Mark Twain was an author both drawn to and suspicious of authority, and his novels reflect this tension. Marked by disruptions, repetitions, and contradictions, they exemplify the ideological stand-off between the American ideal of individual freedom and the reality of social control. This book provides a fresh look at Twain's major novels, including Life on the Mississippi, Huckleberry Finn, and A Connecticut Yankee in King Arthur's Court. The difficulties in these works are shown to be neither flaws nor failures, but rather intrinsic to both the structure of the American novel and the texture of American culture.

As part of the contemporary reassessment of trauma that goes beyond Freudian psychoanalysis, Laurie Vickroy theorizes trauma in the context of psychological, literary, and cultural criticism. Focusing on novels by Margaret Atwood, William Faulkner, Toni Morrison, Jeanette Winterson, and Chuck Palahniuk, she shows how these writers try to enlarge our understanding of the relationship between individual traumas and the social forces of injustice, oppression, and objectification. Further, she argues, their work provides striking examples of how the devastating effects of trauma?whether sexual, socioeconomic, or racial?on individual personality can be depicted in narrative.Vickroy analyzes the ways in which her selected texts engage readers both cognitively and ethically to reveal their own roles in systems of power and how they internalize the ideologies of those systems.

In the late 1940s and early 1950s a new kind of detective story appeared on the scene. This was a story in which the mystery is solved by regular police detectives, usually working in teams and using ordinary police routines. This kind of narrative is customarily called the "police procedural" story. And it is the subject of this book. Though there has been numberless writers of these stories, there has never been a book of criticism before.

Rethinking the Romance Genre examines why the romance has proven such an irresistible form for contemporary writers and filmmakers approaching global issues. Through a series of close readings informed by historical context and transnational reception, Emily S. Davis demonstrates that the generic instability of the romance makes it an especially malleable tool for representing fluid political, sexual, and racial identities and coalitions in an era of flexible global capitalism. In contemporary texts ranging from literary works to films to social media, romance facilitates a range of intimacies that offer new feminist models for understanding affinity and solidarity in the age of globalization.

Wilkie Collins is the only leading Victorian novelist whose letters have not been published. This two-volume edition, edited by William Baker and William Clarke, fills a gaping hole in any assessment of one of the nineteenth century's most loved novelists. It is also extremely timely. Two recent biographies have re-assessed his private life and his literary achievements. His best-known novels, The Women in White and The Moonstone , continue to feature on television, and most of his thirty-odd novels are still in print. This authorised edition reproduces his selection of around 700 key letters of the 2,000 known to be in existence, some recently discovered. Summaries and sources of the remaining letters are provided in an appendix.

Although sometimes religion and sexuality are treated as an aberrant theme in American literary and religious history, American writers from Nathaniel Hawthorne to John Updike have been fascinated with the connection between religious and sexual experience. Through the voice of American fiction, Religion and Sexuality in American Literature examines the relations of body and spirit (religion and sexuality). Using both canonical and non-canonical fiction, Ann-Janine Morey examines novels dealing with the ministry as the medium wherein so many of the tensions of religion and sexuality are dramatised and then moves to contemporary novels that deal with moral and religious issues through metaphor. Based upon a sophisticated and selective application of metaphor theory, deconstruction and feminist postmodernism, Morey argues that while American fiction has replicated many traditional animosities, there are also some rather surprising resources here for commonality between men and women if we acknowledge and understand the intimate relationship between language and physical life.

This book examines a pivotal moment in the history of science and women's place in it. Meredith Ray offers the first in-depth study and complete English translation of the fascinating correspondence between Margherita Sarrocchi (1560-1617), a natural philosopher and author of the epic poem, Scanderbeide (1623), and famed astronomer, Galileo Galilei. Their correspondence, undertaken soon after the publication of Galileo's Sidereus Nuncius, reveals how Sarrocchi approached Galileo for his help revising her epic poem, offering, in return, her endorsement of his recent telescopic discoveries. Situated against the vibrant and often contentious backdrop of early modern intellectual and academic culture, their letters illustrate, in miniature, that the Scientific Revolution was, in fact, the product of a long evolution with roots in the deep connections between literary and scientific exchanges.

Presenting the first English-language collection of essays on Jorge Semprun, this volume explores the life and work of the Spanish Holocaust survivor, author, and political activist. Essays explore his cultural production in all its manifestations, including the role of testimony and fiction in representations of the Holocaust.

