and tended towards immersion in the classics. As such, new insights are provided into McGahern's admiration and use of writers as diverse as Dante Alighieri, William Blake, James Joyce, Albert Camus and several others. Evidence for these claims is found both through close reading of McGahern's published texts as well as unprecedented sleuthing in his extensive archive of papers held at the National University of Ireland, Galway. The ultimate intention of the book is to draw attention to the very literary and writerly nature of McGahern as an artist, and to place him, not just as a great Irish writer, but as part of a long and venerable European tradition.

This book is about the power of narrative realism as a critique of the ideology of inwardness in the German-speaking world. It answers the question: What kind of truth about reality does German literary realism enable us to see, and what kind of transformation does that vision require and effect?

Given Ulysses' perhaps unparalleled attention to the operations of the human mind, it is unsurprising that critics have explored the work's psychology. Nonetheless, there has been very little research that draws on recent cognitive science to examine thought and emotion in this novel. Hogan sets out to expand our understanding of Ulysses, as well as our theoretical comprehension of narrative-and even our views of human cognition. He revises the main narratological accounts of the novel, clarifying the complex nature of narration and style. He extends his cognitive study to encompass the anti-colonial and gender concerns that are so obviously important to Joyce's work. Finally, through a combination of broad overviews and detailed textual analyses, Hogan seeks to make this notoriously difficult book more accessible to non-specialists.

This is the first book to examine how Australian fiction writers draw on family histories to reckon with the nation's colonial past. Located at the intersection of literature, history, and sociology, it explores the relationships between family storytelling, memory, and postcolonial identity. With attention to the political potential of family histories, Reckoning with the Past argues that authors' often autobiographical works enable us to uncover, confront, and revise national mythologies. An important contribution to the emerging global conversation about multidirectional memory and the need to attend to the effects of colonisation, this book will appeal to an interdisciplinary field of scholarly readers.

This book advocates for a new analytical framework that extends our understanding of multimodal meaning-making in the novel. Integrating theoretical traditions from stylistics and the influential social semiotic approach to multimodal communication developed by Kress and van Leeuwen, Norgaard applies this method of analysis in order to build on existing stylistic practices that look at linguistic features in the novel to encompass other semiotic resources found in the form, such as typography, layout, images, paper and book-cover design. The volume grounds the discussion with supporting examples from novels that feature experimentation with multiple semiotic resources as well as more traditional novels, furthering the argument that all novels are inherently multimodal. Offering new insights and tools for unpacking multimodal meaning-making in this critical literary genre, this volume is an indispensable resource for graduate students and researchers in multimodality, stylistics and literary studies.

This book seeks to challenge conventionally accepted views of David Bergelson's achievement by examining his entire oeuvre. It offers a full-length biography, the first comprehensive bibliography of Bergelson's work, and translations of two of his most influential programmatic essays.

Over the past few years, 'dystopia' has become a word with increasing cultural currency. This volume argues that we live in dystopian times, and more specifically that a genre of fiction called "dystopia" has, above others, achieved symbolic cultural value in representing fears and anxieties about the future. As such, dystopian fictions do not merely mirror what is happening in the world: in becoming such a ready referent for discussions about such varied topics as governance, popular culture, security, structural discrimination, environmental disasters and beyond, the narrative conventions and generic tropes of dystopian fiction affect the ways in which we grapple with contemporary political problems, economic anxieties and social fears. The volume addresses the development of the narrative methods and generic conventions of dystopian fiction as a mode of socio-political critique across the first half of the twentieth century. It examines how a series of texts from an age of political extremes contributed to political discourse and rhetoric both in its contemporary setting and in the terms in which we increasingly cast our cultural anxieties. Focusing on interactions between temporality, spatiality and narrative, the analysis unpicks how the dystopian interacts with social and political events, debates and ideas, Stock evaluates modern dystopian fiction as a historically responsive mode of political literature. He argues that amid the terrors and upheavals of the first half of the twentieth century, dystopian fiction provided a unique space for writers to engage with historical and contemporary political thought in a mode that had popular cultural appeal. Combining literary analysis informed by critical theory and the history of political thought with archival-based historical research, this volume works to shed new light on the intersection of popular culture and world politics. It will be of interest to students and scholars in literary studies, cultural and intellectual history, politics and international relations.

