The Contemporary Novel

Cowart presents a study of international historical fiction since World War II, with reflections on the affinities between historical and fictional narrative, analysis of the basic modes of historical fiction, and readings of a number of historical novels, including John Barth’s The Sot-Weed Factor, Marguerite Yourcenar’s Memoirs of Hadrian, Russell Hoban’s Riddley Walker, Margaret Atwood’s The Handmaid’s Tale, Giuseppe Tomasi Di Lampedusa’s The Leopard, D. M. Thomas’s The White Hotel, William Faulkner’s Go Down, Moses, and Umberto Eco’s The Name of the Rose. He proposes recognizing four modes of the historical novel: the past as a "distant mirror" of the present, fictions whose authors seek to pinpoint the precise historical moment when the modern age or some prominent feature of it came into existence, fictions whose authors aspire purely or largely to historical verisimilitude, and fictions whose authors reverse history to contemplate utopia and dystopia in the future. Thus, historical fiction can be organized under the rubrics: The Distant Mirror; The Turning Point; The Way It Was; and The Way It Will Be. This fourfold schema and his focus on postwar novels set Cowart’s work apart from previous studies, which have not devoted adequate space to the contemporary historical novel. Cowart argues that postwar historical fiction merits more extensive treatment because it is the product of an age unique in the annals of history—an age in which history itself may end.

Analysing how contemporary fiction explores climate change, Johns-Putra argues that literature can help us understand our obligations to the future.

I am introducing the kind reader to a sample selection of studies on the contemporary novel. Egyptian, Ghanaian, British, Portuguese, Sudanese, and Canadian, the novels, short stories, and film-adaptation of novels discussed range also from ones grappling with man’s plight in an ever traumatized and traumatizing world to national and international politics, ecocritical issues, critical, cinematic and translational concerns, the anxiety of resistance and coexistence, geocritical horizons, and third-culture parameters. Table of Contents Dedication. Preface. Chapter One: Scatology in the Postcolonial Ghanaian and Egyptian Novel Chapter Two: A Geocritical Reading of Some of Alice Munro’s Short Stories Chapter Three: A Cixousian Reading of Alice Munro’s and Mohja Kahf’s Short Stories Chapter Four: The Anxiety of Resistance and Coexistence in Leila Aboulela’s The Translator. Error! Bookmark not defined. Chapter Five: A Reading of Jose Saramago’s Blindness in the Context of Ecocriticism Chapter Six: The Problematics of Translating Literary Criticism Chapter Seven: The Poetry of Science Writing: the Panacea of the Third Culture in Ian McEwan’s Saturday. Works Cited

A reference guide to critical writings on the works of significant American and British novelists

Nach ihrem großen Roman »London NW« legt Zadie Smith mit dieser brillanten Erzählung nach – ein literarischer Diamant! Jeden Montag beobachtet Fatou einen Federball, der hinter den hohen Mauern der Botschaft von Kambodscha hin und her fliegt – ein scheinbar unendlich andauerndes Match. Fatou ist auf dem Weg zum Schwimmbad, wo sie jeden Montagmorgen ihre Bahnen zieht. Neben den sonntäglichen Treffen mit Andrew Okonkwo, einem bibelfesten Studenten aus Nigeria, ist dies die einzige Stunde in der Woche, die ganz ihr gehört. Den Rest der Woche arbeitet Fatou als Haushälterin bei den Derawals, kauft ein, kocht, putzt und hütet die Kinder. Nein, eine Sklavin ist Fatou nicht. Hin und wieder wird sie geschlagen, und bezahlt wird sie für ihre Arbeit nicht, das Haus aber verlässt sie regelmäßig und ohne um Erlaubnis fragen zu müssen. Fatou ist stoisch, sie geht durchs Leben, wie sie ihre Bahnen im Schwimmbad zieht, und es scheint fast, als würde alles immer so weitergehen – bis Fatou einem der Kinder zufällig das Leben rettet und damit das eingespielte Gleichgewicht der Familie Derawal durcheinanderbringt.Mit »Die Botschaft von Kambodscha« stellt die großartige Zadie Smith einmal mehr unter Beweis, dass es manchmal nur weniger Worte bedarf, um eine große Geschichte zu erzählen. »Dieses prägnante Glanzstück zeigt einmal mehr, warum Zadie Smith im Alter von 38 Jahren zu den kenntnisreichsten, witzigsten, differenziertesten Beobachtern der post-kolonialen Landschaft zählt.« The Star

The 'Marginal' as a concept has become an integral part of the British novel as it stands at the turn of the century. Both popular and literary fiction since the mid-1970s has seen an increasing emphasis on the marginal subject. This study offers readings of a wide range of contemporary British novels that represent characters or communities at the margin of society. Nicola Allen analyses three conceptual categories representing the marginal subject in the contemporary British novel: the character of the misfit or outsider; the emergence of the grotesque; and the rediscovery of previously marginalized narratives such as myth and fantasy. This innovative and original monograph focuses on the contention that the contemporary novel of marginality conveys a belief in the socially transformative powers of narrative, and suggests that narrative has played a central role in bringing marginal politics and marginal issues to the fore in contemporary Britain.