This book examines the connections evident between the simultaneous emergence of British modernism and middlebrow literary culture from 1880 to the 1930s. The essays illustrate the mutual influences of modernist and middlebrow authors, critics, publishers and magazines.

Perfect for fans of T. M. Logan's The Curfew or Alex Stone's The Other Girlfriend. From the bestselling author of The Perfect Holiday comes a twisty psychological thriller, set on the sun drenched shores of France.Three women's lives are about to change forever. The Daughter. My father is innocent. He's spent almost four years behind bars, but now he's getting out. I gave up everything to be there for him, just like he was always there for me. It's all going to be worth it now. The Girlfriend. As soon as I opened the paper that day and saw that picture of Sandy, I didn't care about the story surrounding it. There's no way he hurt that girl. Now he's out, we'll get married and I'll finally get to meet his daughter. There'll be no more hiding our love. The Other Woman. No one knows what happened all those years ago, and the life I built depends on no one finding out. Now he's getting out, my secrets may soon see the light. I can't let that happen. One Loves Him. One Needs Him. One Wants Him DEAD. What readers are saying about T. J. Emerson: 'Wow! Beautifully written with a great sense of place that contrasts so well with what is going on behind doors' Valerie Keogh 'Tense, daring and totally addictive' Emma Christie 'An immersive, multi-layered story that provokes and excites' T.L. Huchu 'An unputdownable journey into the human condition asking the reader at every turn - how good are we really? How good are you?' Louise Dean 'The last time I had this sort of reaction to a character was when I read The Talented Mr Ripley' Mark Wightman 'A gripping, atmospheric and addictive read' Lesley Glaister 'Original, surprising and absolutely brimming with menace' Amanda Block

What does it mean to live as a ghost? Exploring spectrality as a potent metaphor in the contemporary British and American cultural imagination, Peeren proposes that certain subjects - migrants, servants, mediums and missing persons - are perceived as living ghosts and examines how this impacts on their ability to develop agency. From detailed readings of films (Stephen Frears's Dirty Pretty Things, Nick Broomfield's Ghosts and Robert Altman's Gosford Park), a television series (Upstairs, Downstairs) and novels (Hilary Mantel's Beyond Black, Sarah Waters's Affinity, Ian McEwan's The Child in Time and Bret Easton Ellis's Lunar Park) emerges an inventive account of how the spectral metaphor, in its association with various modes of invisibility, can signify both dispossession and empowerment. In reworking the spectral insights of, among others, Jacques Derrida, Antonio Negri and Achille Mbembe, Peeren suggests new responses to the practices of marginalization and exploitation that characterize our globalized world.

Imaginary beasts have figured prominently in literary works ever since the ancient world, when these myths were first formulated. But the nineteenth century witnessed the rise of science, the discovery of geological findings that challenged the biblical myth of creation, and the birth of Darwin's theory of evolution. Since then, monsters have evolved from supernatural creatures to natural ones endowed with exceptional size, strength, or intelligence. This book explores both literary and cinematic texts that are especially explicit in their Darwinian portrayal of monstrous beasts, though these creatures retain an archaic mythological quality. The myth of Leviathan and Behemoth, for instance, is as central to Jaws as it is to Moby-Dick; indeed, Jaws inherits the myth directly from Moby-Dick, as does King Kong. These and other monster tales, such as The Creature from the Black Lagoon and Grendel, keep the ancient myth alive and relevant by recasting it in the context of biological and cultural evolution. There is a pattern of alternating bestialization and anthropomorphism in many monster tales, suggesting that these images are being displayed in repeated attempts to define who we are in relation to animals. Thus the more beastly the monster, the more insistently we erect the old paradigm of the Ladder of Being, placing ourselves on a higher and separate rung; but the more human-like the creature, the more readily we shift to the paradigm of the Tree of Life, in which all creatures are more closely related. Since the matter of distinctions between species also involves questions of race, the monster myth is often conscripted to serve racist agendas. But more often than not, the myth has ananti-racist subtext that undercuts the hierarchy. The closing chapters of the volume consider the notion of artificial evolution in works such as The Island of Dr. Moreau, and human-machine interaction in Gravity's Rainbow. As fables of identity, monster tales dramatize our anxieties and fears about our own animal nature and provide a means of coming to terms with our evolution.

