One of the great American authors of the 20th century, John Steinbeck (1902-1968) continues to be a focus of academic study and the source of interest to readers around the globe. All of the Nobel-prize winner's major works remain in print, as new generations discover the power of such novels as Of Mice and Men, East of Eden, and The Grapes of Wrath, as well as nonfiction works like Travels with Charley, The Log from the Sea of Cortez and America and Americans. In addition to reissued works by Steinbeck, each year new articles and books are written about him, examining the themes of his works and his impact on literature. With such a prolific output, bibliographic resources have become a necessity, and in 1967, Scarecrow Press published the first Steinbeck bibliography, with subsequent volumes following in 1974, 1981, and 1998. In the latest volume, Steinbeck scholar and historian Michael J. Meyer has compiled Steinbeck material written or published between 1996 and 2006. The John Steinbeck Bibliography: 1996-2006 includes thousands of citations that cover a broad range of publications, including newspaper articles, full length critical studies, dissertations, theses, book reviews in English, and missed work from previous volumes, as well as websites and other media. The bibliography also cites foreign language translations of Steinbeck's works as well as foreign language books, journals and reviews. The comprehensive index will help scholars determine which entries are related to various novels, themes and historical events that are part of the Steinbeck canon. As a resource for literature scholars and researchers, The John Steinbeck Bibliography: 1996-2006 will prove to be as invaluable as the previous volumes.

From the bestselling author of How to Read Literature Like a Professor comes this essential primer to reading poetry like a professor that unlocks the keys to enjoying works from Lord Byron to the Beatles. No literary form is as admired and feared as poetry. Admired for its lengthy pedigree-a line of poets extending back to a time before recorded history-and a ubiquitous presence in virtually all cultures, poetry is also revered for its great beauty and the powerful emotions it evokes. But the form has also instilled trepidation in its many admirers mainly because of a lack of familiarity and knowledge. Poetry demands more from readers-intellectually, emotionally, and spiritually-than other literary forms. Most of us started out loving poetry because it filled our beloved children's books from Dr. Seuss to Robert Louis Stevenson. Eventually, our reading shifted to prose and later when we encountered poetry again, we had no recent experience to make it feel familiar. But reading poetry doesn't need to be so overwhelming. In an entertaining and engaging voice, Thomas C. Foster shows readers how to overcome their fear of poetry and learn to enjoy it once more. From classic poets such as Shakespeare, Samuel Taylor Coleridge, and Edna St. Vincent Millay to later poets such as E.E. Cummings, Billy Collins, and Seamus Heaney, How to Read Poetry Like a Professor examines a wide array of poems and teaches readers: How to read a poem to understand its primary meaning. The different technical elements of poetry such as meter, diction, rhyme, line structures, length, order, regularity, and how to learn to see these elements as allies rather than adversaries. How to listen for a poem's secondary meaning by paying attention to the echoes that the language of poetry summons up. How to hear the music in poems-and the poetry in songs! With How to Read Poetry Like a Professor, readers can rediscover poetry and reap its many rewards.

The New York Times bestselling author of the beloved classic How to Read Literature Like a Professor teaches you how to write everything from a report for your community association to a meaningful memoir in this masterful and engaging guide. Combing anecdotes and hard-won lessons from decades of teaching and writing-and invoking everyone from Hemingway to your third-grade teacher-retired professor Thomas C. Foster guides you through the basics of writing. With How to Write Like a Writer you'll learn how to organize your thoughts, construct first drafts, and (not incidentally) keep you in your chair so that inspiration can come to visit. With warmth and wit, Foster shows you how to get into (and over) your best self, how to find your voice, and how to know when, if ever, a piece of work is done. Packed with enlightening anecdotes, highlighted with lists and bullet points, this invaluable guide reveals how writers work their magic, and reminds us that we all-for better or worse, whether we mean to or not-are known by what we put on paper or screen, both our thoughts and our words.

This volume widens the field of Soviet literature studies by interpreting it as a multinational project, with national literatures acting not as copies of the Russian model, but as creators of a multidimensional literary space. The book proposes a reconsideration of Pierre Bourdieu's theory of literary field and analyzes the interactions of literature, power, and economics under the communist rule. The articles selected include theoretical discussions and case studies from different national literatures presenting different structural elements of the Soviet literary field, as well as different phenomena created by the complexity of the field itself, such as the Aesopian language, state of emergency literature, or compromise as the essential element of the writers' identity.

