This collection of fifteen original essays offers new perspectives on armed conflict as a central aspect of science fiction and fantasy writing. Looking past the superficial conventions associated with ray guns and aliens, swords and sorcerers, the contributors show how writers in the genre today are not so much imagining war more fully as they are completely re-imagining it. Science fiction and fantasy writing is no longer mired in epic or chivalric models but is responding to new and more complex ""real-world"" motivations for armed aggression: advances in weaponry, shifts in the theaters of war, and changes in battlefield conditions. Most of the papers were presented at the annual J. Lloyd Eaton Conference on Science Fiction and Fantasy Literature, the field's most prestigious international gathering. The trend throughout the book is away from critical interest in stories of spatial or territorial conquest and toward works that deal with topics related to wars of temporal logistics and the internationalization of the combat zone, including urban street violence, gender conflicts, and resistance to runaway technology. The essays range from studies of the semantics and linguistics of warfare in science fiction to a critique of Osip Senkovsky's Fantastic Journeys of Baron Brambeus; from writer Joe Haldeman's assessment of the impact of his Vietnam experiences on his fiction to inquiries into a shared author/reader agenda in novels concerning potential mass destruction, including Stephen King's Dead Zone and M. J. Engh's Arslan. The collection also charts new directions in writing, such as the anti-apocalyptic science fiction of Samuel R. Delany, and embraces new modes of presentation, particularly computer animation and the bande dessinee, or illustrated narrative, as exemplified by French novelist Phillippe Druillet's La Nuit. Musician Bob Marley, film actor/directors Sylvester Stallone and Bruce Lee, and the cyberpunk film classics Terminator and the Road Warrior series are among other topics discussed. Together, the essays reinforce the editors' contention that the true function of these fantasies and science fictions is neither nostalgia nor fancy, but analysis. The contributors treat the texts they examine as a means not of playing war games but of understanding the role of war in the present and the future.

While crime fiction is one of the most widespread of all literary genres, this is the first book to treat it in its full global is the first book to treat crime fiction in its full global and plurilingual dimensions, taking the genre seriously as a participant in the international sphere of world literature. In a wide-ranging panorama of the genre, twenty critics discuss crime fiction from Bulgaria, China, Israel, Mexico, Scandinavia, Kenya, Catalonia, and Tibet, among other locales. By bringing crime fiction into the sphere of world literature, Crime Fiction as World Literature gives new insights not only into the genre itself but also into the transnational flow of literature in the globalized mediascape of contemporary popular culture.

This book applies models that reflect the fluid, mediated, hybrid, and nomadic global scenes within which Generation X artists and writers live, think, and work in Spain. Henseler touches on critical insights in comparative media studies, cultural studies, and social theory, and conveys the nuances of multiple voices, facts, figures, and faces.

The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book. It proposes a new model of 'palimpsestic memory', which the author defines as the condensation of different spatio-temporal traces, to describe these interconnections and defines the poetics and the politics of this composite form. In doing so it is argued that a poetics dependent on tropes and techniques, such as metaphor, allegory and montage, establishes connections across space and time which oblige us to perceive cultural memory not in terms of its singular attachment to a particular event or bound to specific ethno-cultural or national communities but as a dynamic process of transfer between different moments of racialized violence and between different cultural communities. The structure of the book allows for both the theoretical elaboration of this paradigm for cultural memory and individual case-studies of novels and films.

Novelist and cultural commentator C.P. Snow was a large and controversial presence in his lifetime but his work has been largely neglected since his death in 1980. This is the first 21st-century book to offer a clear, informed and sympathetic survey of all his novels and major non-fiction books and to affirm their importance for the world today.

A comprehensive introduction to the medieval languages and texts that inspired Tolkien's Middle-earth. Using key episodes in The Silmarillion , The Hobbit , and The Lord of the Rings , medieval texts are presented in their original language with translations. Essential for those who wish to delve deeper into the background to Tolkien's mythology.

