This book traces the development of literary poetics after postmodernism and outlines the most important features of what is defined here as «post-postmodernism». This new literary form simultaneously recovers the characteristics of the traditional novel and abandons the ironic approach of postmodernism, while also retaining some postmodern narrative devices such as autofiction and metafiction. To render the global dimension of this phenomenon, this book focuses on the theme of the Second World War, an increasingly pivotal subject for historical novels in the twenty-first century worldwide. The study analyses the work of a variety of authors from several national literatures, focusing mainly on Roberto Bolaño, William T. Vollmann and Jonathan Littell, and drawing comparison with other authors, such as Rachel Seiffert, Sarah Waters, Laurent Binet, Ian McEwan and Giorgio Falco.
Browse by title
Pregnancy and Childbirth in Women's Literature
Francisco José Cortés Vieco
Literature has been a bastion of male creativity, not of female procreativity, which has traditionally inhibited the voices of women and disempowered their self-expression. This book explores the underestimated legacy of women’s fiction and (semi-)autobiographical works about pregnancy and childbirth in Great Britain and North America during the nineteenth and twentieth centuries, highlighting the symbiosis between the processes of childbearing and writing, problematizing female subjugation to the patriarchal institution of motherhood, and compensating for the silence around the experience of becoming a mother in literature.
Drawing on the anthropological concept of liminality, controversies about maternity within women’s liberation movements, and milestones in French feminist theory, this book discusses pregnancy and childbirth as transformative events that can engender both women’s imaginative responses to procreation and re-creations of memories about their prenatal/natal episodes, as well as therapeutic narratives of self-discovery and recovery from pain. Examining the works of authors such as Mary Shelley, Emily Brontë, Jean Rhys, Anaïs Nin, Margaret Drabble, and Toni Morrison, this book posits a literary corpus of procreativity, written by women with an empowering white ink to defend their (un)maternal freedom and (life-)writings.
Post-Millennial Trends in Contemporary Popular Romance Fiction
Edited by Irene Pérez Fernández and Carmen Pérez Ríu
Romance continues to stand as the most profitable literary genre and the second most read book category. The developments reshaping the conventions and marketing practices of popular fiction, both inside and beyond the books themselves, have affected the romance genre in specific ways that demand critical attention. This book brings together a collection of twelve chapters on postmillennial developments in contemporary popular romance fiction produced in different countries in order to prove how the genre, which has always been sensitive to customer demands and market trends, has continued to evolve accordingly. The chapters focus on how traditional formulae are being reshaped and adapted to meet readers’ expectations and market demands within this thriving transnational industry.
Ideology, Intertexts, Tradition
María Valero Redondo
Recent criticism on Emily Brontë and her novel has tried to correct the deep-rooted belief that Emily Brontë was a literary "genius" isolated in the moors of Haworth. Indeed, an overview of recent Brontë scholarship indicates that two important critical shifts have lately cropped up: an increasing sociological attention to cultural studies on the one hand and an emphasis on interdisciplinarity. The present book is an unprecedented and groundbreaking study on Wuthering Heights. It detaches itself from the current productive vogue for sociological approaches to narrative texts which has contributed to obscure the focus on anomalous intertextual relations, and prioritizes the literary context over any other biographical, historical, or cultural context. Determining Wuthering Heights postulates a determinate intertextual meaning of Emily Brontë’s novel, enriching its heterogeneity by examining its dialogic relation with previous, contemporary and subsequent texts in order to confirm that Emily Brontë’s novel is not sui generis.
The target audience of the book would be members of the academic community interested in Victorian literature in general (researchers, scholars…) and in Wuthering Heights in particular. However, since Wuthering Heights has become a classic novel which is today read and discussed in universities around the world, the subject may also appeal to students who have to take a course on Victorian Literature and/or on the Brontës.
Edited by Kristopher Woofter
From the short story «The Lottery» to the masterworks The Haunting of Hill House and We Have Always Lived in the Castle, Shirley Jackson’s popular, often bestselling works experimented with popular generic forms (melodrama, folktale, horror, the Gothic, and the Weird) to create a uniquely apocalyptic vision of America and its contradictions.
With a Foreword by award-winning Jackson biographer Ruth Franklin, this collection features comprehensive critical engagement with Jackson’s works, including those that have received less scholarly attention. Among these are the novels The Road Through the Wall, The Bird’s Nest, and Hangsaman, as well as Jackson’s historical study, The Witchcraft of Salem Village. Also included are essays on Jackson’s darkly humorous collections Life Among the Savages and Raising Demons, on Stephen King’s «literary friendship» with Jackson, on the little-known film adaptations Lizzie (1957) and Hosszú Alkony (Long Twilight) (1997), and the first-ever extended analysis devoted to Jackson’s unpublished satirical cartoon sketches.
