The Novel as Network: Forms, Ideas, Commodities engages with the contemporary Anglophone novel and its derivatives and by-products such as graphic novels, comics, podcasts, and Quality TV. This collection investigates the meaning of the novel in the larger system of contemporary media production and (post-)print culture, viewing the novel through the lens of actor network theory as a node in the novel network. Chapters underscore the deep interconnection between all the aspects of the novel, between the novel as a (literary) form, as an idea, and as a commodity. Bringing together experts from American, British, and Postcolonial Studies, as well as Book, Publishing, and Media Studies, this collection offers a new vantage point to view the novel in its multifaceted expressions today.

The Poetics of Genre in the Contemporary Novel investigates the role of genre in the contemporary novel: taking its departure from the observation that numerous contemporary novelists make use of popular genre influences in what are still widely considered to be literary novels, it sketches the uses, the work, and the value of genre. It suggests the value of a critical look at texts' genre use for an analysis of the contemporary moment. From this, it develops a broader perspective, suggesting the value of genre criticism and taking into view traditional genres such as the bildungsroman and the metafictional novel as well as the kinds of amalgamated forms which have recently come to prominence. In essays discussing a wide range of authors from Steven Hall to Bret Easton Ellis to Colson Whitehead, the contributors to the volume develop their own readings of genre's work and valence in the contemporary novel.

The Poetics of Genre in the Contemporary Novel investigates the role of genre in the contemporary novel: taking its departure from the observation that numerous contemporary novelists make use of popular genre influences in what are still widely considered to be literary novels, it sketches the uses, the work, and the value of genre. It suggests the value of a critical look at texts' genre use for an analysis of the contemporary moment. From this, it develops a broader perspective, suggesting the value of genre criticism and taking into view traditional genres such as the bildungsroman and the metafictional novel as well as the kinds of amalgamated forms which have recently come to prominence. In essays discussing a wide range of authors from Steven Hall to Bret Easton Ellis to Colson Whitehead, the contributors to the volume develop their own readings of genre's work and valence in the contemporary novel.

Encompassing a broad definition of the topic, this Companion provides a survey of the literary magazine from its earliest days to the contemporary moment. It offers a comprehensive theorization of the literary magazine in the wake of developments in periodical studies in the last decade, bringing together a wide variety of approaches and concerns. With its distinctive chronological and geographical scope, this volume sheds new light on the possibilities and difficulties of the concept of the literary magazine, balancing a comprehensive overview of key themes and examples with greater attention to new approaches to magazine research. Divided into three main sections, this book offers: * Theory-it investigates definitions and limits of what a literary magazine is and what it does. * History and regionalism-a very broad historical and geographic sweep draws new connections and offers expanded definitions. * Case studies-these range from key modernist little magazines and the popular middlebrow to pulp fiction, comics, and digital ventures, widening the ambit of the literary magazine. The Routledge Companion to the British and North American Literary Magazine offers new and unforeseen cross-connections across the long history of literary periodicals, highlighting the ways in which it allows us to trace such ideas as the "literary" as well as notions of what magazines do in a culture.

The Novel as Network: Forms, Ideas, Commodities engages with the contemporary Anglophone novel and its derivatives and by-products such as graphic novels, comics, podcasts, and Quality TV. This collection investigates the meaning of the novel in the larger system of contemporary media production and (post-)print culture, viewing the novel through the lens of actor network theory as a node in the novel network. Chapters underscore the deep interconnection between all the aspects of the novel, between the novel as a (literary) form, as an idea, and as a commodity. Bringing together experts from American, British, and Postcolonial Studies, as well as Book, Publishing, and Media Studies, this collection offers a new vantage point to view the novel in its multifaceted expressions today.

Medial Afterlives of H.P. Lovecraft brings together essays on the theory and practice of adapting H.P. Lovecraft's fiction and the Lovecraftian. It draws on recent adaptation theory as well as broader discourses around media affordances to give an overview over the presence of Lovecraft in contemporary media as well as the importance of contemporary media in shaping what we take Lovecraft's legacy to be. Discussing a wide array of medial forms, from film and TV to comics, podcasts, and video and board games, and bringing together an international group of scholars, the volume analyzes individual instances of adaptation as well as the larger concern of what it is possible to learn about adaptation from the example of H.P. Lovecraft, and how we construct Lovecraft and the Lovecraftian today in adaptation. Medial Afterlives of H.P. Lovecraft is focused on an academic audience, but it will nonetheless hold interest for all readers interested in Lovecraft today.

The zombie has cropped up in many forms-in film, in television, and as a cultural phenomenon in zombie walks and zombie awareness months-but few books have looked at what the zombie means in fiction. Tim Lanzendoerfer fills this gap by looking at a number of zombie novels, short stories, and comics, and probing what the zombie represents in contemporary literature. Lanzendoerfer brings together the most recent critical discussion of zombies and applies it to a selection of key texts including Max Brooks's World War Z, Colson Whitehead's Zone One, Junot Diaz's short story ""Monstro, "" Robert Kirkman's comic series The Walking Dead, and Seth Grahame-Smith's Pride and Prejudice and Zombies. Within the context of broader literary culture, Lanzendoerfer makes the case for reading these texts with care and openness in their own right. Lanzendoerfer contends that what zombies do is less important than what becomes possible when they are around. Indeed, they seem less interesting as metaphors for the various ways the world could end than they do as vehicles for how the world might exist in a different and often better form.

The zombie has cropped up in many forms-in film, in television, and as a cultural phenomenon in zombie walks and zombie awareness months-but few books have looked at what the zombie means in fiction. Tim Lanzendoerfer fills this gap by looking at a number of zombie novels, short stories, and comics, and probing what the zombie represents in contemporary literature. Lanzendoerfer brings together the most recent critical discussion of zombies and applies it to a selection of key texts including Max Brooks's World War Z, Colson Whitehead's Zone One, Junot Diaz's short story ""Monstro, "" Robert Kirkman's comic series The Walking Dead, and Seth Grahame-Smith's Pride and Prejudice and Zombies. Within the context of broader literary culture, Lanzendoerfer makes the case for reading these texts with care and openness in their own right. Lanzendoerfer contends that what zombies do is less important than what becomes possible when they are around. Indeed, they seem less interesting as metaphors for the various ways the world could end than they do as vehicles for how the world might exist in a different and often better form.