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The awarding of the Nobel Prize in Literature to the Canadian
writer Alice Munro in 2013 confirmed her position as a master of
the short story form. This book explores Munro's work from a full
range of critical perspectives, focussing on three of her most
popular and important published collections: Hateship, Friendship,
Courtship, Loveship, Marriage (2001), Runaway (2004), and her final
collection Dear Life (2012). With chapters written by the world's
leading critics of Munro's work, the short story form and
contemporary Canadian writing, this book explores such themes as
love and marriage, sex, fate, gender and humor in her writings as
well as her approaches to narrative form and autobiography. In
these three late collections Munro sharply articulates, again and
again, the mysteries of being itself.
In Reading Alice Munro, 1973-2013, the world's leading Munro
scholar offers a critical overview of Alice Munro and her writing
spanning forty years. Beginning with a newly written overarching
introduction, featuring directive interleaved commentaries
addressing chronology and contexts, ending with encompassing
afterword, this collection provides a selection of essays and
reviews that reflect their times and tell the story of Munro's
emergence and recognition as an internationally acclaimed writer
since the 1970s. Acknowledging her beginnings and her persistence
as a writer of increasingly exceptional short stories, and just
short stories, it treats her career through Thacker's criticism up
to her fourteenth collection, Dear Life (2012), and to the 2013
Nobel Prize in Literature. Altogether, this book encompasses the
whole trajectory of Munro's critical presence while offering a
singularly informed retrospective perspective.
Willa Cather at the Modernist Crux examines Willa Cather's position
in time, in aesthetics, and in the world. Born a Victorian in 1873,
Cather made herself a modernist through the poems, stories, and
novels she wrote and published into the twentieth century.
Beginning with a prologue locating Cather's position, this volume
of Cather Studies offers three sets of related essays. The first
section takes up Cather's beginnings with her late
nineteenth-century cultural influences. The second section explores
a range of discernible direct connections with contemporary artists
(Howard Pyle, Frederic Remington, and Ernest Blumenschein) and
others who figured in the making of her texts. The third section
focuses on The Song of the Lark, a novel that confirms Cather's
shift westward and elaborates her emergent modernism. An epilogue
by the editors of The Selected Letters of Willa Cather addresses
how the recent availability of these letters has transformed Cather
studies. Altogether, these essays detail Cather's shaping of the
world of the early twentieth century and later into a singular
modernism born of both inherited and newer cultural traditions.
"The essays in Cather Studies, Volume 8 explore the many locales
and cultures informing Willa Cather's fiction. A lifelong
Francophile, Cather first visited France in 1902 and returned
repeatedly throughout her life. Her visits to France influenced not
only her writing but also her interpretation of other worlds; for
example, while visiting the American Southwest in 1912, a region
that informed her subsequent works, she first viewed that landscape
through the prism of her memories of Provence. Cather's
intellectual intercourse between the Old and the New World was a
two-way street, moving both people and cultural mores between the
two. But her worlds extended far beyond France, or even
geographical locations. This new volume pairs Cather innovatively
with additional influences---theological, aesthetic, even
gastronomical---and examines her as tourist and traveler cautiously
yet assiduoulsy exploring a diverse range of palces, ethnicities,
and professions."--BOOK JACKET.
What comes to mind when we think of the Old West? Often, our
conceptions are accompanied by as much mythology and mystique as
fact or truth. What are the differences in how the Canadian and
American Wests are perceived? Did they develop differently or are
they just perceived differently? How do our conceptions influence
our perceptions? A companion volume to One West, Two Myths: A
Comparative Reader, One West, Two Myths II: Essays on Comparison
presents scholarly views on the comparison of the Canadian and
American Wests and the various methodologies involved. Contributors
include literature specialists, scholars of popular culture, art
historians, and political, social, and intellectual historians,
demonstrating the interdisciplinary nature of this area of study.
