Each year brings a glut of new memoirs, ranging from works by former teachers and celebrity has-beens to disillusioned soldiers and bestselling novelists. In addition to becoming bestsellers in their own right, memoirs have become a popular object of inquiry in the academy and a mainstay in most MFA workshops. Courses in what is now called life-writing study memoir alongside personal essays, diaries, and autobiographies. Memoir: An Introduction proffers a concise history of the genre (and its many subgenres) while taking readers through the various techniques, themes, and debates that have come to characterize the ubiquitous literary form. Its fictional origins are traced to eighteenth-century British novels like Robinson Crusoe and Tom Jones; its early American roots are examined in Benjamin Franklin's Autobiography and eighteenth-century captivity narratives; and its ethical conundrums are considered with analyses of the imbroglios brought on by the questionable claims in Rigoberta Menchu's I, Rigoberta, and more notoriously, James Frey's A Million Little Pieces. Alongside these more traditional literary forms, Couser expands the discussion of memoir to include film with what he calls "documemoir" (exemplified in Nathaniel Kahn's My Architect), and graphic narratives like Art Spiegleman's Maus. In sum, Memoir: An Introduction provides a succinct and comprehensive survey to today's most popular form of life-writing.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

William Faulkner remains a historian's writer. A distinguished roster of historians have referenced Faulkner in their published work. They are drawn to him as a fellow historian, a shaper of narrative reflections on the meaning of the past; as a historiographer, a theorist, and dramatist of the fraught enterprise of doing history; and as a historical figure himself, especially following his mid-century emergence as a public intellectual after winning the Nobel Prize for Literature. This volume brings together historians and literary scholars to explore the many facets of Faulkner's relationship to history: the historical contexts of his novels and stories; his explorations of the historiographic imagination; his engagement with historical figures from both the regional and national past; his influence on professional historians; his pursuit of alternate modes of temporal awareness; and the histories of print culture that shaped the production, reception, and criticism of Faulkner's work. Contributors draw on the history of development in the Mississippi Valley, the construction of Confederate memory, the history and curriculum of Harvard University, twentieth-century debates over police brutality and temperance reform, the history of modern childhood, and the literary histories of anti-slavery writing and pulp fiction to illuminate Faulkner's work. Others in the collection explore the meaning of Faulkner's fiction for such professional historians as C. Vann Woodward and Albert Bushnell Hart. In these ways and more, Faulkner and History offers fresh insights into one of the most persistent and long-recognized elements of the Mississippian's artistic vision.

Contributions by Tim Armstrong, Edward A. Chappell, W. Ralph Eubanks, Amy A. Foley, Michael Gorra, Sherita L. Johnson, Andrew B. Leiter, John T. Matthews, Julie Beth Napolin, Erin Penner, Stephanie Rountree, Julia Stern, Jay Watson, and Randall Wilhelm In 1930, the same year he moved into Rowan Oak, a slave-built former plantation home in his hometown of Oxford, Mississippi, William Faulkner published his first work of fiction that gave serious attention to the experience and perspective of an enslaved individual. For the next two decades, Faulkner repeatedly returned to the theme of slavery and to the figures of enslaved people in his fiction, probing the racial, economic, and political contours of his region, nation, and hemisphere in work such as The Sound and the Fury; Light in August; Absalom, Absalom!; and Go Down, Moses. Faulkner and Slavery is the first collection to address the myriad legacies of African chattel slavery in the writings and personal history of one of the twentieth century's most incisive authors on US slavery and the long ordeal of race in the Americas. Contributors to the volume examine the constitutive links among slavery, capitalism, and modernity across Faulkner's oeuvre. They study how the history of slavery at the University of Mississippi informs writings like Absalom, Absalom! and trace how slavery's topologies of the rectilinear grid or square run up against the more reparative geography of the oval in Faulkner's narratives. Contributors explore how the legacies of slavery literally sound and resound across centuries of history, and across multiple novels and stories in Faulkner's fictional county of Yoknapatawpha, and they reveal how the author's remodeling work on his own residence brought him into an uncomfortable engagement with the spatial and architectural legacies of chattel slavery in north Mississippi. Faulkner and Slavery offers a timely intervention not only in the critical study of the writer's work but in ongoing national and global conversations about the afterlives of slavery and the necessary work of antiracism.

The complete Zombie Dawn Trilogy is now available in hardback for the first time. Not only do you get all three novels, you also get nineteen original illustrations that highlight the most significant characters in the saga. As an added bonus the collectible hardback includes the exciting 'Invasion Manhattan' novella that is set three weeks into the story and tells of the epic battle by the US National Guard to retake New York. Zombie Dawn Outbreak follows the outbreak of a deadly Zombie plague and the people that are left fighting to survive. The first book, 'Zombie Dawn Outbreak' describes the first week where everybody from office workers, scientists and soldiers through to videogamers are forced into a situation they never thought would happen. After the bloody outbreak takes its hold it is just days before the capital cities of the world are burning and hordes of the undead roam the streets. Will any of them make it past the first week? 'Zombie Dawn Exodus' continues the story one year on from Zombie Dawn Outbreak. The world is now a very different place and the number of zombies massively outnumbers the surviving population. Whilst some groups are still fighting desperate struggles just to simply survive an hour, there are many others that have formed successful new communities with their own unique approaches to survival in a zombie dominated world. Can they survive alongside the undead horde or will it all come crashing down? 'Zombie Dawn Apocalypse' concludes the story ten years on from Zombie Dawn Outbreak. Very few of the old communities remain and those left are the hardiest and most resolute. The constant struggle and war have bred a generation that refuses to die. This book tells the final bloody fight for survival that will determine the future for mankind.

