A SCHOLARLY BOOK REPOSITORY319 start with S start with S
In Frankfurt, Regina matures into a woman and, though her parents want her to marry an upstanding Jewish man, her love life progresses in its own idiosyncratic fashion. She develops a passion for art and journalism and begins her professional career at a Frankfurt newspaper. Walter at last finds professional success as a lawyer, but never quite adjusts to life in Frankfurt, recalling with nostalgia his childhood in Upper Silesia and his years in Africa. Only his son Max truly finds what Walter had hoped for: a new homeland in Germany.
Although the Redlichs receive kindness from strangers, they also learn anti-Semitism still prevails in post-Nazi Germany. They partake in the West German “economic miracle” with their own home, a second-hand car, and the discovery of television, but young Max’s discovery of the Holocaust revives long-buried memories. Rich in memorable moments and characters, this novel portrays the reality of postwar German society in vivid and candid detail.
An expansive volume on Tejana identity and Tejanidad told through personal narratives, poetry, and essays.
Being Tejanx is different than just being from Texas. Being Tejanx means you are a border subject. Being Tejanx means living in and from a certain history of oppression, possibility, activism, and cultural-linguistic hybridity arising within the US-Mexico borderland that is home. And being Tejanx means something in particular if you are a woman.
In ¡Somos Tejanas!, editors Norma E. Cantú and Jody A. Marín assemble contemporary Tejanx writers who provide firsthand accounts of their experience of identity, enriching the field of Tejanx studies through an encounter with gender and sexuality. The contributions, including personal and scholarly essays, poems, criticism, and artworks, explore the heterogeneity of Tejana identity and the sociopolitical movements, stories, dances, music, and athletic feats that mark Tejanidad. Authors contemplate the history and memory of segregation in Texas, the struggles of surviving the unnatural disaster and blackouts of 2021 amid the global pandemic of COVID-19, and the drug-war violence and ever-tightening immigration restrictions that strangle a transborder way of life shared by millions. An unrepentant act of expression from women under attack by state policymakers, this collection dispels the silence imposed by colonial erasure.
Determined to escape the past, these characters find themselves sharing the same torn-down house, bordering tweaker poverty and bucolic wine country. Violence and penance, family and legacy, recidivism and post-traumatic stress disorder linger with the heavy rain of desperation. At the center of this storm is five-year old Benji, whose wide-eyed energy and openhearted faith could show all of them how to still be saved.
In this unforgettable tale, award-winning author Peter Nathaniel Malae explores the depths of human pain and trauma with genuine cultural authority. Son of Amity is a novel whose voices cry out with truth and vulnerability, never betraying that slight tilt toward hope needed to make the long, hard trek to tomorrow.
A fifty-year-old mystery converges with a present-day struggle over family, land, and history
When a rock is dislodged from its slope by mischievous ancestors, the past rises to meet the present, and Half-Dime Hill gives up a gruesome secret it has kept for half a century. Some people of Mozhay Point have theories about what happened; others know—and the discovery stirs memories long buried, reviving a terrible story yet to be told.
Returning to the fictional Ojibwe reservation in northern Minnesota she has so deftly mapped in her award-winning books, Linda LeGarde Grover reveals traumas old and new as Margie Robineau, in the midst of a fight to keep her family’s long-held allotment land, uncovers events connected to a long-ago escape plan across the Canadian border, and the burial—at once figurative and painfully real—of not one crime but two. While Margie is piecing the facts together, Dale Ann is confronted by her own long-held secrets and the truth that the long ago and the now, the vital and the departed are all indelibly linked, no matter how much we try to forget.
As the past returns to haunt those involved, Margie prepares her statement for the tribal government, defending her family’s land from a casino development and sorting the truths of Half-Dime Hill from the facts that remain there. Throughout the narrative, a chorus of spirit women gather in lawn chairs with coffee and cookies to reminisce, reflect, and speculate, spinning the threads of family, myth, history, and humor—much as Grover spins another tale of Mozhay Point, weaving together an intimate and complex novel of a place and its people.
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Finalist for the 2023 Weatherford Fiction Award
Some called her the Everywhen Woman. She claimed to be 321 years of age. In 2038, after the big storm and the great flood and the bad times, Betty Baach wrote these words down and sometimes spoke them aloud, at her homeplace on Freon Hill. She referred to them as songs. All stories are songs, she’d always say.
Set in West Virginia, The Songs of Betty Baach is a magical guide to resisting despair and a compendium of wisdom and rhythms by which to fortify oneself. The lives of the Baaches of Keystone and the Knoxes of Mosestown twist and connect in a tale of survival and retribution that crosses three centuries—moving from Betty’s girlhood in colonial America to a future warped by environmental collapse and political unrest. Refusing the erasure of the lives of women, Indigenous peoples, and Black people who have always called this region home, this eloquent and distinctive novel is a necessary remedy for the continued distortion of a land and its inhabitants.
Both literary anthology and hands-on field guide, The Sonoran Desert is a groundbreaking book that melds art and science. It captures the stunning biodiversity of the world’s most verdant desert through words and images. More than fifty poets and writers—including Christopher Cokinos, Alison Hawthorne Deming, Ken Lamberton, Eric Magrane, Jane Miller, Gary Paul Nabhan, Alberto Ríos, Ofelia Zepeda, and many others—have composed responses to key species of this striking desert. Each creative contribution is joined by an illustration by award-winning artist Paul Mirocha and scientific information about the creature or plant authored by the book’s editors.
From the saguaro to the mountain lion, from the black-tailed jackrabbit to the mesquite, the species represented here have evoked compelling and creative responses from each contributor. Just as writers such as Edward Abbey and Ellen Meloy have memorialized the desert, this collection is sure to become a new classic, offering up the next generation of voices of this special and beautiful place, the Sonoran Desert.
The Sorrowful Eyes of Hannah Karajich is a lyrical, deeply moving story of love and the pain of emancipation, set in the now vanished world of rural East European Jewish village life. Hanna is the most beautiful girl in all Polona, a Hasidic community in the remote province of Sub-Carpathian Ruthenia. Involvement in the exciting new movement of Zionism takes her away to a commune in a nearby town. But there she meets and falls in love with the strangely named Ivo Karajich: a Jew, yet not a Jew. The agonizing drama that follows, plants into her beautiful almond-shaped eyes the hard grain of sorrow that her children, too, will inherit.
Olbracht's novella is both a great love story and a marvellous portrait of a world that modernity threatened and Hitler destroyed.
Freely parodying conformist Russian writing, this novel takes its lead as much from Sterne and Diderot as from the brilliant Russian satirist Mikhail Zoshchenko. In the offhand witticisms and jaunty humor speaks the spirit that survived the "era of stagnation" of Soviet literature.
The residents of The Sound of Holding Your Breath could be neighbors, sharing the same familiar landscapes of twenty-first-century Appalachia—lake and forest, bridge and church, cemetery and garden, diner and hair salon. They could be your neighbors—average, workaday, each struggling with secrets and losses, entrenched in navigating the complex requirements of family in all its forms.
Yet tragedy and violence challenge these unassuming lives: A teenage boy is drawn to his sister’s husband, an EMT searching the lake for a body. A brother, a family, and a community fail to confront the implications of a missing girl. A pregnant widow spends Thanksgiving with her deceased husband’s family. Siblings grapple with the death of their sister-in-law at the hands of their brother. And in the title story, the shame of rape ruptures more than a decade later.
Accidents and deaths, cons and cover-ups, abuse and returning veterans—Natalie Sypolt’s characters wrestle with who they are during the most trying situations of their lives.
These Texas stories are among the best produced by the state's writers in the mid-twentieth century. Selected above all for their artistic excellence and their narrative mastery, they also present a vital picture of the Southwest in microcosm, as revealed in its largest state.
