European Writers in Exile collects a series of original essays that address the writers' universal existential dilemma, when viewed through the lens of exile: who am I, where am I from, and what do I write, and to whom? While we often understand the term "exile" to refer to writers who have either been forced to leave their home country or region or chosen self-exile, this term need not be defined so narrowly, and the contributors to this volume explore a range of interesting and evolving definitions. Various countries in Europe have long been both a refuge for people and writers from many countries and a strife-torn region which has forced many to flee within the continent or beyond it. The phrase "in exile" involves writers moving across borders in multiple directions and for multiple reasons, including for reasons of duress or personal quest, and these themes are addressed and critiqued in these essays. This volume naturally examines the cataclysmic and near-universal exilic experiences relating to the world wars, including essays on Thomas Mann, Vladimir Nabokov, Hannah Arendt and Leo Strauss. Additionally, essays address the unique early twentieth-century experiences of Emile Zola, Franz Kafka, Joseph Conrad, and James Joyce. More contemporary essay subjects include Milan Kundera, Norman Manea, Eva Hoffman, Caryl Phillips, and W. G. Sebald. This collection of transnational, globalized European literature studies envisions understanding the intersection of our contemporary world and various writers in exile in new cultural, historical, spatial, and epistemological frameworks. How does literary production in an increasingly globalized world-when seen from exile-affect a view back towards a country or region left behind? Or, conversely, how does exile push a writer to look outward to new (trans-)nationalized space(s)? These and other questions are important to investigate. Taken in sum, European Writers in Exile offers an academically rigorous, important, and cohesive volume.

This study looks at French literature from Stevenson's perspective and at Stevenson from a French perspective. Shedding light on how Stevenson's use of French contributes to his distinct style, and how and why the earliest French critics translated, disseminated and interpreted his books, it does so in the context of the debates surrounding the development of the novel at the fin de siecle. Readers learn how the artistic debates taking place in France contributed to the evolution of Stevenson's art, but also how Stevenson became a model of literary innovation for French authors and critics who were seeking to renew the French novel.