Examining the fairies of medieval romance as liminal beings, this book draws on anthropological and philosophical studies of liminality to combine folkloristic insights into the nature of fairies with close readings of selected romance texts. Tracing different meanings and manifestations of liminality in Sir Gawain and the Green Knight, Sir Orfeo, Sir Launfal, Thomas of Erceldoune and Robert Henryson's Orpheus and Eurydice, the volume offers a comprehensive theory of liminality rooted in structuralist anthropology and poststructuralist theory. Arguing that romance fairies both embody and represent the liminal, The Liminality of Fairies posits and answers fundamental theoretical questions about the limits of representation and the relationship between romance hermeneutics and criticism. The interdisciplinary nature of the argument will appeal not just to medievalists and literary critics but also to anthropologists, folklorists as well as scholars working within the fields of cultural history and contemporary literary theory.

Posthumanism in the Novels of Kurt Vonnegut: Matter That Complains So re-examines the prevailing critical consensus that Kurt Vonnegut was a humanist writer. While more difficult elements of his work have often been the subject of scholarly attention, the tendency amongst critics writing on Vonnegut is to disavow them, or to subsume them within a liberal humanist framework. When Vonnegut's work is read from a posthumanist perspective, however, the productive paradoxes of his work are more fully realised. Drawing on New Materialist, Eco-Critical and Systems Theory methodologies, this book highlights posthumanist themes in six of Vonnegut's most famous novels, and emphasises the ways in which Vonnegut troubles human/non-human, natural/artificial, and material/discursive hierarchical binaries

In this re-evaluation of the writings of Joseph Conrad, Michael Greaney places language and narrative at the heart of his literary achievement. As a trilingual Polish expatriate, Conrad brought a formidable linguistic self-consciousness to the English novel and tensions between speech and writing are the defining obsessions of his career. Greaney examines a wide range of Conrad's work, combining recent critical approaches to language in post-structuralism with an impressive command of linguistic theory.

This new study examines the role of the passions in the rise of the English novel. Geoffrey Sill examines medical, religious, and literary efforts to anatomize the passions, paying particular attention to the works of Dr. Alexander Monro of Edinburgh, Reverend John Lewis of Margate, and Daniel Defoe, novelist and natural historian of the passions. He shows that the figure of the "physician of the mind" is prominent not only in Defoe's novels, but also in those of Fielding, Richardson, Smollett, Burney, and Edgeworth.

Sylvia Townsend Warner has increasingly become recognized as a significant and distinctive talent amongst twentieth-century authors. This volume explores her remarkable relationship with Valentine Ackland - her partner for forty years - by closely examining their letters and diaries alongside a selection of their other texts, in particular their poetry. This analysis reveals the crucial role their writing played in establishing, maintaining, and defending their intimacy and describes the emergence of an alternative textual world upon which they became wholly reliant. Examining how Warner and Ackland exploited the distance between their lived life and their accounts of it, gives rise to many fascinating and untold stories. Furthermore, in investigating the fluidity of the boundaries between letters, diaries and fiction this book also provides a fresh perspective on these life-writing forms. Warner and Ackland's need to speak as women, writers and lovers, shaped their texts, so that they became not simply records of events, nor acts of communication, but complex documents in which love is won and lost, myths are created, and lives are changed, as will be the perspectives of those who read this book.

In the last eight years of his life - and he died when he was only thirty-three - Denton Welch wrote three novels, umpteen short stories, hundreds of poems, and - between 1942 and 1948, a profoundly personal and moving journal that recorded his swift maturity into a writer of genius. Therein he wrote of his battle with ill-health, his life lived in claustrophobic rooms, and (in frank, erotic terms) his frustrated pursuit of the 'ideal friend.' And yet he encountered some of the foremost writers of his time - Edith Sitwell, Herbert Read, Harold Nicolson, Vita Sackville West - and recorded every aspect of life with a fresh and arresting sensitivity.

First published in 1959, Novelists on the Novel makes an attempt to set out fully what novelists both major and minor have to say about the practice of their art. It draws on the experience of English, French and Russian novelists so that the general reader and the more serious literature student can find out what they have to say about the novel as a literary form. The included passages come from novels themselves, from diaries, letters, notebooks, etc., and together constitute something like an aesthetic of the novel. Using these sources, the book tries to answer the following questions: What is a novel? what are the problems which face the novelist when he sits down to write a work of fiction? How is he to tell his story? What exactly is meant by the 'point of view'? How should he manipulate time? How is he, in one of the possible senses of the word, to make his characters seem 'real'? What are the functions of dialogue and how should it be dovetailed into narrative?