Adapting Poe collects new interdisciplinary essays by leading scholars that combine the latest work in adaptation theory with fresh discussions of Edgar Allan Poe, his work, and popular culture. The book examines a range of genres and media into which Poe has been adapted, such as film, comic art, music, literary criticism, promotional campaigns, television, and internet videos. Each essay re-evaluates Poe's influence not only on popular culture today, but also as a significant figure in its development. As a whole, this collection demonstrates Poe's pervasive and continuing relevance to the images and ideas of contemporary culture.

A fascinating contribution to the scholarship of both political science and literature, this book explores eight major genres of contemporary popular fiction generally assumed to be essentially devoid of political content--children's novels, Westerns, middle-class fiction, historical novels, small-town Americana, sports novels, American war fiction, and science fiction. By uncovering the often covert mythical themes and cultural symbols hidden in the plot formulas of these works--many of them bestsellers--the essays illustrate the debt of mass-market authors to cultural and political traditions that reach back to the origins of the American Republic.

Given Jack Kerouac's enduring reputation for heaving words onto paper, it might surprise some readers to see his name coupled with the word "poetics." But as a native speaker of French, he embarked on his famous "spontaneous prose" only after years of seeking techniques to overcome the restrictions he encountered in writing in a single language, English. The result was an elaborate poetics that cannot be fully understood without accounting for his bilingual thinking and practice. Of the more than twenty-five biographies of Kerouac, few have seriously examined his relationship to the French language and the reason for his bilingualism, the Quebec Diaspora. Although this background has long been recognized in French-language treatments, it is a new dimension in Anglophone studies of his writing. In a theoretically informed discussion, Hassan Melehy explores how Kerouac's poetics of exile involves meditations on moving between territories and languages. Far from being a naive pursuit, Kerouac's writing practice not only responded but contributed to some of the major aesthetic and philosophical currents of the twentieth century in which notions such as otherness and nomadism took shape. Kerouac: Language, Poetics, and Territory offers a major reassessment of a writer who, despite a readership that extends over much of the globe, remains poorly appreciated at home.

This book is about the empiricist challenge to literature, and its influence on eighteenth-century theories of fiction. British empiricism from Bacon to Hume challenged the notion that imaginative literature can be a reliable source of knowledge. This book argues that theorists of the novel, from Henry Fielding to Jane Austen, recognized the force of the empiricist challenge but refused to capitulate. It traces how, in their reflections on the novel, these writers attempted to formulate a theoretical link between the world of experience and the products of the imagination, and thus update the old defenses of poetry for empirical times. Taken together, the empiricist challenge and the responses it elicited signaled a transition in the longstanding debate about literature and knowledge, as an inaugural round in the persisting conflict between the empirical sciences and the literary humanities.

Before the 1970s, there were only a few acclaimed biographical novels. But starting in the 1980s, there was a veritable explosion of this genre of fiction, leading to the publication of spectacular biographical novels about figures as varied as Abraham Lincoln, Ludwig Wittgenstein, Friedrich Nietzsche, Emily Dickinson, Virginia Woolf, Henry James, and Marilyn Monroe, just to mention a notable few. This publication frenzy culminated in 1999 when two biographical novels (Michael Cunningham's The Hours and Russell Banks' Cloudsplitter) were nominated for the Pulitzer Prize, and Cunningham's novel won the award. In The American Biographical Novel, Michael Lackey charts the shifts in intellectual history that made the biographical novel acceptable to the literary establishment and popular with the general reading public. More specifically, Lackey clarifies the origin and evolution of this genre of fiction, specifies the kind of 'truth' it communicates, provides a framework for identifying how this genre uniquely engages the political, and demonstrates how it gives readers new access to history.