Outsold only by the Bible and the works of Shakespeare, the works of Agatha Christie stand as some of the most celebrated crime fiction of our era. This book takes ten of Agatha Christie's most famous works and shows their relationship to ten of crime history's most famous and sensational cases- cases whose notoriety still resounds to this day. Addressing both novels and short stories, this work illuminates the relationship between Christie's Murder on the Orient Express and the sensational Lindbergh Kidnapping Case of 1932; the connections between Christie's Mrs. McGinty's Dead and the horrific true case of England's most loathed wife-killer, the American Dr. Hawley Harvey Crippen, and eight more engrossing pairings of Agatha Christie's ingenious mystery puzzles with vintage true crime's most sensational events.

This first book-length critical examination of the life and work of Marjorie Bowen (1885-1952) reveals a major English writer whose prodigious output included stories of history, romance, and the supernatural. As Pulitzer Prize-winning critic Michael Dirda writes in his Foreword, Bowen may be "the finest British woman writer of the uncanny of the last century," a view that echoes the high regard of cultural historian Edward Wagenknecht, who called her "a literary phenomenon," one whose best work places her alongside such contemporaries as Edith Wharton and Daphne du Maurier. Publicly acclaimed-known only by a series of pseudonyms (including "Marjorie Bowen")-but privately inscrutable, she was and is a mysterious and complex character. Drawing for the first time upon archival resources and the cooperation of the Bowen Estate, this book reveals a woman who saw herself as a rationalist and serious historian, but also as a mystic and "dark enchantress of dread." Above all, through a lifetime of domestic storms and creative ecstasy, Bowen worked tirelessly as both a professional writer and a consummate artist, always seeking, as she once confessed, "to find beauty in dark places.

Foregrounds the diversity of periodicals, fiction and other printed matter targeted at women in the postwar period Foregrounds the diversity and the significance of print cultures for women in the postwar period across periodicals, fiction and other printed matter Examines changes and continuities as women's magazines have moved into digital formats Highlights the important cultural and political contexts of women's periodicals including the Women's Liberation Movement and Socialism Explores the significance of women as publishers, printers and editors Women's Periodicals and Print Culture in Britain, 1940s-2000s draws attention to the wide range of postwar print cultures for women. The collection spans domestic, cultural and feminist magazines and extends to ephemera, novels and other printed matter as well as digital magazine formats. The range of essays indicates both the history of publishing for women and the diversity of readers and audiences over the mid-late twentieth century and the early twenty-first century in Britain. The collection reflects in detail the important ways in magazines and printed matter contributed to, challenged, or informed British women's culture. A range of approaches, including interview, textual analysis and industry commentary are employed in order to demonstrate the variety of ways in which the impact of postwar print media may be understood.

We live in an information economy, a vast archive of data ever at our fingertips. In the pages of science fiction, powerful entities-governments and corporations-seek to use this archive to control society, enforcing conformity or turning citizens into passive consumers. Opposing them are protagonists fighting to liberate the collective mind from those who would enforce top-down control. Archival technology and its depictions in science fiction have developed dramatically since the 1950s. Ray Bradbury discusses archives in terms of books and television media, Margaret Atwood in terms of magazines and journaling. William Gibson focused on technofuturistic cyberspace and brain-to-computer prosthetics, Bruce Sterling on genetics and society as an archive of social practices. Neal Stephenson imagined post-cyberpunk matrix space and interactive primers. As the archive is altered, so too are the humans that interact with ever-advancing technology.

The on-going debate surrounding the Christian aspects of C.S. Lewis's The Chronicles of Narnia, J.R.R. Tolkien's The Lord of the Rings, Philip Pullman's His Dark Materials, and J.K. Rowling's Harry Potter has revealed not only the prominence of religious themes in fantasy fiction, but also the readers' concern over the portrayal of religion in fantasy. Yet while the works of Lewis, Tolkien, Pullman, and Rowling have been discussed in excess, other fantasy series have so far received markedly less attention. Thus, the following book offers a critical study of the fantastic religions and religious themes present in the works of selected American and Canadian writers: Stephen R. Donaldson's Chronicles of Thomas Covenant, Guy Gavriel Kay's Fionavar Tapestry, Celia S. Friedman's Coldfire Trilogy, and Brandon Sanderson's Mistborn series. The aim of the proposed study is to reveal and investigate these series' references to biblical tradition and Christian teachings in order to examine their overall approach to Christianity and to comment on the relationship between Christianity and the fantasy genre. The study is conducted in reference to the theories and methods designed by the discipline of the phenomenology of religion.