Texas and Texas writing moved from a Southern orientation in the 1940s—reflected here in works by William Goyen, William Humphrey, and others—to the strong Southwestern flavor of stories by such authors as Larry McMurtry and A. C. Greene to, finally, urban or Sunbelt Texas, mirrored in the edgy, sometimes experimental prose of Doug Crowell, William Harrison, and Peter LaSalle.
Here are stories by such celebrated authors as Paul Horgan and William A. Owens, as well as startling, in some cases previously unpublished work by writers like Harryette Mullen, Naomi Shihab Nye, Pat Ellis Taylor, and Thomas Zigal. A few stories may already be favorites—Larry McMurtry's "There Will Be Peace in Korea," Amado Muro's "Cecilia Rosas." Many others have become classics, such as Vassar Miller's poignantly autobiographical "Pact," Hughes Rudd's hilarious record of grade school fieldtrips, R. E. Smith's gripping story of a Houstonian's life-changing encounter with nature, and Dave Hickey's astonishing account of an old cowboy's imprisonment . . . in a bathtub.
Bill Brett, James Crumley, Linda West Eckhardt, Robert Flynn, Mary Gray Hughes, Carolyn Osborn—all are represented here by stories guaranteed to banish stereotypes and boredom and to enlarge one's vision of the Lone Star State. Anyone who thinks that oil wells and big hair define Texas will find out differently in the dazzling short fiction presented in South by Southwest.
Hoping there are enough miles between the Twin Cities and dusty Milltown, Milo sets about trying to make the most of life without running water and electricity while trying to better understand his own place in the world and what it all means. His tough-guy act softens as he blends into the community and befriends an endearing group of small-town folks. And that’s lucky for him, because to stay safe, he’s going to need all the help he can get.
A New York TimesBook Review Editors’ Choice
A Shelf Awareness Best Book of the Year
Hudson Booksellers Book of the Year
One of the New York Post’s Best Books of the Summer
One of The Millions’s Most Anticipated Books of the Year
IndieNext Pick
A Time Magazine “What to Read Now” Selection
A wry novel set at the edge of the earth about the courage it takes to band together, even as everything around you falls apart
Unmoored by a recent family tragedy, Cooper Gosling is adrift at thirty and on the verge of ruining her career. So when the opportunity arises to join the National Science Foundation’s Artists & Writers Program in Antarctica, she jumps at the chance—and finds herself in the company of others who are just abnormal enough for Polar life, a group of eccentrics motivated by desires as ambiguous as her own. When they are joined by a fringe scientist who claims climate change is a hoax, the Polies’ already-imbalanced community is rattled, bringing them to the center of a global controversy and threatening the ancient ice chip they call home.
August 6, 1943. Chaim Soutine, a Jewish painter from Belorussia and a contemporary of Chagall, Modigliani, and Picasso, is hidden in a hearse that’s traveling from a small town on the Loire towards Nazi-occupied Paris. Suffering from a stomach ulcer, he urgently needs a life-saving operation. But the hearse must avoid the occupiers’ checkpoints, and it becomes increasingly likely that he will not survive the journey.
In a stream of extraordinary images, the morphine-induced artist hallucinates and remembers his life. He dreams of his childhood in Smilovichi near Minsk; his beginnings as a painter in Vilna; his arrival in 1913 in the art capital of the world, Paris, where he befriends Modigliani; and his survival of years of struggle and finding sudden success, only to be persecuted and forced into hiding when the Nazis invade. Back in the present, the painter believes that the power of milk is the only possible remedy for his ulcer. In his mind, he is traveling to a “white paradise”—a strange clinic where a “god in white” declares him healed but forbids him to paint. But for Soutine, neither paradise nor salvation exists if he cannot paint. So, he begins to paint again in secret, willing to pay the price of discovery.
A brilliant biographical novel about childhood, longing, friendship, bodily pain, and the wounds of exile, Ralph Dutli’s Soutine’s Last Journey is ultimately an exploration of language and the power of art.
Kauffman first considers male writers whose works, testing the boundaries of genre and gender, imitate love letters: Viktor Shklovsky's Zoo, Vladimir Nabokov's Lolita, Roland Barthes's A Lover's Discourse, and Jacques Derrida's The Post Card. She then turns to three novels by women who are more preoccupied with politics than passion: Doris Lessing's The Golden Notebook, Alice Walker's The Color Purple, and Margaret Atwood's The Handmaid's Tale. By juxtaposing these "women's productions" with the men's "production of Woman," Special Delivery dismantles the polarities between male and female, theory and fiction, high and low culture, male critical theory, and feminist literary criticism. Kauffman demonstrates how all seven texts mercilessly expose the ideology of individualism and romantic love; each presents alternate paradigms of desire, wrested from Oedipus, grounded in history and politics, giving epistolarity a distinctively postmodern stamp.
In Special Election, ingenious fictions target our all-too-familiar preoccupations and vulnerabilities—belonging, (dis)engagement, the struggle for self-worth, the difficulty of loving and being loved, the banality and absurdity of existence. Brock Clarke’s rapier wit, inexhaustible imagination, and brilliant leaps of illogic transform his characters’ desperation and distress into tragicomic delight. In the title story, Lawrence Welk is ousted from heaven to run for governor in present-day North Dakota. In “One Goes Where One Is Needed,” we follow the former Provisional Coalition Administrator of post-liberation Iraq, now a youth ski instructor at Okemo Mountain in Vermont. In “The Slim Jim,” the protagonist finds himself (literally and figuratively) very slowly choking to death on a frozen microwavable burrito.
“There is something wrong with me,” states the narrator of “The Big Book of Useless Saturdays.” This could be said of all the characters in Special Election, and through loopy misdirection and mordant observation, Clarke devotes himself to showing his characters and his readers exactly what is wrong. Yet the sharpness of his attention and lavish ludicrousness of his storylines belie a sneaking affection for this imperfect, disappointing world filled with imperfect, disappointing humans. Though Clarke has been compared to such greats as Barthelme, Bellow, and Saunders, the nine stories in Special Election vibrate at a frequency all his own, showcasing the strengths of one of our most gifted comic writers.
When William Jennings Bryan began a campaign to get evolution out of American schools in the 1920s, entomologist Martin Sullivan sought refuge from the tumult in his research. Although the theory of evolution provides the foundation for his scientific work, he prefers the careful methods of observation and classification to the passion of public debate. But when Martin takes a job teaching college biology in Seattle, he finds it increasingly difficult to retreat to the haven of science. His students are taking sides in the debate over whether religion and evolution can be reconciled. Socialists are using evolution to justify revolution. Politicians are citing Darwin in defense of anti-immigration laws. And Martin’s own colleagues are insisting that only eugenic reforms will save the world. As anti-evolution legislation spreads across the country and passions flare on all sides, the effort to apply science to marriage laws and mate choice even begins to touch the lives of those he loves. By the time the state of Tennessee puts John T. Scopes on trial for teaching evolution in the summer of 1925, Martin can no longer ignore the debates that surround him and must take a stand in the fight over the role of science in American society.
Although set a hundred years ago, The Species Maker wrestles with many issues that continue to confront scientists and science watchers in the present day. Kristin Johnson draws on her experiences in the classroom and extensive knowledge of the history of science to depict what it might have been like for a careful scientist to watch the heated debates over teaching evolution in the United States in the 1920s.
Visit www.thespeciesmaker.com for supplemental material including historical essays, links to online primary sources, a glossary, and guiding questions useful for the classroom or book clubs.