A detailed chronology of the life of H.G. Wells, tracing his career from his earliest writings to his world fame as a novelist, prophet and popular educator. This Chronology brings vividly to life his extraordinary energy and industry, and the wide range of his friendships and interests. Written by one of the leading authorities on Wells, this Chronology offers a definitive outline of the life and times of a major twentieth-century writer.

Harnessing new enthusiasm for Nan Shepherd's writing, The Living World asks how literature might help us reimagine humanity's place on earth in the midst of our ecological crisis. The first book to examine Shepherd's writing through an ecocritical lens, it reveals forgotten details about the scientific, political and philosophical climate of early twentieth century Scotland, and offers new insights into Shepherd's distinctive environmental thought. More than this, this book reveals how Shepherd's ways of relating to complex, interconnected ecologies predate many of the core themes and concerns of the multi-disciplinary environmental humanities, and may inform their future development. Broken down into chapters focusing on themes of place, ecology, environmentalism, Deep Time, vital matter and selfhood, The Living World offers the first integrated study of Shepherd's writing and legacy, making the work of this philosopher, feminist, amateur ecologist, geologist, and innovative modernist, accessible and relevant to a new community of readers.

The volume approaches Greeleys novels by comparing him to the 19th-century French writer Honore de Balzac. A prolific and popular author, Balzac recorded his milieu in tremendous detail, created a fictional universe peopled by hundreds of characters, and explored the role of Catholicism in his world. Because of his training as a sociologist, Greeley brings to his novels a thorough knowledge of popular culture and social theory. And because of his experience as a Roman Catholic priest, he has gained special knowledge of vice, virtue, and the workings of the Church. Like Balzac-now a major canonical author-Greeley has created a world of numerous fictional persons, mapped the details of his culture, and explored the place of Catholicism in contemporary life.

Race and Identity in D. H. Lawrence is a wide-ranging examination of Lawrence's adoption and adaptation of stereotypes about minorities, with a focus on three particular 'racial' groups. This book explores societal attitudes in England, Europe, and the United States and Lawrence's utilization of cultural norms to explore his own identity.

George Eliot is one of the most important women novelists of the 19th century. Throughout her writings, she explores the interconnectedness of the self and society. This theme of interconnectedness creates the social, psychological, and religious worlds of her fictional communities. Eliot distinguished herself from other Victorian novelists through her realism, her use of an engaging narrator, and her indebtedness to thinkers such as Comte, Mill, and Darwin.

The essays assembled in this book represent the best criticism of Eliot's novels from the 19th century to the present day. The essays are grouped in sections devoted to particular novels, and within each section the essays are arranged chronologically to chart the evolving critical response to her work. An introductory chapter briefly overviews the philosophical influences on Eliot's novels, and a bibliography of selected additional readings concludes the book. The volume summarizes the critical response to Eliot's work and documents changing views toward her novels.

In this innovative new study, Laura Halperin examines literary representations of harm inflicted on Latinas' minds and bodies, and on the places Latinas inhabit, but she also explores how hope can be found amid so much harm. Analyzing contemporary memoirs and novels by Irene Vilar, Loida Maritza Perez, Ana Castillo, Cristina Garcia, and Julia Alvarez, she argues that the individual harm experienced by Latinas needs to be understood in relation to the collective histories of aggression against their communities.

"The Modernist God State" seeks to overturn the traditional secularization approach to intellectual and political history and to replace it with a fuller understanding of the religious basis of modernist political movements. Lackey demonstrates that Christianity, instead of fading after the Enlightenment, actually increased its power by becoming embedded within the concept of what was considered the legitimate nation state, thus determining the political agendas of prominent political leaders from King Leopold II to Hitler.
Lackey first argues that novelists can represent intellectual and political history in a way that no other intellectual can. Specifically, they can picture a subconscious ideology, which often conflicts with consciously held systems of belief, short-circuiting straight into political action, an idea articulated by E.M. Forster. Second, in contrast to many literary scholars who discuss Hitler and the Nazis without studying and quoting their texts, Lackey draws his conclusions from close readings of their writings. In doing so, he shows that one cannot understand the Nazis without taking into account the specific version of Christianity underwriting their political agenda.

