A glorious collection that delves deep into the inception, influences, and literary and historical underpinnings of nearly 100 of our most beloved fictional realms. Literary Wonderlands is a thoroughly researched, wonderfully written, and beautifully produced book that spans four thousand years of creative endeavor. From Spenser's The Fairie Queene to Wells's The Time Machine to Murakami's 1Q84 it explores the timeless and captivating features of fiction's imagined worlds including the relevance of the writer's own life to the creation of the story, influential contemporary events and philosophies, and the meaning that can be extracted from the details of the work. Each piece includes a detailed overview of the plot and a "Dramatis Personae." Literary Wonderlands is a fascinating read for lovers of literature, fantasy, and science fiction. Laura Miller is the book's general editor. Co-founder of Salon.com, where she worked as an editor and writer for 20 years, she is currently a books and culture columnist at Slate. A journalist and a critic, her work has appeared in the New Yorker, Harper's, the Guardian, and the New York Times Book Review, where she wrote the "Last Word" column for two years. She is the author of The Magician's Book: A Skeptic's Adventures in Narnia and editor of the Salon.com Reader's Guide to Contemporary Authors.
Winner, 2018 Aldo and Jeanne Scaglione Prize for Studies in Germanic Languages and Literatures, Modern Language Association Winner, 2018 German Studies Association DAAD Book Prize in Germanistik and Cultural Studies. From the current vantage point of the transformation of books and libraries, B. Venkat Mani presents a historical account of world literature. By locating translation, publication, and circulation along routes of “bibliomigrancy”—the physical and virtual movement of books—Mani narrates how world literature is coded and recoded as literary works find new homes on faraway bookshelves. Mani argues that the proliferation of world literature in a society is the function of a nation’s relationship with print culture—a Faustian pact with books. Moving from early Orientalist collections, to the Nazi magazine Weltliteratur, to the European Digital Library, Mani reveals the political foundations for a history of world literature that is at once a philosophical ideal, a process of exchange, a mode of reading, and a system of classification. Shifting current scholarship’s focus from the academic to the general reader, from the university to the public sphere, Recoding World Literature argues that world literature is culturally determined, historically conditioned, and politically charged.
The publishing industry in France in the years before the Revolution was a lively and sometimes rough-and-tumble affair, as publishers and printers scrambled to deal with (and if possible evade) shifting censorship laws and tax regulations, in order to cater to a reading public's appetite for books of all kinds, from the famous Encyclop die, repository of reason and knowledge, to scandal-mongering libel and pornography. Historian and librarian Robert Darnton uses his exclusive access to a trove of documents-letters and documents from authors, publishers, printers, paper millers, type founders, ink manufacturers, smugglers, wagon drivers, warehousemen, and accountants-involving a publishing house in the Swiss town of Neuchatel to bring this world to life. Like other places on the periphery of France, Switzerland was a hotbed of piracy, carefully monitoring the demand for certain kinds of books and finding ways of fulfilling it. Focusing in particular on the diary of Jean-Fran ois Favarger, a traveling sales rep for a Swiss firm whose 1778 voyage, on horseback and on foot, around France to visit bookstores and renew accounts forms the spine of this story, Darnton reveals not only how the industry worked and which titles were in greatest demand, but the human scale of its operations. A Literary Tour de France is literally that. Darnton captures the hustle, picaresque comedy, and occasional risk of Favarger's travels in the service of books, and in the process offers an engaging, immersive, and unforgettable narrative of book culture at a critical moment in France's history.
When Orhan Pamuk won the Nobel Prize for Literature in 2006, he was honored as a builder of bridges across a dangerous chasm. By rendering his Turkish characters and settings familiar where they would otherwise seem troublingly foreign, and by speaking freely against his authoritarian state, he demonstrated a variety of literary greatness that testified also to the good literature can do in the world. Gloria Fisk challenges this standard for canonization as “world literature” by showing how poorly it applies to Pamuk. Reading the Turkish novelist as a case study in the ways Western readers expand their reach, Fisk traces the terms of his engagement with a literary market dominated by the tastes of its Anglophone publics, who received him as a balm for their anxieties about Islamic terrorism and the stratifications of global capitalism. Fisk reads Pamuk’s post-9/11 novels as they circulated through this audience, as rich in cultural capital as it is far-flung, in the American English that is global capital’s lingua franca. She launches a polemic against Anglophone readers’ instrumental use of literature as a source of crosscultural understanding, contending that this pervasive way of reading across all manner of borders limits the globality it announces, because it serves the interests of the Western cultural and educational institutions that produce it. Orhan Pamuk and the Good of World Literature proposes a new way to think about the uneven processes of translation, circulation, and judgment that carry contemporary literature to its readers, wherever they live.
This volume traces the ways in which Heidegger’s philosophical thinking has been taken up, critically re-appropriated, and disseminated in literary and poetic writing since the middle of the 20th century.
Humanism has mostly considered the question “What does it mean to be human?” from a Western perspective. Dabashi asks it anew from a non-European perspective, in a groundbreaking study of 1,400 years of Persian literary humanism. He presents the unfolding of this vast tradition as the creative and subversive subconscious of Islamic civilization.
A Good Morning America Buzz Pick, and A Most Anticipated Book of 2022 by BuzzFeed, The Millions, Goodreads, Bustle, BookRiot, and The Nerd Daily "If you’ve ever felt tempted to ‘keep tabs on’ a partner’s ex on Instagram and then found yourself down a rabbit hole of their vacation posts from three years ago, this debut novel—which follows a 24-year-old New Yorker named Naomi who becomes obsessed with her boyfriend’s former girlfriend—is for you."—Vogue, “Best New Beach Reads” Twenty-four-year-old New York bookseller Naomi Ackerman is desperate to write a novel, but struggles to find a story to tell. When, after countless disastrous dates, she meets Caleb—a perfectly nice guy with a Welsh accent and a unique patience for all her quirks—she thinks she's finally stumbled onto a time-honored subject: love. Then Caleb's ex-girlfriend, Rosemary, enters the scene. Upon learning that Rosemary is not safely tucked away in Caleb’s homeland overseas, but in fact lives in New York and also works in the literary world, Naomi is threatened and intrigued in equal measure. If they both fell for the same man, what else might they have in common? The more Naomi learns about Rosemary, the more her curiosity consumes her. Before she knows it, her casual Instagram stalking morphs into a friendship under false pretenses—and becomes the subject of her nascent novel. As her lies and half-truths spiral out of control, and fact and fiction become increasingly difficult to untangle, Naomi must decide what—and who—she’s willing to sacrifice to write the perfect ending.