A detailed study of an increasingly popular genre, this book offers readings of a group of significant and representative works, drawing on a range of interpretative strategies to examine the ways in which the contemporary historical novel engages with questions of nation and identity to illuminate Britain's post-imperial condition.

Our global literary field is fluid and exists in a state of constant evolution. Contemporary fiction in French has become a polycentric and transnational field of vibrant and varied experimentation; the collapse of the distinction between 'French' and 'Francophone' literature has opened up French writing to a world of new influences and interactions. In this collection, renowned scholars provide thoughtful close readings of a whole range of genres, from graphic novels to crime fiction to the influence of television and film, to analyse modern French fiction in its historical and sociological context. Allowing students of contemporary French literature and culture to situate specific works within broader trends, the volume provides an engaging, global and timely overview of contemporary fiction writing in French, and demonstrates how our modern literary world is more complex and diverse than ever before.

Images of loss and yearning played a crucial role in literary texts written in the later part of the twentieth century. Despite deep cultural differences, novelists from Africa, the Caribbean, Great Britain, and the United States share a sense that the economic, social, and political forces associated with late modernity have evoked widespread nostalgia within the communities in which they write. In this original and wide-ranging study, John J. Su explores the relationship between nostalgia and ethics in novels across the English-speaking world. He challenges the tendency in literary studies to characterise memory as positive and nostalgia as necessarily negative. Instead, this book argues that nostalgic fantasies are crucial to the ethical visions presented by topical novels. From Jean Rhys to Wole Soyinka and from V. S. Naipaul to Toni Morrison, Su identifies nostalgia as a central concern in the twentieth-century novel.

This collection of essays offers a comparative perspective on different forms of representation of social hybridity in contemporary novels through various cultural and linguistic lenses. It explores the various subcategories of their interdependent relationships, including power and domination between hegemony and marginality. The book revolves around five axes: namely, writing strategies and reterritorialization; marginality and intermediary spaces; revisited urban spaces; when periphery becomes center; and the modality of confrontation and construction of identity. It focuses on the identification and classification of spaces in order to understand their function in relation to the thematic strategy of the novel. Its main objective is identifying the textual representation of the challenge of center and periphery, as well as these concepts’ role and significance in diegesis. Thus, new light is shed on the subject and on the contemporary novel as a whole.

This book focuses on how readers can be 'manipulated' during their experience of reading fictional texts and how they are incited to perceive, process and interpret certain textual patterns. Offering fine-grained stylistic analysis of diverse genres, including crime fiction, short stories, poetry and novels, the book deciphers various linguistic, pragmatic and multimodal techniques. These are skilfully used by authors to achieve specific effects through a subtle manipulation of deixis, metalepsis, dialogue, metaphors, endings, inferences or rhetorical, narratorial and typographical control. Exploring contemporary texts such as The French Lieutenant's Woman, The Remains of the Day and We Need to Talk About Kevin, chapters delve into how readers are pragmatically positioned or cognitively (mis)directed as the author guides their attention and influences their judgment. They also show how readers' responses can, conversely, bring about a certain form of manipulation as readers challenge the positions the texts invite them to occupy.

For generations, southern novelists and critics have grappled with a concept that is widely seen as a trademark of their literature: a strong attachment to geography, or a "sense of place." In the 1930s, the Agrarians accorded special meaning to rural life, particularly the farm, in their definitions of southern identity. For them, the South seemed an organic and rooted region in contrast to the North, where real estate development and urban sprawl evoked a faceless, raw capitalism. By the end of the twentieth century, however, economic and social forces had converged to create a modernized South. How have writers responded to this phenomenon? Is there still a sense of place in the South, or perhaps a distinctly postsouthern sense of place? Martyn Bone innovatively draws upon postmodern thinking to consider the various perspectives that southern writers have brought to the concept of "place" and to look at its fate in a national and global context. He begins with a revisionist assessment of the Agrarians, who failed in their attempts to turn their proprietary ideal of the small farm into actual policy but whose broader rural aesthetic lived on in the work of neo-Agrarian writers, including William Faulkner and Eudora Welty. By the 1950s, adherence to this aesthetic was causing southern writers and critics to lose sight of the social reality of a changing South. Bone turns to more recent works that do respond to the impact of capitalist spatial development on the South -- and on the nation generally -- including that self-declared "international city" Atlanta. Close readings of novels by Robert Penn Warren, Walker Percy, Richard Ford, Anne Rivers Siddons, Tom Wolfe, and Toni Cade Bambara illuminate evolving ideas about capital, land, labor, and class while introducing southern literary studies into wider debates around social, cultural, and literary geography. Bone concludes his remarkably rich book by considering works of Harry Crews and Barbara Kingsolver that suggest the southern sense of place may be not only post-Agrarian or postsouthern but also transnational.

