A much-needed introduction to the field of contemporary fiction studies. Introduces key areas of debate and offers in-depth discussions of the most significant texts. An ideal guide for those studying contemporary fiction for the first time.
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.
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.
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.
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.
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
This lively new volume of essays examines what happens now in 21st century fiction. Fresh theoretical approaches to writers such as Salman Rushdie, David Peace, Margaret Atwood, and Hilary Mantel, and identifications of 21st-century themes, tropes and styles combine to produce a timely critical intervention into genuinely contemporary fiction.
Traditional apocalyptic texts concern the advent of a better world at the end of history that will make sense of everything that happened before. But what is at stake in the contemporary shift to apocalyptic narratives in which the utopian end of time is removed? The Contemporary Post-Apocalyptic Novel offers an innovative critical model for our cultural obsession with 'the end' by focussing on the significance of time in the 21st-century post-apocalyptic novel and challenging traditional apocalyptic logic. Once confined to the genre of science fiction, the increasing popularity of end-of-the-world narratives has caused apocalyptic writing to feature in the work of some of contemporary literature's most well-known fiction writers. Considering novels by Will Self, Cormac McCarthy, David Mitchell, Emily St. John Mandel, Jeanette Winterson and others, Diletta De Cristofaro frames the contemporary apocalyptic imagination as a critique of modernity's apocalyptic conception of time and history. Interdisciplinary in scope, the book historicises apocalyptic beliefs by exploring how relentlessly they have shaped the modern world.
Masculinity in Contemporary New York Fiction is an interdisciplinary study that presents masculinity as a key thematic concern in contemporary New York fiction. This study argues that New York authors do not simply depict masculinity as a social and historical construction but seek to challenge the archetypal ideals of masculinity by writing counter-hegemonic narratives. Gendering canonical New York writers, namely Paul Auster, Bret Easton Ellis, and Don DeLillo, illustrates how explorations of masculinity are tied into the principal themes that have defined the American novel from its very beginning. The themes that feature in this study include the role of the novel in American society; the individual and (urban) society; the journey from innocence to awareness (of masculinity); the archetypal image of the absent and/or patriarchal father; the impact of homosocial relations on the everyday performance of masculinity; male sexuality; and the male individual and globalization. What connects these contemporary New York writers is their employment of the one of the great figures in the history of literature: the flâneur. These authors take the flâneur from the shadows of the Manhattan streets and elevate this figure to the role of self-reflexive agent of male subjectivity through which they write counter-hegemonic narratives of masculinity. This book is an essential reference for those with an interest in gender studies and contemporary American fiction.