Finalist, 2022 World Fantasy Awards
Finalist, 2022 Ignyte Awards
Finalist, 2022 Utopia Awards
In a tantalizing array of new works from some of the most exciting Latinx creators working in the speculative vein today, Speculative Fiction for Dreamers extends the project begun with a previous anthology, Latinx Rising (The Ohio State University Press, 2020), to showcase a new generation of writers. Spanning diverse forms, settings, perspectives, and styles, but unified by their drive to imagine new Latinx futures, these stories address the breadth of contemporary Latinx experiences and identities while exuberantly embracing the genre’s ability to entertain and surprise. With new work for new audiences in their teens and up, and especially for Latinx people navigating their identities in the ever-shifting, sometimes perilous, but always promising cultural landscape of the US, this book is for dreamers—and DREAMers—everywhere.
Contributors: Grisel Y. Acosta, Stephanie Adams-Santos, Frederick Luis Aldama, William Alexander, Nicholas Belardes, Louangie Bou-Montes, Lisa M. Bradley, Eliana Buenrostro, Diana Burbano, Pedro Cabiya, Steve Castro, Fernando de Peña, Scott Russell Duncan, Samy Figaredo, Tammy Melody Gomez, J. M. Guzman, Ernest Hogan, Pedro Iniguez, Ezzy G. Languzzi, Patrick Lugo, Roxanne Ocasio, Daniel Parada, Stephanie Nina Pitsirilos, Reyes Ramirez, Julia Rios, Sara Daniele Rivera, Roman Sanchez, Tabitha Sin, Alex Temblador, Rodrigo Vargas, Laura Villareal, Sabrina Vourvoulias, Karlo Yeager Rodriguez
"I couldn't put it down."
---Barbara Kingsolver
In 1955, Mary and Jim Leader have the American dream: careers in medicine; a young and healthy family; and even a vacation home---a shabby resort far from bustling Chicago. But one hot afternoon changes everything. Mary, now a widow, must find a path out of her grief into a future for herself and five small children.
In Michigan to sell the resort, Mary sees seven hawks riding the storm winds over the lake. This place, she thinks, can heal them with its wild beauty, so she moves her family to the northern lakeshore.
But Mary has forgotten what it's like to live in a tiny rural community, where almost everyone has a stake in maintaining the status quo. Secrets are kept at great cost as Mary's children often struggle to raise themselves. A coming-of-age story for each member of the family, this is a novel of quiet heroism and the power of personal freedom.
Praise for Marjorie Kowalski Cole and her previous novel, Correcting the Landscape:
". . . her writing is simple, vivid and gorgeous."
---Eugene Register-Guard
". . . a remarkable new talent. Critics have lined up to praise the book."
---Tucson Citizen
"Cole's style is subtle but engrossing . . . It is quite a debut."
---Booklist
Cover illustration: ©iStockphoto.com/ImagineGolf
In the largely undocumented sphere of political violence in eastern India, Qadir the Spider is a mythological killer and casanova, known for the various assassinations and liaisons he carries out across the region. His oldest son Rahim is the latest entry to the field. A 13-year-old killer, the boy bides his time like his father—killing, farming, and getting high as the battles go on around him. In this world where they only follow orders, mutilation becomes their only expression, the nature of violence their only meaningful form of autonomy in the various power struggles of interior Bengal.
After his first year in the field, as the child is groomed by his father to carry on the ways of their mercenary clan, he begins to confront the various legends surrounding the Spider. However, while roaming the strange, spectral forests surrounding the town, his chance encounter with a pair of wandering musicians leads him to question the killings that pattern his life. As he searches for the answers around him, he is slowly led to confront the man his father truly is, as well as the man he knows he will become.
A gripping tale of inherited violence and identity in politically volatile Bengal, Aurko Maitra’s The Spider contains powerful, disturbing parallels to modern-day conflicts. Boldly interrogating our concepts of autonomy and survival in chaos, this revelatory novel explores the impact of political violence and timeless issues of legacy and intergenerational violence.
Au excels at inhabiting the minds and hearts of children and the elderly. In the title story, Sophie Chu dresses daily in her increasingly shabby elephant costume to ensure her missing parents recognize her upon their return. In “The Unfed,” a village elder seeks to revive, with her dimming magic, a mountain community struck by tragedy. “Louise” follows, with deceptive hilarity (involving a one-eyed duck), the nuanced give and take between May Zhou and Lai, dissimilar yet passionate partners considering parenthood. The volume also offers sparkling speculative work that taps into the strength of nature—fox spirits and fire beetles, swollen rivers and rippling clouds—to showcase the sometimes surreal transformations of Au’s protagonists.
Spider Love Song and Other Stories treads the fault line that forms between lovers, families, friends, cultures—exposing injuries and vulnerabilities, but also the strength and courage necessary to recast resentment and anger into wonder and power. Au’s lyrical style, humor, and tender attention to her characters’ fancies and failings make this powerful debut a delight to read.
A multigenerational epic, Spiral of Silence (Espiral de Silencios) opens in the early 1980s, as peace and amnesty agreements spark optimism and hope. We meet Norma, a privileged, upper-class woman who is married to an army general; Maria Teresa (Mariate), a young rebel who loves a guerrilla fighter and navigates commitments to motherhood and revolutionary activism; and Amparo, a woman who comes of age later, and carries the confusion and dislocation of a younger generation. Each contends with the consequences of war and violence on her life; each is empowered through community-building and working for change.
Few authors have considered the role of women in Colombia during this wartime period, and Sánchez-Blake's nuanced exploration of gender and sexism—framed by conflict and social upheaval—distinguishes the novel. Drawing on stories from women who have worked within organizations in Colombia to end state violence, Spiral of Silence celebrates resistance, reinvention, and how women create and protect their families and communities.
All right, I'm a little afraid.
It's the zeroing in of All That Could
Possibly Go Wrong vs. Myself.
—"Small Talk with an Imagined Son"
The Spirit Papers explores the magical thinking that precedes impending and inevitable loss, the taboo fantasia that occurs in the crippling timelessness of anticipation. Grieving for the future with a spiritual clarity characterized by ritual and doubt, Metzger's lines are chameleons to every feeling. In the interminable window of expecting the unexpected, the poems ultimately materialize the very events they wish to ward off. The Spirit Papers chases mortality with equal parts disbelief and love.
"A graceful, elegantly told ghost story that is at times frightening, at times heartwarming, often quite funny, and always an engrossing and fascinating read."
---Rodney Vaccaro, Emmy Award–winning Hollywood screenwriter and producer
"I started Friday night and got up Saturday morning with a desire to get back to it to finish. In my experience, if I wake up and the first thing on my mind is getting back to a book, it's a good book."
---Bryan Uecker, co-owner of The Book Nook & Java Shop, Montague, Michigan
"A spellbinding mystery of timeless love, loss, and a house that held all the answers. I couldn't put it down."
---Judith Evans Thomas, coauthor of the Born to Shop travel books
"Living in a 100-year old Michigan farmhouse myself, I was totally pulled into the real possibilities Newhof's characters found themselves in. Ghosts and real life haunts made for a compelling read."
---Robbyn Smith van Frankenhuyzen, author of the series Hazel Ridge Farm Stories
"Spirits and Wine is a can't-put-down novel that feels less like fiction and more like sharing a glass of wine with your best friends who go on to disclose the deeply disturbing, deadly things occurring in the lovely old house they planned to restore. Susan Newhof writes truthfully and with beautiful care, evoking the icy appeal of a small lakeshore town in Michigan while revealing the wretched secrets that cling to one dwelling. After reading this harrowing tale in one sitting, I am dying to ask the author---did these menacing events really happen . . . to you?"