Dystopian fiction has captured the imaginations of countless readers as they consider life in worlds at once eerily similar and shockingly foreign to their own. Essays on Dystopian Fiction as Critique of Culture showcases the most recent research on dystopian fiction whose readership has surged dramatically since the 1990s. Sixteen chapters-written by scholars from the United States, England, Ireland, India, and Poland-explore literary and popular dystopian novels focusing on the genre as a form of social critique. The essays reveal how both literary and popular dystopias arise from the same impulse as utopian fiction: the desire for an idealized and always illusory society in which evil is purged and justice prevails. Written from a variety of critical perspectives, these essays explore some of the literary novels (such as The Lord of the Flies and The Heart Goes Last) as well as some new popular ones (such as The Giver, The Hunger Games, and The Strain Trilogy). The essays collected here hold value for both fans and scholars of dystopian literature, a genre that has demonstrated its mass market appeal and its validity as an area of academic study.

Emily Dickinson (1830-1886) wrote in 19th century American English and referenced long-vanished cultural contexts. A "private poet," she created her own vocabulary, and many of her poems have quite specific local and personal connections. Twenty-first century readers may find her poetry elusive and challenging. Promoting a richer appreciation of Dickinson's work for a modern audience, this book explores unfamiliar aspects of her language and her world.

Acknowledged as one of the founding figures of science fiction scholarship and teaching, and one of the genre's leading writers, James Gunn in 1951 wrote what is likely the first master's thesis on modern science fiction, Modern Science Fiction: A Critical Analysis. It achieved some degree of legendary status when portions appeared in the short-lived pulp magazine Dynamic, but has otherwise remained unavailable for scholars and general readers of science fiction. Appearing for the first time in book form, this early critical work by a science fiction master is an important historical addition to the field of science fiction studies. Gunn's observations on many of the classic Golden Age stories of the 1940s, before they were classic, highlight this exuberant and astute early academic critical assessment of science fiction. Here the reader will witness the development of Gunn's critical perspective that informed his essential genre history Alternate Worlds and the monumental anthology series The Road to Science Fiction. Michael R. Page's introduction and commentary show the historical significance of Gunn's work and frame it within the context of the later development of science fiction criticism and theory.

Australian crime fiction grew from the country's modern origins as a very distant English prison. Early stories described escaped convicts becoming heroic bushrangers, or how the system maltreated mis-convicted people. As Australia developed, thrillers emerged about threats to the wealth of free settlers and crime among gold-seekers from England and America, and then urban crime fiction including in 1887 London's first best-seller, Fergus Hume's Melbourne-located The Mystery of a Hansom Cab. The genre thrived, with bush detectives like Billy Pagan and Arthur Upfield's half-Indigenous 'Bony', and from the 1950s women like June Wright, Pat Flower and Patricia Carlon linked with the internationally burgeoning psychothriller. Modernity has massified the Australian form: the 1980s saw a flow of private-eye thrillers, both Aussie Marlowes and tough young women, and the crime novel thrived, long a favorite in the police-skeptical country. In the twenty-first century some authors have focused on policemen, and more on policewomen- and finally there is potent Indigenous crime fiction. In this book Stephen Knight, long-established as an authority on the genre and now back in Melbourne, tells in detail and with analytic coherence this story of a rich but previously little-known national crime fiction.

Cervantes's Don Quixote, recently chosen the world's best book by well-known authors from fifty-four countries, has from its publication in 1605 been widely translated and imitated. Throughout the world "quixotic" and "tilting at windmills" are commonplaces, and the thin knight-errant and his plump squire Sancho Panza familiar icons. Critics regard Cervantes as the inventor of fiction, author of the first novel. Consistently judged too long and complex to be read in its entirety, Don Quixote, has always inspired abbreviations and adaptations. Major and now forgotten writers were deeply influenced by the Spanish author; in English they wrote chapbooks, satiric verses, essays, plays, and novels. Cervantes's post chivalric romance inspired by the Counter Reformation in Spain became a classic for Protestant England that condemned Catholic medieval romances. Don Quixote, as children's literature, informed by adult renderings, is a major but neglected part of this remarkable tradition. In extravagant Edwardian books, collections, home libraries, and schoolbooks, words and pictures by distinguished artists retold adventures both noble and "mad." Recent adaptations-including comics and graphic novels-express current difference but also support the knight-errant's affinity to children and lasting influence.

