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Twenty-first-century culture is obsessed with books. In a time when many voices have joined to predict the death of print, books continue to resurface in new and unexpected ways. From the proliferation of "shelfies" to Jane Austen—themed leggings and from decorative pillows printed with beloved book covers to bookwork sculptures exhibited in prestigious collections, books are everywhere and are not just for reading. Writers have caught up with this...
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Everywhere today, we are urged to "connect." Literary critics celebrate a new "honesty" in contemporary fiction or call for a return to "realism." Yet such rhetoric is strikingly reminiscent of earlier theorizations. Two of the most famous injunctions of twentieth-century writing-E. M. Forster's "Only connect... " and Fredric Jameson's "Always historicize!"-helped establish connection as the purpose of the novel and its reconstruction as the task...
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A new strain of realism has emerged in France. The novels that embody it represent diverse fears-immigration and demographic change, radical Islam, feminism, new technologies, globalization, American capitalism, and the European Union-but these books, often best-sellers, share crucial affinities. In their dystopian visions, the collapse of France, Europe, and Western civilization is portrayed as all but certain and the literary mode of realism begins...
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Writing about poetry follows models provided either by academic scholarship or literary journalism, each with its pitfalls. The former distances the reader from the poem and effaces the critic's personality. In literary journalism, the critic is front and center, but the discussion is introductory and prioritizes value judgments. In either case, entrenched practices and patterns of privilege limit one's perspective. The situation worsens when it comes...
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The works of African American authors and artists are too often interpreted through the lens of authenticity. They are scrutinized for "positive" or "negative" representations of Black people and Black culture or are assumed to communicate some truth about Black identity or the "Black experience." However, many contemporary Black artists are creating works that cannot be slotted into such categories. Their art resists interpretation in terms of conventional...
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Why were U.S. intelligence organizations so preoccupied with demystifying East and Southeast Asia during the mid-twentieth century? Sunny Xiang offers a new way of understanding the American cold war in Asia by tracing aesthetic manifestations of "Oriental inscrutability" across a wide range of texts. She examines how cold war regimes of suspicious thinking produced an ambiguity between "Oriental" enemies and Asian allies, contributing to the conflict's...
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How do artists and writers engage with environmental knowledge in the face of overwhelming information about catastrophe? What kinds of knowledge do the arts produce when addressing climate change, extinction, and other environmental emergencies? What happens to scientific data when it becomes art? In Infowhelm, Heather Houser explores the ways contemporary art manages environmental knowledge in an age of climate crisis and information overload.
Houser...
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Literature is often assumed to be monolingual: publishing rights are sold on the basis of linguistic territories and translated books are assumed to move from one "original" language to another. Yet a wide range of contemporary literary works mix and meld two or more languages, incorporating translation into their composition. How are these multilingual works translated, and what are the cultural and political implications of doing so?
In Literature...
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W.G. Sebald's writing has been widely recognized for its intense, nuanced engagement with the Holocaust, the Allied bombing of Germany in WWII, and other episodes of violence throughout history. Through his inventive use of narrative form and juxtaposition of image and text, Sebald's work has offered readers new ways to think about remembering and representing trauma. In Sebald's Vision, Carol Jacobs examines the author's prose, novels, and poems,...
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For decades, crime novelists have set their stories in New York City, a place long famed for decay, danger, and intrigue. What happens when the mean streets of the city are no longer quite so mean? In the wake of an unprecedented drop in crime in the 1990s and the real-estate development boom in the early 2000s, a new suspect is on the scene: gentrification.
Thomas Heise identifies and investigates the emerging "gentrification plot" in contemporary...
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"With novels by Toni Morrison, Colson Whitehead, Philip Roth, Julia Alvarez, and Viet Thanh Nguyen, historical fiction has become a, if not the dominant genre in literary fiction. In the 1980s and 1990s, the American literary field fundamentally reorganized itself around historical fiction and the cultural, pedagogical, and political value of history. This decisive turn toward the past has both motivated, and been motivated by, the increasing recognition...
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By most accounts, immigrant literature deals primarily with how immigrants struggle to adapt to their adopted countries. Its readers have come to expect stories of identity formation, of how immigrants create ethnic communities and maintain ties to countries of origin. Yet such narratives can center exceptional stories of individual success or obscure the political forces that uproot millions of people the world over.
Glenda R. Carpio argues that...
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"In the late 1950s, Random House editor Jason Epstein would talk jazz with authors like Ralph Ellison while pouring drinks in his office. By the late 1960s, he was poring over profit-and-loss statements. What happened? Beginning in 1965 after RCA bought Random House and then with subsequent purchases of publishing companies by multinational conglomerates, the business of publishing started to change. With more of an emphasis on rationalization, many...
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