---Jerrilyn Farmer, author of the best-selling Madeline Bean Mysteries
"If only the walls could talk---and they do in Susan Newhof's thrilling Spirits and Wine. Readers, be prepared for an absorbing adventure into John and Anna's journey to solve a century-old mystery wrapped within the walls of their newly purchased 'dream home.' Told creatively in tandem, the couple's story of life in pursuit of truth will leave you wondering just where the fact ends and the fiction begins. Keep the lights on and enjoy!"
---Beckey Burgoyne, author of Perfectly Amanda: Gunsmoke's "Miss Kitty"---To Dodge and Beyond
It's a mystery and a ghost story, all wrapped up in one.
A newly married couple buys an old house in a small lakeshore town in West Michigan and finds it haunted by the dramatic secrets of its past inhabitants. As the couple settles in, disturbing events prompt them to investigate who those residents were, what happened to them, and why one spirit remains active. Could the Spanish influenza epidemic in the region, which resulted in the deaths of an unprecedented number of young, healthy adults in Michigan and elsewhere in 1918---19, and the resulting slew of orphans, have something to do with the spirit now haunting their house?
They are determined to discover the truth about their house, even if it jeopardizes their own safety.
The Spirits of the Earth is at heart a family drama, set at the Fraidaigue château, along the shores of Lake Geneva, and in the Maison d’en Haut country mansion, located in the hills above the lake. In these luxe locales, readers encounter upper-class characters with faltering incomes, parvenues, and even ghosts. Throughout, Colomb builds a psychologically penetrating and bold story in which the living and the dead intermingle and in which time itself is a mystery.
Springs and Autumns is a compelling novel that chronicles, through the voices of several family members, the intriguing history of an extended Majorcan family. The novel is set in Orlandis (a fictional version of Porcel’s hometown) on the island of Majorca. Even though the novel rises from this specific, exotic island setting, Springs and Autumns ultimately appeals to universal human emotions.
John German has captured the rhythm and poetic nature of Porcel’s prose in his translation of Springs and Autumns. Working from Porcel’s original Catalan and Spanish versions of the text, Getman manages to remain faithful to the feel and tone of Porcel’s narrative while at the same time creating an exceptionally lucid English version.
Although the entire novel takes place as the family gathers at Taltavull Hall for a Christmas Eve dinner, the reader is conveyed to places as far away as South America and Asia, learning along the way about murder, love, rape, incest, travel, discovery, regret, and forgiveness. Porcel accomplishes this through a narrative strategy that pieces together a complex mosaic of the family’s history, with each new narrative layer adding insight to the previous narratives, ultimately creating a complex and engaging novel.
This novel reflects a shift in French values at the turn of the eighteenth century, which saw increased interest in the private lives of the aristocracy and the pre-Enlightenment questioning of political and religious orthodoxies. Novels of fiction and leisure gained popularity, and it was during this time that Henriette-Julie de Castelnau, the Countess de Murat, published her second leisure novel, The Sprites of Kernosy Castle. Combining humor, social satire, and a proto-feminist outlook, Murat crafts a well-constructed plot where the supernatural is debunked. Murat’s career was cut short when a series of “misdemeanors” related to the countess’s homosexual tendencies led to her arrest in 1702. Sprites, which was released during a partial reprieve from prison, is the final published work of this independent-minded early feminist author.
Marking collisions of culture and character, these ten short stories arise at the frontiers where Arabic tradition melds with both the modern European world and a Gothic strata of the supernatural. The resultant mix sparks tensions between the sexes, between identities, and between experimental forms of storytelling and strict narrative.
In Samman’s fiction, matchmakers still come to call but lovers go bungee jumping. A schizophrenic has a discussion with one of his personalities about murder and relationships with women. Avoiding ghosts both real and imagined, a war exile confronts class structure; the art of Paris; and the trials of being a woman, an Arab, and a writer in a country and culture not her own. The spirit of a strangled lover tells the story of his murder and of the web of love, beauty, lust, and loathing that brought about his demise.
First published in Beirut in 1994 and now ably rendered into English, Samman’s The Square Moon mixes the ghoulish with the everyday, the playful and witty with the terrifying, intermingling surprise endings, uncommon turns of plot, and the strange but realistic details of the characters’ lives.
*2021 Colorado Book Awards Finalist, Literary Fiction*
MK and Colleen get reacquainted while working at different stores in a bankrupt mall. Way back, the women went to Catholic school together and collaborated on racy letters to a soldier in Vietnam who thought they were much older than seventh graders—a ruse that typifies later shenanigans, usually brought on by red-headed Colleen, a self-proclaimed “Celtic warrior.”
After ditching Colleen’s car to collect the insurance, they drive from one unexpected event to the next in Big Blue, MK’s Buick clunker with a St. Christopher statue glued to the dash. The glow-in-the-dark icon guides them past the farm debris, mine ruins, and fracking waste of the northern brow of Appalachia. Yet their world is not a dystopia. Rather, MK and Colleen show why, amid all the desperation, there is still a community of hope, filled with people looking out for their neighbors and with survivors who offer joy, laughter, and good will.
This edition includes an introduction by Evans scholar Diane Roberts about the enduring relevance and legacy of St. Elmo as a work of literature as well as a reflection of gender roles and the seismic societal changes taking place in the United States in the aftermath of the Civil War.
"Shirley Taylor's story gives readers and hearers insight into the town of Bethlehem at the time of the birth of Christ. Wendell Hall's illustrations help us imagine that scene wonderfully. The young homeless boy touches our hearts and imaginations. Not just for children, this is a read aloud book for all ages." - Lauretta Phillips, Storyteller, Author, Radio & TV Host
When Hannah unexpectedly inherits her uncle's rundown resort, she must head to the northwoods to close up and sell the business. But the only interested buyer is Ingold, an international mining company, and Hannah finds herself reluctantly operating the resort while trapped in the midst of a treacherous dispute between Ingold and Uncle Hal's activist friends.
From safeguarding the wilderness to pursuing elusive new love interests, Hannah has plenty to engage her imagination at Star Lake. A new aspect of her personality emerges, one that is surprisingly courageous and compassionate. Throughout this humorous, elegantly plotted adventure with its appealing characters and lyrical depictions of nature, Hannah encounters the inevitability of change—in herself and in the nostalgic landscape of the deep North.
The Stars, the Earth, the River contains an excellent introduction by the translators, grounding the stories in Le Minh Khue's personal history. You simultaneously feel the rage of the author and the narrator when Khue disparagingly notes that the conversations around her center on luxuries, motor scooters, and business deals. Of what use, these stories ask, is such suffering? How can a culture honor the losses of war?
Lamson examines themes of violence, gender, and identity in various real and imagined settings where inmates read Antigone, Howlin' Wolf sings in a black barbershop, and Metallica records burn on a Viking altar. Throughout these shifts, the poems construct fractured narratives that subvert linear storytelling. The layering of voice and imagery in this collection transgresses boundaries between the secular and the sacred, and between the communal and the personal. As the speaker of "Portland Bardo" says, "The fragile, in between state of larvae hatching / is no less desirable than full bloom in a city of roses, if such a city can ever be found."
Drawing upon historic records, diaries, and letters of the men who inhabited the makeshift shelter they called Camp Clay, Laura Waterman reimagines the true story of polar explorers fighting for their lives and their sanity under dehumanizing conditions. This gripping, tragic tale of hunger, fear, and hope is told through the eyes of men at their worst—and most desperate—moments.