The collection’s five sections focus on Jackson’s style, key themes, and influence; her politics and poetics of space; her treatment of the «monstrous» mother and monstrousness of motherhood; her representations of outsiders and minorities; and moving-image adaptations of her work.
Cast in the shadow of the soldier-poets of the First World War, Victorian war poets have often been disparaged as «armchair patriots» glorifying military action in an unthinking fashion. Challenging this long-standing assumption, The Crimean War in Victorian Poetry considers the evolution of the figure of the homefront poet and explores the daunting task of representing war from a civilian perspective.
By virtue of the medium of modern reportage, the Crimean War (1854-1856) witnessed the inauguration of the civilian spectatorship of distant suffering, provoking a heated debate over the concept of the war poet and the function of war poetry during moments of national crisis. Confronted with news of soldiers’ hardships and of the distress caused by the government’s mismanagement of war, the so-called armchair poet sought ways of addressing the problem of pain and adversity from a distance and of engaging with the politics of war by composing lines of verse at home.
This is the first book-length study to examine the predicaments and achievements of mid-Victorian war poets. It provides historically nuanced readings of how a diverse group of British poets – ranging from the Poet Laureate Alfred, Lord Tennyson to the highly acclaimed female poet Louisa Stuart Costello – fought a literary war as they reworked the established traditions of war poetry and experimented with poetic forms in response to news of distant combat.
Essays in Honor of Lucy Sargisson
Edited by Raffaella Baccolini and Lyman Tower Sargent
In 2014, when Lucy Sargisson was promoted to professor in the School of Politics and International Relations, at the University of Nottingham, she became the first and, so far, only, professor of utopian studies. This choice symbolized the centrality of utopianism to her life, thought, and educational practice. In three books, each in their own way groundbreaking, a fourth book co-authored by one of us, and in important articles, her work falls into four primary areas: political theory, feminism, environmentalism, and intentional communities, with much of her work intersecting two, three, or even all four. And in all her work, she brings the lens of utopianism to bear on the subject and, in doing so, illuminates both utopianism and the subject at hand. The volume honors Sargisson’s contributions to the field of utopian studies, with contributions by Ibtisam Ahmed, Raffaella Baccolini, David M. Bell, Suryamayi Clarence-Smith, Chris Coates, Elena Colombo, Davina Cooper, Rhiannon Firth, Ruth Levitas, Sarah Lohmann, Almudena Machado-Jiménez, Dunja M. Mohr, Tom Moylan, Robyn Muir, José Reis, Lyman Tower Sargent, Lucy Sargisson, Simon Spiegel, Maria Varsam, and Laura Winter.
Edited by Eamon Maher and Eugene O'Brien
This landmark collection marks the publication of the 100th book in the Reimagining Ireland series. It attempts to provide a «forward look» (as opposed to what Frank O’Connor once referred to as the « backward look») at what Irish Studies might look like in the third millennium. With a Foreword by Declan Kiberd, it also contains essays by several other leading Irish Studies experts on (among other areas) literature and critical theory, sport, the Irish language, food and beverage studies, cinema, women’s writing, Brexit, religion, Northern Ireland, the legacy of the Great Famine, Ireland in the French imagination, archival research, musicology, and Irish Studies in North America. The book is a tribute to Irish Studies’ foundational commitment to revealing and renewing Irishness within and beyond the national space.
A Critical Edition
Jesús Correa Sánchez
William Mountfort’s Greenwich Park (1691), produced in the aftermath of the Glorious Revolution, takes comic action to the green spaces east of London where urbane rakes court witty young ladies surrounded by a lively gallery including roistering citizens, an adulterous wife and a charismatic kept mistress. This first-ever critical edition offers a fully annotated modernized text, together with an introduction analysing the processes of evolution and transition articulated by this comedy on several, interrelated levels: from the old hard comedy of the 1670s to the new humane comedy of the early 1690s, from a glamorous view of debauchery and excess to the more sober morals promoted by William and Mary, and from the Town settings of Carolean comedy to the suburbs.
The horses in All the Pretty Horses are ubiquitous but rarely the center of attention. Their depiction is surprisingly authentic and without anthropomorphization. This book illustrates how an equicentric reading offers new insights into the novel’s spaces, characters, and relationships. It features comparisons with popular horse-narratives and an equicentric analysis of the novel’s gender relations. How does horsemanship redefine masculinity? What is the inherent connection between femininity and the equine? This book answers these questions from an equicentric perspective, while taking into account patterns of anthropocentrism and misogyny. In addition, the focus is on the narratees and on how the degree of equine experience they bring to the narrative may enhance the horses’ figurative significance.