Boldrini's study examines how the literary and linguistic theories of Dante's Divine Comedy helped shape the radical narrative techniques of Joyce's last novel Finnegans Wake. Through detailed parallel readings, she explores a range of connections: issues such as the question of Babel, literary creation as excrement, the complex relations among literary, geometrical and female forms. This book will appeal to scholars and students interested in Joyce, Dante, and questions of literary relations.

In this study, Mark Parker argues that magazines such as the London Magazine and Blackwood's Edinburgh Magazine offered an innovative and collaborative space for writers and their work--indeed, magazines became one of the preeminent literary forms of the 1820s and 1830s. Examining the dynamic relationship between literature and culture that evolved within this context, Literary Magazines and British Romanticism claims that writing in such a setting enters into a variety of alliances with other contributions and with ongoing institutional concerns that give subtle inflection to its meaning.

Drawing on interdisciplinary work in the field of ethics by a diverse range of thinkers, including Martha Nussbaum, Richard Rorty, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late-Victorian and turn-of-the-century British fiction. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, Henry James, and Joseph Conrad, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying.

INTRODUCED BY LISSA EVANS 'I envy anyone yet to discover the joy of Monica Dickens. She's beady eyed, big hearted and blissfully funny' Nina Stibbe 'One Pair of Feet is not just a spirited and entertaining account of the training of a hospital nurse in wartime but a fascinating glimpse into a time and a culture so recent and yet so utterly changed' Marina Lewycka As the effects of the war raging in Europe begins to be felt at home in London, Monica Dickens decides to do her bit and to pursue a new career, and so enrols as a student nurse at a hospital in rural Hertfordshire. By nature clever and spirited, she struggles to submit to the iron rule of the Matron and Sisters, and is alternately infuriated and charmed by her patients. That's not to mention the mountains of menial work that are a trainee's lot. But there are friends among the staff and patients, night-time escapades to dances with dashing army men, and her secret writing project to keep her going. 'Monica's naked curiosity and general bolshiness are easy to identify with, and as a narrator she always tells us what we're longing to know - it's like listening to a friend's anecdote, and egging them on' LISSA EVANS If you enjoyed One Pair of Feet, you will love the novel that followed it. My Turn to Make the Tea, Monica Dickens's lively and entertaining novel about life as a cub reporter on a regional newspaper, is also published as a Virago Modern Classic.

This volume contributes to the vibrant, ongoing recuperative work on women's writing by shedding new light on a group of authors commonly dismissed as middlebrow in their concerns and conservative in their styles and politics. The neologism 'interfeminism' - coined to partner Kristin Bluemel's 'intermodernism' - locates this group chronologically and ideologically between two 'waves' of feminism, whilst also forging connections between the political and cultural monoliths that have traditionally overshadowed them. Drawing attention to the strengths of this 'out-of-category' writing in its own right, this volume also highlights how intersecting discourses of gender, class and society in the interwar and postwar periods pave the way for the bold reassessments of female subjectivity that characterise second and third wave feminism. The essays showcase the stylistic, cultural and political vitality of a substantial group of women authors of fiction, non-fiction, drama, poetry and journalism including Vera Brittain, Storm Jameson, Nancy Mitford, Phyllis Shand Allfrey, Rumer Godden, Attia Hosain, Doris Lessing, Kamala Markandaya, Susan Ertz, Marghanita Laski, Elizabeth Bowen, Edith Pargeter, Eileen Bigland, Nancy Spain, Vera Laughton Matthews, Pamela Hansford Johnson, Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier, Barbara Comyns, Shelagh Delaney, Stevie Smith and Penelope Mortimer. Additional exploration of the popular magazines Woman's Weekly and Good Housekeeping and new material from the Vera Brittain archive add an innovative dimension to original readings of the literature of a transformative period of British social and cultural history. List of contributors: Natasha Periyan, Eleanor Reed, Maroula Joannou , Lola Serraf, Sue Kennedy, Ana Ashraf, Chris Hopkins, Gill Plain, Lucy Hall, Katherine Cooper, Nick Turner, Maria Elena Capitani, James Underwood, and Jane Thomas.