Gun-toting, rough-riding, crack-shot women; train-robbing female bandits; blood-thirsty mothers who refuse to accept injustice-- these women appear in vigilante literature as protagonists that recognize the extent of their own exploitation and directly confront the causes. In this dynamic study, Graham-Bertolini provides the first analysis of vigilante women in contemporary American fiction and develops a model of vigilante heroines using literary and feminist theory. Through close-readings of important texts, including those by Flagg, Glaspell, Hong-Kington, Hurston, Rawlings, Walker, this analysis broadens our understanding of how law and culture infringe upon women's rights and joins the discussion about gender oppression and traditional identity politics.

The post-war redevelopment of London has been the most extensive in its history, and has been accompanied by a dramatic social and cultural upheaval. This book explores the literary re-imagining of the city in post-war fiction and argues that the image, history, and narrative of the city has been transformed alongside the physical rebuilding and repositioning of the capital. Drawing on the ideas of Michel de Certeau, Henri Lefebvre, Anthony Vigler and others as well as the latest work on urban representation, this book is an important contribution to the study of the intersection between place, lived experience, and the literary imagination. Texts covered include novels by some of the most significant and lesser known authors of the period, including Graham Greene, George Orwell, J. G. Ballard, Stella Gibbons, David Lodge, Doris Lessing, B. S. Johnson, Sam Selvon, V. S. Naipaul, Peter Ackroyd and Iain Sinclair.

Through examining the work of W. B. Yeats, James Joyce, and Samuel Beckett, Katherine Ebury shows cosmology had a considerable impact on modernist creative strategies, developing alternative reading models of difficult texts such as Finnegans Wake and 'The Trilogy'.

Given their pedagogical nature, many Victorian novels are highly politicized; their narratives are filtered through the value schemes, social views, and conscious purposes of their authors. Victorian women were largely expected to dedicate themselves to the social and moral betterment of their families. Women were expected to be soft, meek, quiet, modest, submissive, gentle, patient, and spiritual; men were supposed to be aggressive, assertive, resilient, disciplined, and competitive. These expectations were repeatedly endorsed through the conduct books of the period, which encouraged people to adhere to "proper" behavior. The Victorian era also viewed fiction as a didactic tool and as a means to propagate morality. Thus novels of the period typically present women as subordinate to men and as angels of the home. Women who conform to the social norms are usually rewarded in these fictitious worlds, whereas women who violate society's standards are often penalized. Certainly the novels of Charles Dickens fall into the larger didactic trend of Victorian fiction, and like other works of the period, his novels overtly support the conventional values of Victorian society. Dickens typically uses descriptive detail to register approval or disapproval of certain women, and these women are rewarded or chastized through his plots. But on a less obvious level, Dickens also challenges the prevailing Victorian attitude toward women. A close look at his works shows that patriarchs do not automatically deserve the respect they command from their privileged social positions. Women--however virtuous--are unable to produce moral or social change, and many women succeed outside the constraints ofdomesticity. This book provides a penetrating analysis of how Dickens' novels ultimately fail to promote the conventional Victorian behavioral ideal for women and discusses how his works subvert the domestic ideology of the nineteenth century.

This book studies literary epiphany as a modality of character in the British and American novel. Epiphany presents a significant alternative to traditional models of linking the eye, the mind, and subject formation, an alternative that consistently attracts the language of spirituality, even in anti-supernatural texts. This book analyzes how these epiphanies become "spiritual" and how both character and narrative shape themselves like constellations around such moments. This study begins with James Joyce, 'inventor' of literary epiphany, and Martin Heidegger, who used the ancient Greek concepts behind 'epiphaneia' to re-define the concept of Being. Kim then offers readings of novels by Susan Warner, George Eliot, Edith Wharton, Virginia Woolf, and William Faulkner, each addressing a different form of epiphany.