Writing in response to war and national crisis, al-Samm?n, Khal?feh, Barak?t, and others introduced into the Arabic literary canon aesthetic forms capable of carrying Levantine women's experiences. By assessing their feminism in such a way, this book aims to revive a critical emphasis on aesthetics in Arab women's writing.

A detailed examination of Proverbs 1-9, an early Jewish poetic work. Stuart Weeks incorporates studies of literature from ancient Egypt and from the Dead Sea scrolls, but his focus is on the background and use of certain key images in the text. Proverbs 1-9 belongs to an important class of biblical literature (wisdom literature), and is less well known as a whole than the related books of Job and Ecclesiastes, partly because it has been viewed until recently as a dull and muddled school-book. However, parts of it have been profoundly influential on the development of both Judaism and Christianity, and occupy a key role in modern feminist theology. Weeks demonstrates that those parts belong to a much broader and more intricate set of ideas than older scholarship allowed.

In 1859, the historian Lord John Acton asserted: 'two great principles divide the world, and contend for the mastery, antiquity and the middle ages'. The influence on Victorian culture of the 'Middle Ages' (broadly understood then as the centuries between the Roman Empire and the Renaissance) was both pervasive and multi-faceted. This 'medievalism' led, for instance, to the rituals and ornament of the Medieval Catholic church being reintroduced to Anglicanism. It led to the Saxon Witan being celebrated as a prototypical representative parliament. It resulted in Viking raiders being acclaimed as the forefathers of the British navy. And it encouraged innumerable nineteenth-century men to cultivate the superlative beards we now think of as typically 'Victorian'-in an attempt to emulate their Anglo-Saxon forefathers. Different facets of medieval life, and different periods before the Renaissance, were utilized in nineteenth-century Britain for divergent political and cultural agendas. Medievalism also became a dominant mode in Victorian art and architecture, with 75 per cent of churches in England built on a Gothic rather than a classical model. And it was pervasive in a wide variety of literary forms, from translated sagas to pseudo-medieval devotional verse to triple-decker novels. Medievalism even transformed nineteenth-century domesticity: while only a minority added moats and portcullises to their homes, the medieval-style textiles produced by Morris and Co. decorated many affluent drawing rooms. The Oxford Handbook of Victorian Medievalism is the first work to examine in full the fascinating phenomenon of 'medievalism' in Victorian Britain. Covering art, architecture, religion, literature, politics, music, and social reform, the Handbook also surveys earlier forms of antiquarianism that established the groundwork for Victorian movements. In addition, this collection addresses the international context, by mapping the spread of medievalism across Europe, South America, and India, amongst other places.

One of the few available books of criticism on the topic, "Bret Easton Ellis: Underwriting the Contemporary" provides an extended analysis of Ellis's works to argue that his fiction, through the technique of underwriting, offers a new politics of literature. Dealing with his entire body of work to date, from "Less Than Zero" to "Imperial Bedrooms, " the study provides original readings of the writer's equivocal engagement with American culture. Reading Ellis's novels in relation to contemporary political, philosophical and aesthetic concerns, Colby recasts him as a social critic and a subversive literary figure who enables us to think differently about the cultural climates of the 1980s, 1990s, and the first decade of the twenty-first century.

While neither Kate Chopin nor Edith Wharton can be called feminist writers, each did produce "female moral art," writings that focus relentlessly on the dialectics of social relations and the position of women therein. Mary Papke analyzes their disintegrative visions through detailed readings of virtually all of their novels and several of their shorter works. Unlike comparable writers of their time, theirs was a nonpolemical but nonetheless political art in which disruption of the rules of masculine/feminine discourse and the hegemonic world view are deeply but obviously embedded within character, plot, and theme. Papke begins with a brief examination of the ideology of true womanhood, which, she argues, permeates Chopin's and Wharton's fiction and world views. The remainder of her work offers an ideological reading of their social fiction in which their characters search for states of liminality, where they might achieve, however momentarily, autonomy. Repeatedly, Papke argues, these states of liminality are literally encoded into images of characters positioned on the edge of an abyss that then becomes a repository of multiple meanings. The author presents Chopin's and Wharton's female discourse as radical art because it dares to defy that which is both alienating and destructive. Papke's provocative analysis will be of interest not only to Wharton and Chopin scholars, but also to those working in the fields of feminist and women's studies. It will also interest scholars and students of American studies, particularly those working on late nineteenth and early twentieth century literature.