First published in the spring of 1932, Phil Strong's whimsical and wise State Fair was an immediate success. Hollywood released a film that fall starring Will Rogers as Abel Frake and a champion hog from an Iowa farm as the famous Blue Boy, “the finest Hampshire stud boar in the world.” In 1945 Rodgers and Hammerstein's musical motion picture launched such memorable songs as “It Might as Well Be Spring.” In 1962 a movie musical with Pat Boone and Ann-Margret was set at the Texas State Fair. And in 1995 a highly entertaining adaptation of the 1945 musical premiered at the Iowa State Fair before moving on to Broadway. This paperback edition of State Fair, with a new foreword by Robert McCown, reprints the original novel in all it exuberance and freshness. On the surface State Fair simply recounts the adventures of the close-knit Frake family at the Iowa State Fair in the late 1920s, but Strong's universal morality tale has much to reveal to anyone willing to read between the lines. The book shocked some readers in 1932, but most were captivated by the Frakes' good-natured integrity and applauded their spirit. Readers today will find the same joy, liveliness, and insight in this new edition ofState Fair.
"Staying On far transcends the events of its central action. . . . [The work] should help win for Scott . . . the reputation he deserves—as one of the best novelists to emerge from Britain's silver age."—Robert Towers, Newsweek
"Scott's vision is both precise and painterly. Like an engraver cross-hatching in the illusion of fullness, he selects nuances that will make his characters take on depth and poignancy."—Jean G. Zorn, New York Times Book Review
"A graceful comic coda to the earlier song of India. . . . No one writing knows or can evoke an Anglo-Indian setting better than Scott."—Paul Gray, Time
"Staying On provides a sort of postscript to [Scott's] deservedly acclaimed The Raj Quartet. . . . He has, as it were, summoned up the Raj's ghost in Staying On. . . . It is the story of the living death, in retirement, and the final end of a walk-on character from the quartet. . . . Scott has completed the task of covering in the form of a fictional narrative the events leading up to India's partition and the achievement of independence in 1947. It is, on any showing, a creditable achievement."—Malcolm Muggeridge, New York Times Book Review
Beyond their den’s walls, the market reigns, and the societal structure of infinite calculation and infinite exchange has rendered contemporary life meaningless. As Toby and Candy separately descend into drug addiction and prostitution, they find their efforts to defy the American economic superstructure futile, and Candy, again, is alone. “I’m going to die in here, I say, to no one.” The transcription of a mute prayer, Steady Diet of Nothing is a stark, vital work that requires our attention. “I’m awake or else I’m dreaming,” Candy narrates. “There’s a knock on the door. The phone rings forever but I can’t put the receiver down.” It keeps the line open as long as it can.
After being forced from his native country by an unforgiving father who embodies the authoritarian temper of the Brazilian dictatorship and is embarrassed by his son’s homosexuality and transvestism, Stella Manhattan, alter ego of Eduardo da Costa e Silva, lands a job in the Brazilian consulate with the help of his father’s friend, Colonel Valdevinos Vianna. Eduardo is also recruited by Vianna to help him bring his own alter ego, the sadomasochist Black Widow, out of the closet. Transformed by black leather, the Black Widow cruises the streets and bars of New York in search of American flesh. Surrounding the relationship between these two men is a group of Brazilian guerrillas who attempt to press Eduardo into their service in order to entrap the colonel. The guerrillas are at the center of a network of revolutionaries, from the Cubans to the Black Panthers and the Young Lords. Virtually apolitical, Eduardo/Stella is drawn by desire into the conflict between the Brazilian government and its communist opposition.
Eduardo also gets caught in the designs of other memorable characters of various sexual and political persuasions: the reactionary professor Aníbal, confined to a wheelchair, who enjoys watching his wife Leila make love with men she picks up on the street; and Paco, alias La Cucaracha, a flamboyant queen, a rabid anti-Castro Cuban exile, and the most sympathetic of this gallery of outcasts.
Working through two complex themes—politics and sex—Santiago sets the action in New York to emphasize the interaction of the seemingly contradictory impulses of liberation and Americanization that Brazil underwent in the late 1960s. As in Manuel Puig’s Kiss of the Spider Woman, political and sexual liberation cut two ways—neither one necessarily compatible with the other. Exploring the complexities of repression that affect all forms of identity, Santiago mingles tragedy and farce as international intrigues are played out in New York’s Latino and black neighborhoods, and the genteel world of international diplomacy is thrust into the milieu of urban gay street life.
For Brombert, Stendhal’s work is deeply personal; elsewhere, he has written about the myriad connections between Stendhal’s ironic inquiries into identity and his own boyhood in France on the brink of World War II. Proceeding via careful and nuanced readings of passages from Stendhal’s fiction and autobiography, Brombert pays particular attention to style, tone, and meaning. Paradoxically, Stendhal’s heroes often feel most free when in prison, and in a statement of stunning relevance for our contemporary world, Brombert contends that Stendhal is far clearer than any writer before him on the “crisis and contradictions of modern humanism that . . . render political freedom illusory.” Featuring a new introduction in which Brombert explores his earliest encounters with Stendhal—the beginnings of his “affair” during a year spent as a Fulbright scholar in Rome—Stendhal remains a spirited, elegant, and resonant account.
Jacob Asleep introduces a family marked by illness, eccentricity, and a child’s death. In A Man’s Fate, a moment of inattention on a mountainous hike upends a teacher’s life and his understanding of mortality. And finally, The Argentine traces the fluctuations of memory and desire in a man’s journey around the world. In each novella, Merz takes readers on a profound and intimate journey. Read as a whole, the works complement, enrich, and echo each other.
When ten-year-old Charlie Taylor arrives at Jack’s workshop shortly thereafter, he’s not the first kid in town to need help with a flat tire, and Jack gladly makes the repair to his bike. The Taylors are new to Anthem, and Jack soon discovers that Charlie and his mom, Claire, are struggling to fit in, even as Charlie’s dad, Dan, is thriving in his new job. Extending friendship and kindness, as well as introductions around the local café, Jack assumes a grandfatherly role. What he doesn’t see is the drinking that Claire hides from everyone, or the secret son that Lib has allowed to move into her house and the growing attraction between Claire and Matt. When the terrible events of a fateful evening threaten everyone’s carefully crafted lives, Jack, Lib, and their new friends must each determine the value of truth for the ones they love.
A New York Times Notable Book for 1999
Best Fiction of 1999, the Los Angeles Times Book Review
Starred review, Publishers Weekly
Finalist for 1998 Dublin IMPAC Literary Award
The narrator of this book is an Irish-American woman who returns to the West African country of Niger where she had lived seventeen years earlier as the wife of an academic and the mother of three young daughters. Now she is visiting her eldest daughter, Zara, who has herself returned to Africa during a season of devastating drought and is working in a village clinic that cares for women and children suffering from starvation.
Still Waters in Niger is a beautifully observed account of a return to a place at once exotic and familiar, as well as a tale of inner discovery. As the narrator reacquaints herself with her daughter and with the Africa of her past, she meets other mothers and their children. With her own memories of young motherhood strong, she becomes aware of the strikingly similar ways in which the impassioned and often difficult bonds between mothers and daughters are revealed across the divide of cultures. Hill paints a compelling portrait of a community of women grounded in kinship and care for their children, a society characterized not only by pain and exhaustion but by humor, delicacy, and strength. Filled with vivid, elegant descriptions and meditations on hunger, poverty, the desert, women, memory, and the love between mothers and daughters, Still Waters in Niger is the haunting story of a woman looking simultaneously backward and forward.
In The Stone Angel, Hagar Shipley, age ninety, tells the story of her life, and in doing so tries to come to terms with how the very qualities which sustained her have deprived her of joy. Mingling past and present, she maintains pride in the face of senility, while recalling the life she led as a rebellious young bride, and later as a grieving mother. Laurence gives us in Hagar a woman who is funny, infuriating, and heartbreakingly poignant.