Over many centuries, the peaceful Serenans have built the Serenan Empire and Alliance of Nations. The Bry-Ek Union has invaded, expecting to easily acquire this large and prosperous part of the galaxy. Now the Bry-Eks, annoyed by the Serenan failure to surrender and unexpectedly effective defense, have unleashed a terrible weapon on the star of the San system. This sineachem will rapidly drain matter and energy from the star into a black hole, causing the destruction of the San system and its fourth planet, Serenus-the capital planet of the Empire. Surely they will surrender. . .

Provides a comprehensive annotated bibliography of work on African American women published between 1975-1999. The book focuses primarily on the scholarly literature and annotates journal articles, book chapters, and books that cover the lives of African American women.

This reference fills a critical void by organizing and synthesizing published work on African American women, thereby making visible the richness of scholarly work on this population. The entries cover both theoretical and empirical work as well as a number of critical essays and anthologies. While the specific topical areas covered are quite diverse, the book is divided into nine major areas, each representing a single chapter. These include: education, feminist thought and womanist perspectives, intimacy, relationships, and motherhood, health, religion, spirituality, and womanist theology, social, historical, and eocnomic conditions, work, careers, and achievement, African American women writers, and bibliographies, indexes, and reference books.

Between 1972 and 2001, Barry Hannah (1942-2010) published eight novels and four collections of short stories. A master of short fiction, Hannah is considered by many to be one of the most important writers of modern American literature. His writing is often praised more for its unflinching use of language, rich metaphors, and tragically damaged characters than for plot. ""I am doomed to be a more lengthy fragmentist,"" he once claimed. ""In my thoughts, I don't ever come on to plot in a straightforward way.""Conversations with Barry Hannah collects interviews published between 1980 and 2010. Within them Hannah engages interviewers in discussions on war and violence, masculinity, religious faith, abandoned and unfinished writing projects, the modern South and his time spent away from it, the South's obsession with defeat, the value of teaching writing, and post-Faulknerian literature. Despite his rejection of the label ""southern writer,"" Hannah's work has often been compared to that of fellow Mississippian William Faulkner, particularly for each author's use of dark humor and the Southern Gothic tradition in their work. Notwithstanding these comparisons, Hannah's voice is distinctly and undeniably his own, a linguistic tour de force.

At the turn of the millennium, the Martinican novelist Edouard Glissant offered the bold prediction that ""Faulkner's oeuvre will be made complete when it is revisited and made vital by African Americans,"" a goal that ""will be achieved by a radically 'other' reading."" In the spirit of Glissant's prediction, this collection places William Faulkner's literary oeuvre in dialogue with a hemispheric canon of black writing from the United States and the Caribbean. The volume's seventeen essays and poetry selections chart lines of engagement, dialogue, and reciprocal resonance between Faulkner and his black precursors, contemporaries, and successors in the Americas. Contributors place Faulkner's work in illuminating conversation with writings by Paul Laurence Dunbar, W. E. B. Du Bois, James Weldon Johnson, Jean Toomer, Nella Larsen, Claude McKay, Ralph Ellison, James Baldwin, Ernest J. Gaines, Marie Vieux-Chauvet, Toni Morrison, Edwidge Danticat, Randall Kenan, Edward P. Jones, and Natasha Trethewey, along with the musical artistry of Mississippi bluesman Charley Patton. In addition, five contemporary African American poets offer their own creative responses to Faulkner's writings, characters, verbal art, and historical example. In these ways, the volume develops a comparative approach to the Faulkner oeuvre that goes beyond the compelling but limiting question of influence - who read whom, whose works draw from whose - to explore the confluences between Faulkner and black writing in the hemisphere.

A series of essays - some previously published - concerning money, government debt, and their relationship, with a heavy emphasis on historical experience. The material is written for a professional audience.

Offering a fresh approach to new explorations of the reconfigurations of sociological thought, this book provides a mix of literature review, original theory and autobiographical material in order to understand formations of sociological knowledge.

William Faulkner's first ventures into print culture began far from the world of highbrow New York publishing houses such as Boni & Liveright or Random House and little magazines such as the Double-Dealer. With that diverse publishing history in mind, this collection explores Faulkner's multifaceted engagements, as writer and reader, with the United States and international print cultures of his era, along with how these cultures have mediated his relationship with various twentieth- and twenty-first-century audiences. These essays address the place of Faulkner and his writings in the creation, design, publishing, marketing, reception, and collecting of books, in the culture of twentieth-century magazines, journals, newspapers, and other periodicals (from pulp to avantgarde), in the history of modern readers and readerships, and in the construction and cultural politics of literary authorship. Several contributors focus on Faulkner's sensational 1931 novel Sanctuary to illustrate the author's multifaceted relationship to the print ecology of his time, tracing the novel's path from the wellsprings of Faulkner's artistic vision to the novel's reception among reviewers, tastemakers, intellectuals, and other readers of the early 1930s. Other essayists discuss Faulkner's early notices, the Saturday Review of Literature, Saturday Evening Post, men's magazines of the 1950s, and Cold War modernism. With contributions by: Greg Barnhisel, John N. Duvall, Kristin Fujie, Sarah E. Gardner, Jaime Harker, Kristi Rowan Humphreys, Robert Jackson, Mary A. Knighton, Jennifer Nolan, Carl Rollyson, Tim A. Ryan, Jay Satterfield, Erin A. Smith, and Yung-Hsing Wu.