Charting a homeward-bound voyage from Bombay to London aboard a sailing ship, The Nigger of the 'Narcissus' (1897) captured the late-Victorian era's maritime obsession and identified the strikingly original talent of Joseph Conrad (1857-1924) as a sea writer in what has proved to be a landmark of sea literature. The Introduction situates the novel in Conrad's career and traces its origins and reception. Explanatory notes illuminate literary and historical references, identify real-life places and indicate Conrad's sources and influences. The essay on the text and the apparatus lay out the history of the work's composition and publication, and detail interventions by Conrad's typists, compositors and editors. Also included are notes explaining literary and historical references, a glossary of nautical terms, illustrations, including maps and pictures of early drafts, and appendixes. This edition of The Nigger of the 'Narcissus' presents the novel and its preface in forms more authoritative than any so far printed, and restores a text that has circulated in defective forms since its original publication.

As the miscreant Detective McNulty applies bite marks to a deceased man's posterior with a set of dentures in Season Five of The Wire, so are the viewers introduced to the topic of `fake news' and the wider contemporary problems with mainstream media representations of reality. The Wire brilliantly details the manner in which neoliberal market fundamentalism trades in fabrication and falsity. `Juking the stats' is the phrase used throughout the show to signal this corruption but it refers specifically to a quantified method for measuring success that was developed during the Cold War. Doctor Strangelove lovingly describes the essence of the `doomsday machine' as free from "human meddling," while the machine begins the inexorable process of destroying the world with nuclear bombs. The film's comedy derives from the absurdity of placing the requirements of systems and institutions above moral human considerations, a common theme of Stanley Kubrick's films. This problem is central, perhaps, to human survival, as a system which seems beyond our control renders our environment more hostile to our continued existence with each passing day. Harkness and `Ballard,' the novels' protagonists seek a spiritual or sublime meaning in a world shadowed by a man-made god, one that now contains the power of the apocalypse. The former seeks it in the jargon of Cold War technocracy but finds only death without meaning; a void at the heart of the culture signified by the bomb. The latter in blood sacrifices to the new technological god, in staged car crashes offered up as miniature apocalypses. The Cold War profoundly shaped neoliberalism in ways that are as yet not fully realised. Herein is a careful and extensively researched look at the narratives that pierce the heart of the Cold War zeitgeist and its aftermath and reveal to us that we may be living in a post-Cold War world.

As science fiction becomes as a major topic for literary study, one reason for its increasing stature is the influence of the J. Lloyd Eaton Conferences on Science Fiction and Fantasy Literature, long held at the University of California, Riverside. For three decades, these regular gatherings attracted most of the world's leading experts on science fiction and fantasy, as well as distinguished scholars in other fields and famous science fiction writers, who presented papers on specific aspects of science fiction and fantasy. These papers were then assembled in published Eaton volumes now found in university libraries throughout the world. This volume brings together twenty-two of the best papers from those conferences, most with provocative new afterwords by their authors, assembled in chronological order to provide a picture of how science fiction criticism has evolved since 1979 to the present day. The book's editors are two veteran science fiction writers-Gregory Benford and Howard V. Hendrix-and two noted critics -Gary Westfahl and Joseph D. Miller-who frequently attended and participated in Eaton Conferences. Its contributors include eight scholars who have won the Science Fiction and Fantasy Research Association's Pilgrim Award for lifetime contributions to science fiction and fantasy scholarship.

Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

In the mid- to late 2000s, the United States witnessed a boom in dystopian novels and films intended for young Audiences. At that time, many literary critics, journalists, and educators grouped dystopian literature together with science fiction, leading to possible misunderstandings of the unique history, aspects, and functions of science fiction and dystopian genres. Though texts within these two genres may share similar Settings, plot devices, and characters, each genre's value is different because they do distinctively different sociocritical work in relation to the culture that produces them. In The Order and the Other: Young Adult Dystopian Literature and Science Fiction, author Joseph W. Campbell distinguishes the two genres, explains the function of each, and outlines the different impact each has upon readers. Campbell analyzes such works as Lois Lowry's The Giver and James Dashner's The Maze Runner, placing dystopian works into the larger context of literary history. He asserts both dystopian literature and science fiction differently empower and manipulate readers, encouraging them to look critically at the way they are taught to encounter those who are different from them and how to recognize and work within or against the power structures around them. In doing so, Campbell demonstrates the necessity of both genres.