"This is a revelation, not impersonation. The effect of such skilled use of language is to lead the reader towards the self-recognition that Hagar misses."—Robertson Davies, New York Times
"It is [Laurence's] admirable achievement to strike, with an equally sure touch, the peculiar note and the universal; she gives us a portrait of a remarkable character and at the same time the picture of old age itself, with the pain, the weariness, the terror, the impotent angers and physical mishaps, the realization that others are waiting and wishing for an end."—Honor Tracy, The New Republic
"Miss Laurence is the best fiction writer in the Dominion and one of the best in the hemisphere."—Atlantic
"[Laurence] demonstrates in The Stone Angel that she has a true novelist's gift for catching a character in mid-passion and life at full flood. . . . As [Hagar Shipley] daydreams and chatters and lurches through the novel, she traces one of the most convincing—and the most touching—portraits of an unregenerate sinner declining into senility since Sara Monday went to her reward in Joyce Cary's The Horse's Mouth."—Time
"Laurence's triumph is in her evocation of Hagar at ninety. . . . We sympathize with her in her resistance to being moved to a nursing home, in her preposterous flight, in her impatience in the hospital. Battered, depleted, suffering, she rages with her last breath against the dying of the light. The Stone Angel is a fine novel, admirably written and sustained by unfailing insight."—Granville Hicks, Saturday Review
"The Stone Angel is a good book because Mrs. Laurence avoids sentimentality and condescension; Hagar Shipley is still passionately involved in the puzzle of her own nature. . . . Laurence's imaginative tact is strikingly at work, for surely this is what it feels like to be old."—Paul Pickrel, Harper's
Working on a large canvas that encompasses the extremes of rural Africa and urban London, material poverty and the surfeit of privilege, Sacks writes stories peopled by characters whose lives occasionally crisscross, with a protagonist in one story playing a deceptively small role in another. The stories artfully illuminate the rich interconnections and clashes that occur as her characters strike out boldly, yet find themselves at the mercy of capricious waves of circumstance.
Stone Baby explores movement, loss, and reinvention in the lives of people who are in the wrong place, in the wrong body, perhaps in the wrong life—it encapsulates an engrossing and urgent message in our age of migration and dislocation.
Pulitzer Prize for the Novel in 1933
The Pulitzer prize-winning The Store is the second novel of Stribling’s monumental trilogy set in the author’s native Tennessee Valley region of north Alabama. The action begins in 1884, the year in which Grover Cleveland became the first Democratic president since the end of the Civil War; and it centers about the emergence of a figure of wealth in the city of Florence.
In The Store, Stribling succeeds in presenting the essence of an age through the everyday lives of his characters. In the New Yorker, reviewer Robert M. Coates compared Stribling with Mark Twain in his ability to convey the “very life and movement” of a small Southern town: “Groups move chatting under the trees or stand loitering in the courthouse square, townsfolk gather at political ‘speakings’ and drift homeward separately afterward; always, in their doings, one has the sense of a whole community surrounding them, binding them together.” Gerald Bullet wrote in The New Statesman and Nation that the novel “is a first-rate book…filled with diverse and vital characters; and much of it cannot be read without that primitive excitement, that eagerness to know what comes next, which is, after all, the triumph of the good story teller.”
In The Land of Little Rain, Austin's attention to natural detail allows her to write prose that is geologically, biologically, and botanically accurate at the same time that it offers metaphorical insight into human emotional and spiritual experience. In Lost Borders, Austin focuses on both white and Indian women's experiences in the desert, looks for the sources of their deprivation, and finds them in the ways life betrays them, usually in the guise of men. She offers several portraits of strong women characters but ultimately identifies herself with the desert, which she personifies as a woman.
At once playfully dark and slyly hopeful, Stories No One Hopes Are about Them explores convergences of power, privilege, and place. Characters who are ni de aquí, ni de allá—neither from here nor there—straddle competing worlds, disrupt paradigms, and transition from objects of other people’s stories to active subjects and protagonists of their own. Narratives of humanity and environment entwine with nuanced themes of colonization, queerness, and evolution at the forefront. Big things happen in this collection. But it’s also a collection of small intimacies: misremembered names, chipped teeth, and private rituals; unexpected alliances and barely touched knees beneath uniform skirts; minutiae of the natural world; incidents that quietly, achingly, and delightfully transgress the familiar.
In Stories of an Imaginary Childhood Melvin Jules Bukiet inscribes the world that might have been his own if not for the catastrophe that destroyed most of Jewish life in eastern Europe during the 1940s. Set before the Holocaust in the tiny Polish shtetl of Proszowice, each interconnected story follows the young protagonist through the pleasures and humiliations of childhood and the rites of manhood, as he fights against historical, social, and psychological forces that threaten to pull him down.
"Bukiet proves that he is an expert at the [short story] form. His stories lift and soar, encompassing a world of truth in just a few pages. His characters have flesh and life. . . . Bukiet’s topics are varied and universal: first love, growing up, trying to get along with people who are different. Each of these is approached with great humor and a deep respect for life experience."—Daniel Neman, Richmond News Leader
"Jewish-American fiction of a new order, one able to bring the best that has been thought and said about voice and literary texture to the service of a world with richer meaning and a deeper resonance."—Sanford Pinsker, Midstream
"Bukiet is enchanting, original, and thoroughly irresistible in any disguise. Stories of an Imaginary Childhood is an extraordinary achievement, an immensely enjoyable collection of truly remarkable tales."—Susan Miron, Miami Herald
Ade was hailed by such contemporaries as Mark Twain, H. L. Mencken, and William Dean Howells, and the stories contained in this volume showcase the full spectrum of his skills: his keen eye for the absurd and sublime moments of daily urban life, his ear for the vernacular, his shrewd understanding of the Midwestern character, and above all his firm belief that all of human life was worthy literary subject matter.
This volume includes many lively and evocative drawings by John T. McCutcheon, Ade's college classmate and friend who came to be known as "the Dean of American Cartoonists." Also included is an introduction by Franklin J. Meine, incorporating interviews with Ade and letters from John McCutcheon, Mark Twain, and Ade's managing editor, Charles H. Dennis.
In this collection are twenty-two tales that best represent Andersen’s literary legacy, including such classics as “The Little Mermaid,” “The Ugly Duckling,” “Thumbelisa,” and “The Emperor’s New Clothes,” as well as largely unfamiliar stories like “By the Outermost Sea.” Illuminating notes clarify references in the tales. And in an introductory essay, the Franks explore the writer and his times, placing the enigmatic and often bizarre figure of Andersen among his literary contemporaries, such as Charles Dickens and Søren Kierkegaard, with whom he crossed paths; and they bring to life Andersen’s fascinating relationship with the United States. Illustrated with the delicate and beautiful drawings that accompanied the original Danish publication, The Stories of Hans Christian Andersen will delight readers of all ages.
In Storm Still, Handke’s most recent work, he returns to the land of his birth, the Austrian province of Carinthia. There on the Jaunfeld, the plain at the center of Austria’s Slovenian settlement, the dead and the living of a family meet and talk. Composed as a series of monologues, Storm Still chronicles both the battle of the Slovene minority against Nazism and their love of the land. Presenting a panorama that extends back to the author’s bitter roots in the region, Storm Still blends penetrating prose and poetic drama to explore Handke’s personal history, taking up themes from his earlier books and revisiting some of their characters. In this book, the times of conflict and peace, war and prewar, and even the seasons themselves shift and overlap. And the fate of an orchard comes to stand for the fate of a people.
These 17 original essays, written for the sixth Eaton Conference on Fantasy and Science Fiction, explore the uses, origins, and forms of future fiction. The contributors are George E. Slusser, Paul Alkon, Marie-Hélène Huet, Howard V. Hendrix, Bradford Lyau, Gregory Benford, José Manuel Mota, Frederik Pohl, George Hay, Colin Greenland, John Huntington, Elizabeth Maslen, W. M. S. and Claire Russell, T. A. Shippey, Kenneth V. Bailey, Gary Kern, and Frank McConnell.
