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Best known for a trilogy of historical novels set in the fictional
town of Gilead, Iowa, Marilynne Robinson is a prolific writer,
teacher, and public speaker, who has won the Pulitzer Prize and was
awarded the National Humanities Medal by Barack Obama. This
collection intervenes in Robinson's growing critical reputation,
pointing to new and exciting links between the author, the
historical settings of her novels, and the contemporary themes of
her fictional, educational, and theoretical work. Introduced by a
critical discussion from Professors Bridget Bennett, Sarah
Churchwell, and Richard King, Marilynne Robinson features analysis
from a range of international academics, and explores debates in
race, gender, environment, critical theory, and more, to suggest
new and innovative readings of her work. -- .
This book explores the concept of 'quiet' - an aesthetic of
narrative driven by reflective principles - and argues for the
term's application to the study of contemporary American fiction.
In doing so, it makes two critical interventions. Firstly, it maps
the neglected history of quiet fictions, arguing that from Hester
Prynne to Clarissa Dalloway, from Bartleby to William Stoner, the
Western tradition is filled with quiet characters. Secondly, it
asks what it means for a novel to be quiet and how we might read
for quiet in an American literary tradition that critics so often
describe as noisy. Examining recent works by Marilynne Robinson,
Teju Cole and Ben Lerner, among others, the book argues that quiet
can be a multi-faceted state of existence, one that is
communicative and expressive in as many ways as noise but filled
with potential for radical discourse by its marginalisation as a
mode of expression. -- .
This book explores the concept of 'quiet' - an aesthetic of
narrative driven by reflective principles - and argues for the
term's application to the study of contemporary American fiction.
In doing so, it makes two critical interventions. Firstly, it maps
the neglected history of quiet fictions, arguing that from Hester
Prynne to Clarissa Dalloway, from Bartleby to William Stoner, the
Western tradition is filled with quiet characters. Secondly, it
asks what it means for a novel to be quiet and how we might read
for quiet in an American literary tradition that critics so often
describe as noisy. Examining recent works by Marilynne Robinson,
Teju Cole and Ben Lerner, among others, the book argues that quiet
can be a multi-faceted state of existence, one that is
communicative and expressive in as many ways as noise but filled
with potential for radical discourse by its marginalisation as a
mode of expression. -- .
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