The reputation of Janet Frame, modern New Zealand writer, languishes. [Janet Frame] will bring more recognition to Frame. Among its well-known contributors are Patricia Moran, Suzette A. Henke and Claire Bazin. The collection truly has a global reach, with professors in the U.S., England, France, and Australia, and all of the essays are written by women. Given Frame's opposition to patriarchy and preoccupation with "Womanly" language and feminist themes, women bring a unique point of view to analysis of Frame. Essays are organized around three themes: Frame's autobiography, Frame's short stories, and Frame's novels. The essays explore generally neglected topics in Frame's writings: her mother's Christadelphian faith; Frame's relationships with two 20th century icons, one an important artist of the Bay Area Figurative Movement (William Theophilus Brown) and the other a by now infamous scientist (John Money) who explored gender and sexuality at Johns Hopkins. Henke's "Janet Frame's New Zealand Odyssey," previously published in Shattered Subjects, is made accessible. Henke explores Frame through trauma studies. Comparative studies include Frame and Doris Lessing and Frame and Virginia Woolf. French scholars enrich Frame studies with little-evoked Gallic approaches, using Bakhtin, Foucault and Rabelais. Thus, the book is central to Frame studies.

In the past seven centuries Dante has become world renowned, with his works translated into multiple languages and read by people of all ages and cultural backgrounds. This volume brings together interdisciplinary essays by leading, international scholars to provide a comprehensive account of the historical, cultural and intellectual context in which Dante lived and worked: from the economic, social and political scene to the feel of daily life; from education and religion to the administration of justice; from medicine to philosophy and science; from classical antiquity to popular culture; and from the dramatic transformation of urban spaces to the explosion of visual arts and music. This book, while locating Dante in relation to each of these topics, offers readers a clear and reliable idea of what life was like for Dante as an outstanding poet and intellectual in the Italy of the late Middle Ages.

British literature often refers to pagan and classical themes through richly detailed landscapes that suggest more than a mere backdrop of physical features. The myth-inspired writings of Alfred, Lord Tennyson, Algernon Blackwood, Aleister Crowley, Lord Dunsany and even Kenneth Grahame's The Wind in the Willows informed later British films and television dramas such as Blood on Satan's Claw (1971), The Wicker Man (1973), Excalibur (1981) and Monty Python and the Holy Grail (1975). The author analyzes the evocative language and aesthetics of landscapes in literature, film, television and music, and how "psycho-geography" is used to explore the influence of the past on the present.

The first full commentary on Piers Plowman since the late nineteenth century, the Penn Commentary places the allegorical dream-vision of Piers Plowman within the literary, historical, social, and intellectual contexts of late medieval England, and within the long history of critical interpretation of the poem, assessing past scholarship while offering original materials and insights throughout. The authors' line-by-line, section by section, and passus by passus commentary on all three versions of the poem and on the stages of its multiple revisions reveals new aspects of the work's meaning while assessing and summarizing a complex and often divisive scholarly tradition. The volumes offer an up-to-date, original, and open-ended guide to a poem whose engagement with its social world is unrivaled in medieval English literature, and whose literary, religious, and intellectual accomplishments are uniquely powerful. The Penn Commentary is designed to be equally useful to readers of the A, B, or C texts of the poem. It is geared to readers eager to have detailed experience of Piers Plowman and other medieval literature, possessing some basic knowledge of Middle English language and literature, and interested in pondering further the particularly difficult relationships to both that this poem possesses. Others, with interest in poetry of all periods, will find the extended and detailed commentary useful precisely because it does not seek to avoid the poem's challenges but seeks instead to provoke thought about its intricacy and poetic achievements. Volume 2, by Ralph Hanna, deliberately addresses the question of the poem's perceived "difficulty," by indicating the legitimate areas of unresolved dilemmas, while offering often original explanations of a variety of textual loci. Perhaps more important, his commentary indicates what has not always appeared clear in past approaches-that the poem only "means" in its totality and within some critical framework, and that its annotation needs always to be guided by a sense of Langland's developing arguments.