First published in 1975, this study is concerned with the representation of non-European people in English popular fiction in the period from 1858-1920. It examines the developments in thinking about people across the world and shows how they affected writers’ views of evolution, race, heredity and of the life of the so-called ‘primitive’ man. This book will be of interest to those studying 19th century literature.
The Savage and Modern Self examines the representations of North American "Indians" in novels, poetry, plays, and material culture from eighteenth-century Britain. Author Robbie Richardson argues that depictions of "Indians" in British literature were used to critique and articulate evolving ideas about consumerism, colonialism, "Britishness," and, ultimately, the "modern self" over the course of the century. Considering the ways in which British writers represented contact between Britons and "Indians," both at home and abroad, the author shows how these sites of contact moved from a self-affirmation of British authority earlier in the century, to a mutual corruption, to a desire to appropriate perceived traits of "Indianess." Looking at texts exclusively produced in Britain, The Savage and Modern Self reveals that "the modern" finds definition through imagined scenes of cultural contact. By the end of the century, Richardson concludes, the hybrid Indian-Brition emerging in literature and visual culture exemplifies a form of modern, British masculinity.
"In this study, the myth of the Noble Savage is a different myth from the one defended or debunked by others over the years. That the concept of the Noble Savage was first invented by Rousseau in the mid-eighteenth century in order to glorify the "natural" life is easily refuted ..."
Savage Holiday, first published in 1954 by noted American author Richard Wright, is a tense, well-written psychological thriller about Erskine Fowler, an insurance executive forced into early retirement, who, over the course of a bizarre weekend, is responsible for the accidental death of his neighbor’s young son. Tragic consequences follow as Fowler attempts to redeem himself and is forced to question his own life, as events spiral out-of-control to their inevitable conclusion.
The Savage Detectives elicits mixed feelings. An instant classic in the Spanish-speaking world upon its 1998 publication, a critical and commercial smash on its 2007 translation into English, Roberto Bolaño’s novel has also been called an exercise in 1970s nostalgia, an escapist fantasy of a romanticized Latin America, and a publicity event propped up by the myth of the bad-boy artist. David Kurnick argues that the controversies surrounding Bolaño’s life and work have obscured his achievements—and that The Savage Detectives is still underappreciated for the subtlety and vitality of its portrait of collective life. Kurnick explores The Savage Detectives as an epic of social structure and its decomposition, a novel that restlessly moves between the big configurations—of states, continents, and generations—and the everyday stuff—parties, jobs, moods, sex, conversation—of which they’re made. For Kurnick, Bolaño’s book is a necromantic invocation of life in history, one that demands surrender as much as analysis. Kurnick alternates literary-critical arguments with explorations of the novel’s microclimates and neighborhoods—the little atmospheric zones where some of Bolaño’s most interesting rethinking of sexuality, politics, and literature takes place. He also claims that The Savage Detectives holds particular interest for U.S. readers: not because it panders to them but because it heralds the exhilarating prospect of a world in which American culture has lost its presumptive centrality.
The voices of Tusiata Avia are infinite. She ranges from vulnerable to forbidding to celebratory with forms including pantoums, prayers and invocations. And in this electrifying new work, she gathers all the power of her voice to speak directly into histories of violence.Avia addresses James Cook in fury. She unravels the 2019 Christchurch massacre, walking us back to the beginning. She describes the contortions we make to avoid blame. And she locates the many voices that offer hope. The Savage Coloniser Book is a personal and political reckoning. As it holds history accountable, it rises in power.
Two lonely teenage girls in 1940s Washington, DC, discover they have a penchant for solving crimes—and an even greater desire to commit them—in the new mystery novel by Macavity Award-winning novelist John Copenhaver. Philippa Watson, a good-natured yet troubled seventeen-year-old, has just moved to Washington, DC. She’s lonely until she meets Judy Peabody, a brilliant and tempestuous classmate. The girls become unlikely friends and fashion themselves as intellectuals, drawing the notice of Christine Martins, their dazzling English teacher, who enthralls them with her passion for literature and her love of noirish detective fiction. When Philippa returns a novel Miss Martins has lent her, she interrupts a man grappling with her in the shadows. Frightened, Philippa flees, unsure who the man is or what she’s seen. Days later, her teacher returns to school altered: a dark shell of herself. On the heels of her teacher’s transformation, a classmate is found dead in the Anacostia River—murdered—the body stripped and defiled with a mysterious inscription. As the girls follow the clues and wrestle with newfound feelings toward each other, they suspect that the killer is closer to their circle than they imagined—and that the greatest threat they face may not be lurking in the halls at school, or in the city streets, but creeping out from a murderous impulse of their own.
A boy tells about a story he wrote when dealing with his father's death about a savage kid living in a ruined chapel in the woods--and the tale about the savage kid coming to life in the real world.
“Savage Conversations takes place somewhere in between its sources, between sanity and madness, between then and now, between the living and the dead. It pushes past the limitations of textual sources for telling indigenous history and accounts of insanity.” —Barrelhouse Reviews May 1875: Mary Todd Lincoln is addicted to opiates and tried in a Chicago court on charges of insanity. Entered into evidence is Ms. Lincoln’s claim that every night a Savage Indian enters her bedroom and slashes her face and scalp. She is swiftly committed to Bellevue Place Sanitarium. Her hauntings may be a reminder that in 1862, President Lincoln ordered the hanging of thirty-eight Dakotas in the largest mass execution in United States history. No one has ever linked the two events—until now. Savage Conversations is a daring account of a former first lady and the ghosts that tormented her for the contradictions and crimes on which this nation is founded.
“Take my word for it, James Reece is one rowdy motherf***er. Get ready!”—Chris Pratt, star of the #1 Amazon Prime series The Terminal List “A rare gut-punch writer, full of grit and insight, who we will be happily reading for years to come.” —Gregg Hurwitz, New York Times bestselling author of the Orphan X series? In this third high-octane thriller in the “seriously good” (Lee Child, #1 New York Times bestselling author) Terminal List series, former Navy SEAL James Reece must infiltrate the Russian mafia and turn the hunters into the hunted. Deep in the wilds of Siberia, a woman is on the run, pursued by a man harboring secrets—a man intent on killing her. A traitorous CIA officer has found refuge with the Russian mafia with designs on ensuring a certain former Navy SEAL sniper is put in the ground. Half a world away, James Reece is recovering from brain surgery in the Montana wilderness, slowly putting his life back together with the help of investigative journalist Katie Buranek and his longtime friend and SEAL teammate Raife Hastings. Unbeknownst to them, the Russian mafia has set their sights on Reece in a deadly game of cat and mouse. As Jack Carr’s most visceral and heart-pounding thriller yet, Savage Son explores the darkest instincts of humanity through the eyes of a man who has seen both the best and the worst of it.