The essays address the question “Do we call up images of future societies in order to prepare for them, or to forestall their ever coming into existence?”
By bringing together original fiction by well-known contemporary writers (William Burroughs, Thomas Pynchon, Don DeLillo, Kathy Acker, J. G. Ballard, Samuel R. Delany), critical commentary by some of the major theorists of postmodern art and culture (Jacques Derrida, Fredric Jameson, Timothy Leary, Jean-François Lyotard), and work by major practitioners of cyberpunk (William Gibson, Rudy Rucker, John Shirley, Pat Cadigan, Bruce Sterling), Storming the Reality Studio reveals a fascinating ongoing dialog in contemporary culture.
What emerges most strikingly from the colloquy is a shared preoccupation with the force of technology in shaping modern life. It is precisely this concern, according to McCaffery, that has put science fiction, typically the province of technological art, at the forefront of creative explorations of our unique age.
A rich opporunity for reading across genres, this anthology offers a new perspective on the evolution of postmodern culture and ultimately shows how deeply technological developments have influenced our vision and our art.
Selected Fiction contributors: Kathy Acker, J. G. Ballard, William S. Burroughs, Pat Cadigan, Samuel R. Delany, Don DeLillo, William Gibson, Harold Jaffe, Richard Kadrey, Marc Laidlaw, Mark Leyner, Joseph McElroy, Misha, Ted Mooney, Thomas Pynchon, Rudy Rucker, Lucius Shepard, Lewis Shiner, John Shirley, Bruce Sterling, William Vollman
Selected Non-Fiction contributors: Jean Baudrillard, Jacques Derrida, Joan Gordon, Veronica Hollinger, Fredric Jameson, Arthur Kroker and David Cook, Timothy Leary, Jean-François Lyotard, Larry McCaffery, Brian McHale, Dave Porush, Bruce Sterling, Darko Suvin, Takayuki Tatsumi
Reaching 20,320 feet into and above the clouds, the peak of Denali is the highest and coldest summit in North America. In this novel of adventure, adversity, and ambition by renowned mountaineer and writer Nicholas O’Connell, four men set out to conquer it. Among the sharply drawn team members is narrator John Walker, a family man trying to choose between domestic stability and mountaineering’s uncertain glory. In the course of their ascent the group battles avalanches, fierce winds, and mind-numbing cold before their bond begins to splinter, leading inexorably to tragedy.
Ross Chambers shifs the emphasis to precisely the play of authority and mastery by focusing on the narrative situation or the “point” of telling a story in given context. He studies the relation between teller and listener in a set of French, English, and American short stories from the nineteenth and early twentieth centuries and detects in that relationship the key to the power of fiction. In each of these stories, the author identifies the narrative situation by recourse to the metaphor of seduction, a phenomenon Chambers finds characteristic of literary production in the modern period.
“Story and Situation is a powerful work of criticism, the best work in short narrative I know, and will redirect critics’ attention to a form which has always engaged readers but has recently been neglected by literary theorists. . . . It is clear, assured, and intelligently paced.”-Jonathan Culler, Cornell University
Story of a Clam is a special, magical tale of an egotistical clam who thinks he and his community are the center of the universe. It offers us the artistry of the written word, creating an adventure in evolving consciousness. In an exciting series of events, the clam becomes aware that "there is more to life than you presently know and experience."
In the novel Story of a Stammer, Gábor Vida asks a fundamental question: Where does stammering come from? In the process of answering this question, he discovers that an entire historical period and an entire world have been stammering, too. Through Vida’s eyes, we see that stammering comprises all the lies accumulated over time and over generations because nobody had ever articulated what they felt or thought, nor done what they really wanted. Nobody, Vida shows, had ever told the truth.
Describing life in the 1970s and ’80s under Romanian Communist dictator Nicolae Ceauçescu’s authoritarian regime, Vida writes with disarming honesty, breaking taboos and chronicling the ways in which tyranny and exploitation seep into family relationships. The novel charts the first two decades of a young Hungarian man’s life in Romania, telling a story of coming to terms with a stammer, loneliness, and an unstimulating environment where religion, alcoholism, and suicide are the most common escape strategies. A Bildungsroman, a novel about Transylvania, a chronicle of minority life, a sociological analysis of cultural identity, and ultimately a deeply personal account of a historical era, Story of a Stammer is a major contribution to contemporary Hungarian literature—an unfailingly serious yet humorously delightful witness to a turbulent period in recent history.
The Story of Sapho makes available for the first time in modern English a self-contained section from Scudéry's novel Artamène ou le Grand Cyrus, best known today as the favored reading material of the would-be salonnières that Molière satirized in Les précieuses ridicules. The Story tells of Sapho, a woman writer modeled on the Greek Sappho, who deems marriage slavery. Interspersed in the love story of Sapho and Phaon are a series of conversations like those that took place in Scudéry's own salon in which Sapho and her circle discuss the nature of love, the education of women, writing, and right conduct. This edition also includes a translation of an oration, or harangue, of Scudéry's in which Sapho extols the talents and abilities of women in order to persuade them to write.
"The voice of the soliloquist . . . amplifies the drama of A Story Teller's Story, as does the persistent theme of escape, from an America of fact and factories, marketing and manufacturing, to the borderless Ohios of imagination and creation."
—From the introduction by Thomas Lynch
The thirteen contributors to this volume enter these debates from a variety of critical perspectives. They address questions of language and ideology, the tradition of the sentimental novel, biblical influences, and the rhetoric of antislavery discourse. As much as they disagree on various points, they share a keen interest in the cultural work that texts can do and an appreciation of the enduring power of Uncle Tom's Cabin.
Straight Outta Compton is about living large, living in the fast lane. It raps to its readers about being black, being born and raised in the L.A. ghetto, being so-called "Niggaz 4-Life," being sweet on black life (for those in it, the beat goes on). It focuses on the lives of two black men, Rooster and Clive-nem, who grow up together in Compton. He and Rooster split up, fall into rival gangs-the Bloods and the Crips-and being to hate each other. Clive has other problems besides Rooster-namely, Compton. He thinks that he's made a girl pregnant. He's involved with gangs.
Straight Outta Compton samples from all aspects of black life in its search to have its characters find what rapper Heavy D. would call a, "Peaceful Journey." It wasn't just written; it was mixed by a DJ, and the result is hyped!
But that discovery would also thrust Wells into scandals that threatened his reputation, his family, and his sanity—hardships and triumphs that resonate in today’s struggles with what hurts us and what we take to stop the hurt.
In this novel, Michael Downs mines the gaps in the historical record and imagines the motivations and mysteries behind Wells’s morbid fascination with pain, as well as the price he and his wife, Elizabeth, paid—first through his obsession, then his addiction.
The book is a love story, but also a story of what love can’t redeem; of narcotic dreams and waking insanity; of humbug and miracle; of pain’s destruction and what pains can never be eased. Following Wells throughout New England and across the ocean to Paris, the novel immerses the reader in the nineteenth century, conveying through rich physical description and telling dialogue the tragic life of a dentist who gave everything to rid the world of suffering.
Though commonly thought of as a kind of worldliness at its best and an elitist snobbery at its worst, sophistication, Litvak reminds us, remains tied to its earlier, if forgotten, meaning of "perversion"—a perversion whose avatars are the homosexual and the intellectual. Proceeding with his investigations from a specifically gay academic perspective, Litvak presents thoroughly inventive readings of novels by Austen, Thackeray, and Proust, and of theoretical works by Adorno and Barthes, each text epitomizing sophistication in one of its more familiar modes. Among the issues he explores are the ways in which these texts teach sophistication, the embarrassment that sophistication causes the sophisticated, and how the class politics of sophistication are inseparable from its sexual politics. Helping gay, queer, feminist, and other provocative critics to make the most of their bad publicity, Litvak mindfully celebrates sophistication’s economy of taste and pleasure.
