Often identified with its lyric poetry, Romanticism has come to be dismissed by historicists as an ineffectual idealism. By focusing on Romantic narrative, noted humanist Tilottama Rajan takes issue with this identification, as well as with the equation of narrative itself with the governmental apparatus of the Novel. Exploring the role of narrativity in the works of Romantic writers, Rajan also reflects on larger disciplinary issues such as the role of poetry versus prose in an emergent modernity and the place of Romanticism itself in a Victorianized nineteenth century. While engaging both genres, Romantic Narrative responds to the current critical shift from poetry to prose by concentrating, paradoxically, on a poetics of narrative in Romantic prose fiction. Rajan argues that poiesis, as a mode of thinking, is Romanticism’s legacy to an age of prose. She elucidates this thesis through careful readings of Shelley’s Alastor and his Gothic novels, Godwin’s Caleb Williams and St. Leon, Hays’ Memoirs of Emma Courtney, and Wollstonecraft’s The Wrongs of Woman. Rajan, winner of the Keats-Shelley Association's Distinguished Lifetime Award and a fellow of the Royal Society of Canada, is one of Romanticism’s leading scholars. Effective, articulate, and readable, Romantic Narrative will appeal to scholars in both nineteenth-century studies and narrative theory.
What makes a romance novel a romance? How do you write a kissing book?Writing a well-structured romance isn't the same as writing any other genre-something the popular novel and screenwriting guides don't address. The romance arc is made up of its own story beats, and the external plot and theme need to be braided to the romance arc-not the other way around.Told in conversational (and often irreverent) prose, Romancing the Beat can be read like you are sitting down to coffee with romance editor and author Gwen Hayes while she explains story structure. The way she does with her clients. Some of whom are regular inhabitants of the New York Times and USA Today bestseller lists.Romancing the Beat is a recipe, not a rigid system. The beats don't care if you plot or outline before you write, or if you pants your way through the drafts and do a "beat check" when you're revising. Pantsers and plotters are both welcome. So sit down, grab a cuppa, and let's talk about kissing books.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding truths by which to define the permanent meaning of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of irony as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the Old and New Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
Inspired by her beloved blog, dinneralovestory.com, Jenny Rosenstrach’s Dinner: A Love Story is many wonderful things: a memoir, a love story, a practical how-to guide for strengthening family bonds by making the most of dinnertime, and a compendium of magnificent, palate-pleasing recipes. Fans of “Pioneer Woman” Ree Drummond, Jessica Seinfeld, Amanda Hesser, Real Simple, and former readers of Cookie magazine will revel in these delectable dishes, and in the unforgettable story of Jenny’s transformation from enthusiastic kitchen novice to family dinnertime doyenne.
Get the Knowledge Without the College! You are a writer. You dream of sharing your words with the world, and you're willing to put in the hard work to achieve success. You may have even considered earning your MFA, but for whatever reason--tuition costs, the time commitment, or other responsibilities--you've never been able to do it. Or maybe you've been looking for a self-guided approach so you don't have to go back to school. This book is for you. DIY MFA is the do-it-yourself alternative to a Master of Fine Arts in creative writing. By combining the three main components of a traditional MFA--writing, reading, and community--it teaches you how to craft compelling stories, engage your readers, and publish your work. Inside you'll learn how to: • Set customized goals for writing and learning. • Generate ideas on demand. • Outline your book from beginning to end. • Breathe life into your characters. • Master point of view, voice, dialogue, and more. • Read with a "writer's eye" to emulate the techniques of others. • Network like a pro, get the most out of writing workshops, and submit your work successfully. Writing belongs to everyone--not only those who earn a degree. With DIY MFA, you can take charge of your writing, produce high-quality work, get published, and build a writing career.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding “truths” by which to define the permanent “meaning” of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series’ total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism’s own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
Stonewall Honor Book * A Time Magazine Best YA Book of All Time "A book for warriors, divas, artists, queens, individuals, activists, trend setters, and anyone searching for the courage to be themselves.”—Mackenzi Lee, New York Times bestselling author of The Gentleman’s Guide to Vice and Virtue It’s 1989 in New York City, and for three teens, the world is changing. Reza is an Iranian boy who has just moved to the city with his mother to live with his stepfather and stepbrother. He’s terrified that someone will guess the truth he can barely acknowledge about himself. Reza knows he’s gay, but all he knows of gay life are the media’s images of men dying of AIDS. Judy is an aspiring fashion designer who worships her uncle Stephen, a gay man with AIDS who devotes his time to activism as a member of ACT UP. Judy has never imagined finding romance...until she falls for Reza and they start dating. Art is Judy’s best friend, their school’s only out and proud teen. He’ll never be who his conservative parents want him to be, so he rebels by documenting the AIDS crisis through his photographs. As Reza and Art grow closer, Reza struggles to find a way out of his deception that won’t break Judy’s heart—and destroy the most meaningful friendship he’s ever known. This is a bighearted, sprawling epic about friendship and love and the revolutionary act of living life to the fullest in the face of impossible odds.
ONE OF THE MOST LOVED NOVELS OF THE DECADE. A long-lost book reappears, mysteriously connecting an old man searching for his son and a girl seeking a cure for her widowed mother's loneliness. Leo Gursky taps his radiator each evening to let his upstairs neighbor know he’s still alive. But it wasn’t always like this: in the Polish village of his youth, he fell in love and wrote a book…Sixty years later and half a world away, fourteen-year-old Alma, who was named after a character in that book, undertakes an adventure to find her namesake and save her family. With virtuosic skill and soaring imaginative power, Nicole Krauss gradually draws these stories together toward a climax of "extraordinary depth and beauty" (Newsday).
Marton first spent time in Paris during college in 1968, when France was in revolt; as a young student she was inspired by researching the history of her survivalist family who had escaped from communist Hungary to France. Ten years later, Paris was the setting for her big career break as ABC bureau chief, as well as where she found passionate love with Peter Jennings, the man to whom she was married for 15 years and had two children. It was again in Paris, years later, where she found enduring love with her husband, Ambassador Richard Holbrooke. And it was to Paris where Kati returned in order to rebuild her spirit in the wake of Richard's death. Kati Marton's newest memoir is a candid exploration of many kinds of love, as well as a love letter to the city of Paris itself.
The Greek romance was for the Roman period what epic was for the Archaic period or drama for the Classical: the central literary vehicle for articulating ideas about the relationship between self and community. This book offers a reading of the romance both as a distinctive narrative form (using a range of narrative theories) and as a paradigmatic expression of identity (social, sexual and cultural). At the same time it emphasises the elasticity of romance narrative and its ability to accommodate both conservative and transformative models of identity. This elasticity manifests itself partly in the variation in practice between different romancers, some of whom are traditionally Hellenocentric while others are more challenging. Ultimately, however, it is argued that it reflects a tension in all romance narrative, which characteristically balances centrifugal against centripetal dynamics. This book will interest classicists, historians of the novel and students of narrative theory.