Davis and Womack investigate the emerging gaps between literary scholarship and the reading experience. The idea of reconciling the void - the locus of our sociocultural disillusionment and despair in an uncertain world - concerns explicit artistic attempts to represent the ways in which human beings seek out meaning, hope and community.

The conviction that the development and promotion of the arts, humanities and culture through the study of literature and the aesthetic are the fundamental constituents of any progress in society is at the heart of this volume. The essays gathered here explore the role of the imagination and aesthetic awareness in an age when the corporatization of knowledge is in the process of transforming literary studies, and political commitment is in danger of disappearing behind a supposedly post-ideological late-capitalist consensus. The main focus of the volume is the mutual implication of aesthetics and ideology and the status and value of different types of art within the political arena. Challenging issues in contemporary aesthetics are examined within the wider framework of current debates on the disappearance of the real, the crisis in representation, and the use of new media. The wide range of examples collected here, stretching from experimental poetry in post-war Germany, political commitment in twentieth-century French theatre, and countercultural Rumanian theatre under Ceaușescu, to Neo-Victorian fiction, Verbatim theatre in the UK, and political theatre for the masses in Estonia, vouchsafe unique insights into the intersection of aesthetics and ideology and the practical consequences thereof. As such, the volume opens up a space for a meaningful engagement with authentic forms of art from inside and outside the Anglosphere, and, ultimately, uses these examples as a platform from which to imagine some form of “aesthethics”, representing an ideal union of aesthetics and ideology. This concept, first coined by the French philosopher Philippe Lacoue-Labarthe, will prove to be relevant both within the parameters of the examples discussed here, but also beyond, for the contributors to this volume are unanimous in refusing to believe that aesthetics and ideology can exist one without the other, and in recognizing the centrality of ethics in any discussion of these notions.

Representing Vulnerabilities in Contemporary Literature includes a collection of essays exploring the ways in which recent literary representations of vulnerability may problematize its visibilization from an ethical and aesthetic perspective. Recent technological and scientific developments have accentuated human vulnerability in many and different ways at a cross-national, and even cross-species level. Disability, technological, and ecological vulnerabilities are new foci of interest that add up to gender, precarity and trauma, among others, as forms of vulnerability in this volume. The literary visualization of these vulnerabilities might help raise social awareness of one’s own vulnerabilities as well as those of others so as to bring about global solidarity based on affinity and affect. However, the literary representation of forms of vulnerability might also deepen stigmatization phenomena and trivialize the spectacularization of vulnerability by blunting readers’ affective response towards those products that strive to hold their attention and interest in an information-saturated, global entertainment market.

Psychoanalytic Perspectives on Women and Power in Contemporary Fiction psychoanalytically examines contemporary fiction portraying the female in a reversal of the stereotyped victim role. The recent popularity of powerful female characters suggests that literature is ahead in its understanding the desires, fantasies and unconscious emotions of the public. This book explores a form of intimacy frequently observed in consulting rooms and in life in general: malicious intimacy. Specific to the conjugal bond, it is a type of intimacy connected to the relationship between the two halves of the couple that is extremely powerful and painful. Instead of clinical cases, Rossella Valdré examines four contemporary and widely successful novels, published contemporaneously, which capture perfectly this type of psychopathological universe. Valdré then maps out psychoanalytic hypotheses regarding the persistency of these malicious intimacies. Through analysis of these examples, Valdrè investigates the roots and hypotheses of a new scenario on victim-executioner roles played out in the intimacy of the couple. Exploring how and if the contemporary couple is undergoing profound changes, she provides an overview of the various deep-seated psychological mechanisms and unconscious dynamics that may be at work. The book explores the need to not be dependant upon a love object as an extreme defence against abandonment or self-collapse. Valdrè argues that such a configuration is very common, and that Idealization in contemporary life is one of the reasons behind the most of sufferance in modern couples, something which psychoanalysis can examine through art. Women, perhaps, after emancipation, are living overturned roles and paying a higher cost as a result. Psychoanalytic Perspectives on Women and Power in Contemporary Fiction will appeal to psychoanalysts and psychoanalytic psychotherapists, and be of interest to scholars and students of literature, gender studies, philosophy and sociology.