Description is the novelistic technique charged with establishing a common world, but in the early twentieth century, there was little agreement about how a common world could be known and represented. Zhang argues that the protagonists in her study responded by shifting description away from visualizing objects to revealing relations—social, formal, and experiential—between disparate phenomena. In addition to shedding new light on some of the best-known works of modernism, Zhang opens up new ways of thinking about description more broadly. She moves us beyond the classic binary of narrate-or-describe and reinvigorates our thinking about the novel. Strange Likeness will enliven conversations around narrative theory, affect theory, philosophy and literature, and reading practices in the academy.
Some kids have to grow up fast. This is the story of Lonnie Tobin, one such young man. Weary of the physical abuse his mother is subjected to from his father, he takes matt ers into his own hands. Convincing her to flee their fearful home life, son and mother sneak away in the night to the small town of Rocky Branch, where they find peace with her family. It is a corner of the world he thought they had left behind forever. But mysteries abound in this little wooded village, and an unexpected adventure begins when word of a nightly monster on the loose stirs fear among the residents. Young Lonnie soon forgets about his father and becomes fascinated by the story, only to find he might be spending a litt le too much time on The Strange Side of the Tracks.
The Balkans have been so troubled by violence and misunderstanding that we have the verb “balkanize,” meaning to break up into smaller, warring components. While some of the region’s artists and thinkers have invariably fallen into nationalistic tendencies, the twenty-two prominent authors represented here, from the erstwhile Yugoslavia and its neighbors Albania and Bulgaria, have chosen to attempt to bridge these divides. The essays, biographical sketches, and stories in The Stranger Next Door form a project of understanding that picks up where politics fail. The English-language translation joins editions of the book that appeared concurrently in all of the participating countries.
Martha Gellhorn was one of the first—and most widely read—female war correspondents of the twentieth century. She is best known for her fearless reporting in Europe before and during WWII and for her brief marriage to Ernest Hemingway, but she was also an acclaimed novelist.
The story is told by Mary Heaton Vorse, the leading labor reporter of the period, who had covered major strikes since 1912. This novel was the first of six inspired by the Gastonia strike. Critics hailed it as the best.
Bauer’s focus is on the building blocks of successful fiction: dialogue (the intimate relationship between characters talking and the eavesdropping reader), characters (the virtues of creating fictional characters that are both splendidly flawed and sympathetic), and dramatic events (ways to create moments that produce an emotional and psychological impact). There are also chapters on crafting effective openings and memorable closings of stories and on the vital presence of sentiment in fiction versus the ruinous effect of sentimentality. By assuming the point of view of someone at the task, engaged with the work, inside the effort to bring an invented world to life, The Stuff of Fiction speaks to writers of all ages in a pleasurable yet practical voice.
In the spring of 1916, as the workers for woman suffrage were laying plans for another attack on the bastions of male supremacy, the idea for The Sturdy Oak was born. Based on the rules of an old parlor game, wherein one person begins a narrative, another continues it, and another follows, this collaborative effort by the leading writers of the day, such as Fannie Hurst, Dorothy Canfield, and Kathleen Norris, is a satiric look at the gender roles of the time.
There is much in The Sturdy Oak that reflects the New York campaign for suffrage of 1916–1917. The setting is the fictional city of Whitewater in upstate New York. Idealistic reformers are pitted against a ruthless political machine, and the traditional picture of man as “the sturdy oak” supporting woman, “the clinging vine,” is ridiculed in the portrayal of an engaging couple, George and Genevieve Remington. Nonetheless, the purpose of the book is not primarily ridicule but reform, and the reader is taken through the steps by which a confirmed anti-suffragist is gradually transformed into a supporter of the suffrage cause.
Beyond its historical interest, The Sturdy Oak is imbued with a political and social currency that makes it applicable even today. And because of the skill of the writers of this composite novel, even eight decades after its initial publication The Sturdy Oak is still, as the New York Times said in 1917, “irresistibly readable.”
E. R. Eddison’s classic saga novel now in paperback—includes for the first time Eddison’s remarkable letter of introduction and his unabridged closing note
Styrbiorn the Strong tells the grand tale of Styrbiorn Olafsson, heir to the Swedish throne and known both for his impressive size and strength and his unruly, quarrelsome nature. Denied his birthright and exiled from Sweden, Styrbiorn becomes the leader of the Jomsvikings and sets out to reclaim the Swedish throne in the epic Battle of Fýrisvellir. A rediscovered classic, Styrbiorn the Strong is a tale reminiscent of the Old Norse sagas, a historical novel from one of the twentieth century’s most influential masters of fantasy.
Combining feminist and rhetorical narratological approaches, Marsh’s study offers fresh readings of Persuasion, Jane Eyre, Bleak House, The Woman in White, The House of Mirth, The Last September, The Color Purple, A Thousand Acres, Bastard Out of Carolina, Talking to the Dead, and The God of Small Things. Through these readings, The Submerged Plot and the Mother’s Pleasure explores how the unnarratable can be communicated in fiction and offers a significant contribution to our understanding of narrative progression.
A bold new consideration of climate change between narratives of the Earth’s layers and policy of the present
Long seen as a realm of mystery and possibility, the subsurface beneath our feet has taken on all-too-real import in the era of climate change. Can reading narratives of the past that take imaginative leaps under the surface better attune us to our present knowledge of a warming planet?
In Subsurface, Karen Pinkus looks below the surface of texts by Edgar Allan Poe, Arthur Conan Doyle, George Sand, E. T. A. Hoffmann, and Jules Verne to find the buried origins of capitalist fantasies in which humans take what they want from the earth. Putting such texts into conversation with narrative theory, critical theory, geology, and climate policy, she shows that the subsurface has been, in our past, a place of myth and stories of male voyages down to gain knowledge—but it is also now the realm of fossil fuels. How do these two modes intertwine?
A highly original take on evocative terms such as extraction, burial, fossils, deep time, and speculative futurity, Subsurface questions the certainty of comfortable narrative arcs. It asks us to read literature with and against the figure of the geological column, with and against fossil fuels and the emissions warming our planet. As we see our former selves move into the distance, what new modes of imagination might we summon?
With brilliance and perception, Hoffman interrogates the intersections of labor and masculinity, peeling back the spackled facades of class, family, and domesticity. Such a Good Man depicts darkness, cruelty, and absurdity without flinching—and reveals the eternal human desire for intimacy, especially when it remains just out of reach.
After he brings two girls in speech class to tears by reading a story aloud, Rick is coaxed onto the interscholastic forensics team to perform an eight-minute dramatic interpretation of The Boys in the Band, the controversial sixties play about homosexuality. Unexpectedly successful at this oddball event, Rick begins winning tournaments and making friends with his teammates.
Rick also discovers the joys of sex—with a speech coach from a rival school—just as his mother, reacting to a deteriorating home environment, makes an unnerving commitment to Christ. The newly confident Rick assumes this too shall pass—until the combined forces of family, sex, and faith threaten to undo him at the state meet in Peoria.
James Magruder’s Sugarless offers a ruefully entertaining take on the simultaneous struggles of coming-out, coming-of-age, and coming-to-Jesus.
Leyla’s sexual awakening proves far less traumatic than her growing disenchantment with her German classmates and friends, who appear completely indifferent to the fate of her Yazidi community. Thoughtful and poignant, The Summers addresses issues of gender, sexuality, cultural difference, politics, and identity. Othmann draws readers into multiple worlds, ultimately revealing the hopes and dreams that bind us all together when forces threaten to tear us apart.
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