"A companion to The Human Country: New and Collected Stories, this volume contains all of Harry Mathews's nonfiction. These astonishing essays cover a wide range of literary topics, including discussion of complex musical forms and Oulipian techniques, to insightful commentaries on the works of Lewis Carroll, Raymond Roussel, Italo Calvino, Joseph McElroy, and Georges Perec. Throughout the collection Mathews examines the relationship between form and literature in a lucid, intimate voice, arguing with intelligence, grace, and humor for the importance of artifice."--Publisher's description.
The impact of the Oulipo (Ouvroir de Littérature Potentielle), one of the most important groups of experimental writers of the late twentieth century, is still being felt in contemporary literature, criticism, and theory, both in Europe and the US. Founded in 1960 and still active today, this Parisian literary workshop has featured among its members such notable writers as Italo Calvino, Georges Perec, and Raymond Queneau, all sharing in its light-hearted, slightly boozy bonhomie, the convivial antithesis of the fractious, volatile coteries of the early twentieth-century avant-garde. For the last fifty years the Oulipo has undertaken the same simple goal: to investigate the potential of 'constraints' in the production of literature—that is, formal procedures such as anagrams, acrostics, lipograms (texts which exclude a certain letter), and other strange and complex devices. Yet, far from being mere parlour games, these methods have been frequently used as part of a passionate—though sometimes satirical—involvement with the major intellectual currents of the mid-twentieth century. Structuralism, psychoanalysis, Surrealism, analytic philosophy: all come under discussion in the group's meetings, and all find their way in the group's exercises in ways that, while often ironic, are also highly informed. Using meeting minutes, correspondence, and other material from the Oulipo archive at the Bibliothèque nationale de France, The Oulipo and Modern Thought shows how the group have used constrained writing as means of puckish engagement with the debates of their peers, and how, as the broader intellectual landscape altered, so too would the group's conception of what constrained writing can achieve.
A Kind of Testament is part autobiography and part justification of the life's work of one of Poland's most important novelists and playwrights. Written in France in 1968, this personal testimony is more than just a life history or a critique of his work. A Kind of Testament stands as a testament to how Gombrowicz came to be the person and writer that he was and overlap between the two.
From Moby-Dick to The Unnamable, from A Tale of a Tub to The Book of Questions, Bruce Kawin explores the nature of self-conscious fiction and compares its structure to that of human consciousness. Focusing on texts that confront their own limits by trying to name the unnamable, the ineffable self, Kawin draws on methods from literary criticism to systems theory to explain a variety of first-person works that "dance around the ungraspable subject."
A modern-day Don Quixote and an exile in his own hometown, the protagonist of Teeth Under the Sun is kept from writing by a conspiracy (real? imagined?) designed to prevent him from revealing the truth about the town's strange status quo and violent past.In a place where people have abandoned their houses for tiny apartments in the confines of new high-rises, the narrator walks the almost empty streets, remembering better times and meeting figures from his past: his ex-wife, his son, writers, friends, and revolutionaries. And all of this is interspersed with his memories of the movies Fact and fiction, past and present, all meet in this story of the narrator's attempts to engage more fully with a modern world forcing him into isolation.
In this darkly playful novel, polymath ReneÌ Belletto tells two complimentary stories: In one, a man finds himself paying a ransom demanded by the kidnappers of a woman he’s never actually met; in the other, a second man makes plans to fake his own death to escape a woman whose devotion has begun to terrify him. Fast, funny, and sarcastic, partaking of the same vocabularies, imagery, and pitch-black sense of humor, these two variations on a single theme form a novel as much at home in the surreal as in everyday reality. from Dying: “One evening, shortly before my departure (just hours before my departure, truth be told: I only set aside my quill to make my escape), I resolved to put the story of my sojourn at the Rats and Vermin Hotel down in writing. Alas, I didn’t succeed. I learned that I wasn’t master of my own hand. It was stronger than I, yes stronger than I . . .”
The narrator of this stark and elegantly translated novel is a psychiatrist named Antnio Lobo Antunes, returning from vacation to his loathed job at Miguel Bombarda Hospital in Lisbon. Over the course of the trip, the narrator's mind ranges over the monstrosities he encountered in the colonial wars in Angola in the 1970s and in his work; through the layering of memories, he draws parallels between the destruction of the war and the questionable care offered to the mentally ill.
Just as the explosive growth of digital media has led to ever-expanding narrative possibilities and practices, so these new electronic modes of storytelling have, in their own turn, demanded a rapid and radical rethinking of narrative theory. This timely volume takes up the challenge, deeply and broadly considering the relationship between digital technology and narrative theory in the face of the changing landscape of computer-mediated communication. New Narratives reflects the diversity of its subject by bringing together some of the foremost practitioners and theorists of digital narratives. It extends the range of digital subgenres examined by narrative theorists to include forms that have become increasingly prominent, new examples of experimental hypertext, and contemporary video games. The collection also explicitly draws connections between the development of narrative theory, technological innovation, and the use of narratives in particular social and cultural contexts. Finally, New Narratives focuses on how the tools provided by new technologies may be harnessed to provide new ways of both producing and theorizing narrative. Truly interdisciplinary, the book offers broad coverage of contemporary narrative theory, including frameworks that draw from classical and postclassical narratology, linguistics, and media studies.
Overeducated, unemployed, recently dumped, and depressed, the 38-year-old nameless narrator is a familiar American character, except she's Finnish. It is the 1980s, her married Russian lover has recently left her, and the narrator compulsively writes in her journal as she tries to put her life back together. Obsessed with omens, astrology, dreams, fortune-tellers, and other objects of the paranormal, the narrator is both funny and morose.
"Spanning two world wars and anticipating a catastrophic future, Louis Paul Boon captures the history of the twentieth century by exploring the twisted, corrupt lives of the inhabitants of one small town - a microcosm for the changing world."--BOOK JACKET.