With Contributions By: J.M.S. Careless Sarah Carter Brian W. Dippie
R. Douglas Francis C.L. Higham William H. Katerberg Lee Clark
Mitchell Roger L. Nichols Robert Thacker Fredrick Jackson Turner
Aritha van Herk David L. Williams
Focusing on Alice Munro’s last three collections, this book
examines the differences between these volumes and the rest of her
work to analyse the emergence and the difference of her 'late
style'. Alice Munro has effectively reshaped the short story as a
form. This book focuses on Munro’s art of recursion - an approach
that has been evident throughout her career but came to the fore in
her last three books, The View from Castle Rock (2006), Too Much
Happiness (2009) and, especially, Dear Life (2012). This recursion
and return manifest themselves not only in Munro's return to
previously published pieces, but also to her discovery and
meditations on her Scottish heritage, which can be read as entrance
to her own understanding of herself and her life. Its provenance,
displayed through archival evidence, is complex yet reveals a
writer intent on a precise late style. Munro's final works serve as
a coda to both her late style and to her entire career as arguably
one of the finest short story writers ever to put pen to paper.
What comes to mind when we think of the Old West? Often, our
conceptions are accompanied by as much mythology and mystique as
fact or truth. What are the differences in how the Canadian and
American Wests are perceived? Did they develop differently or are
they just perceived differently? How do our conceptions influence
our perceptions? This reader explores the problems, importance, and
results of comparing the Canadian and American Wests, critically
examining how we conceptualize the history and development of the
West and how that influences our perceptions. One West, Two Myths
II: Essays on Comparison is an excellent introduction to this
burgeoning area of study as it endeavours to engage the
imaginations of those who are new to the subject. With
Contributions By: Gerald Friesen C.L. Higham Michel Hogue Beth
LaDow Sheila McManus Peter S. Morris Molly P. Rozum Elliott West
Donald Worster
Cather Studies 4 contains eighteen essays and elaborates a theme,
Willa Cather s Canadian and Old World Connections. Such connections
are central to Cather s art and artistry. She transported much from
the Old World to the New, shaping her antecedents to tell, in new
ways, the stories of Nebraska, of the American Southwest, and
especially of Quebec, in Shadows on the Rock. David Stouck details
Cather s numerous Canadian connections, Richard Millington treats
her anthropological re-creation of the cultural moment of
seventeenth-century Quebec, and Francois Palleau-Papin finds The
Hidden French in Cather s English. A volume of lively and informed
criticism, Cather Studies 4 vividly demonstrates Cather s artistry
and her work s deep connections to the present cultural and
critical moment. Robert Thacker is the director of the Canadian
studies program at St. Lawrence University and the author of
English-Canadian Literature. Michael A. Peterman is chair of the
English Department at Trent University. His works include I Bless
You in My Heart.
S. S. McClure was one of America's greatest editors and publishers
in the lively era of muckraking reform. He is remembered for
"McClure's Magazine," which early in the twentieth century
published the works of famous authors and social reformers. He was
also the mentor of young Willa Cather. After leaving her position
at "McClure's" in 1912, Cather ghosted this graceful portrait of
her former boss. Cather's developing style is clear throughout "The
Autobiography of S. S. McClure." She goes far inside her subject to
find his voice and catch the rhythms of his exciting life: his
immigration from Ireland to America, his Horatio Alger-like rise
from poverty and struggle to success. Cather shows the risks he
took in forming the first newspaper syndicate in the United States,
which gave him access to such literary masters as Conan Doyle,
Rudyard Kipling, and Robert Louis Stevenson. His extensive contacts
were advantageous later in establishing McClure's, the medium for
muckrakers like Ida Tarbell and Lincoln Steffens. These famous
figures, and many others, enter into "The Autobiography of S. S.
McClure," which was originally published in 1914, just as Cather
was launching her own illustrious career as a novelist
Before Willa Cather turned primarily to the fiction that made her
reputation, she produced striking poems that were collected in
April Twilights. It was her literary debut, preceding the
publication of O Pioneers! by nine years. In her introduction
distinguished Cather scholar Bernice Slote notes that this edition
of April Twilights restores what had been "an almost lost,
certainly blurred, portion of the creative life of a great
novelist." Among the thirty-seven selections are the
much-anthologized "Grandmither, Think Not I Forget" and the highly
evocative "Prairie Dawn." This printing includes a new introduction
by Robert Thacker that provides new insights into Cather and her
poetry.
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