When Henry David Thoreau died in 1862, friends and admirers remembered him as an eccentric man whose outer life was continuously fed by deeper spiritual currents. But scholars have since focused almost exclusively on Thoreau's literary, political, and scientific contributions. This book offers the first in-depth study of Thoreau's religious thought and experience. In it Alan D. Hodder recovers the lost spiritual dimension of the writer's life, revealing a deeply religious man who, despite his rejection of organized religion, possessed a rich inner life, characterized by a sort of personal, experiential, nature-centered, and eclectic spirituality that finds wider expression in America today. At the heart of Thoreau's life were episodes of exhilaration in nature that he commonly referred to as his ecstasies. Hodder explores these representations of ecstasy throughout Thoreau's writings-from the riverside reflections of his first book through Walden and the later journals, when he conceived his journal writing as a spiritual discipline in itself and a kind of forum in which to cultivate experiences of contemplative non-attachment. In doing so, Hodder restores to our understanding the deeper spiritual dimension of Thoreau's life to which his writings everywhere bear witness.

Serial Crime Fiction is the first book to focus explicitly on the complexities of crime fiction seriality. Covering definitions and development of the serial form, implications of the setting, and marketing of the series, it studies authors such as Doyle, Sayers, Paretsky, Ellroy, Marklund, Camilleri, Borges, across print, film and television.

This book is the first study of disability in postcolonial fiction. Focusing on canonical novels, it explores the metaphorical functions and material presence of disabled child characters. Barker argues that progressive disability politics emerge from postcolonial concerns, and establishes dialogues between postcolonialism and disability studies.

The detective, as a preeminent figure in all forms of American popular culture, has become the subject of a variety of theoretical exploration. By investigating that figure, these essays demonstrate how the genre embodies all the contradictions of American society and the ways in which literature and the media attempt to handle those contradictions. Issues of class, gender, and race; the interaction of film and literature; and generic evolution are fundamental to any understanding of the American detective in all of his or her forms. Beginning with essays about Raymond Chandler's treatment of women, Part I concentrates on writers of the genre whose detectives embody aspects of American culture in the 20th century. Through examination of the work of Elmore Leonard, Chester Himes, Sue Grafton, and others, these essays look at the influence of film on literature, how ethnicity affects the genre's conventions, and gender issues. Part II looks closely at specific detectives in the media and demonstrates how the film detective has gone from one who upholds the moral order to one who contributes to the continuation of evil. A study of television detectives confirms the necessity of formula and variation to sustain a detective over many seasons.

By 1840, the epistolary novel was dead. Letters in Victorian fiction, however, were unmistakably alive. By examining a variety of works from authors including Wilkie Collins, Charles Dickens and Arthur Conan Doyle, Postal Plots addresses why. It explores how Victorian postal reforms encouraged the lower and middle classes to read and write, allowed them some social and political agency, and led many to literature. The writers born of postal reforms increased stratification between Victorian novelists, already struggling to define themselves as literary professionals. The reform-inspired readers threatened the novelists' development by flouting distinctions between high and low literature. Letters in Victorian novels thus become markers of the novelists' concerns about the hierarchies and mediocrities that threatened Victorian fiction's artistic progress and social contribution. Postal Plots explores Victorian literary professionals' conflict between their support for liberal ideals in the literary marketplace and their fear that they would be unable to bring those changes to pass.

This valuable compilation of articles offers original, historical, biographical and literary perspectives on the works of Stendhal. Eleven essays plunge the reader into Stendhal's mythological universe, providing new insights into the network of symbols, images and obsessional themes that run through his works. This multi-faceted collection examines Stendhal as the problematic subject for a biography, as autobiographer in his own right, as journalist, novelist, and innovator in the realm of fictional devices, and as the great representative of that literature of ideas first acclaimed by Balzac. Topics addressed include the writer's own enigmatic persona, his autobiographical writings, his encounter with George Sand, and his journalistic career in Italy, as well as the structure imposed on his novels by an Oedipal conflict he himself perceives in pre-Freudian terms, his experiments with multiple narrative point of view, and a feminist perspective on his use of the epistolary form as a device to enhance the plot.