Publisher: Macmillan International Higher Education
Category: Literary Criticism
A collection of interviews with leading writers such as Julian Barnes, Jonathan Coe, Kazuo Ishiguro, Hanif Kureishi, Arundhati Roy and Will Self. Through these interviews the book explores and introduces a range of key themes in contemporary literature, raising questions about genre, history, postmodernism, celebrity culture and form.
The Indian English Novel of the New Millennium is a book of sixteen pieces of scholarly critique on recent Indian novels written in the English language; some on specific literary trends in fictional writing and others on individual texts published in the twenty-first century by contemporary Indian novelists such as Amitav Ghosh, Kiran Desai, Aravind Adiga, K. N. Daruwalla, Upamanyu Chatterjee, David Davidar, Esterine Kire Iralu, Siddharth Chowdhury and Chetan Bhagat. The volume focuses closely on the defining features of the different emerging forms of the Indian English novel, such as narratives of female subjectivity, crime fiction, terror novels, science fiction, campus novels, animal novels, graphic novels, disability texts, LGBT voices, dalit writing, slumdog narratives, eco-narratives, narratives of myth and fantasy, philosophical novels, historical novels, postcolonial and multicultural narratives, and Diaspora novels. A select bibliography of recent Indian English novels from 2001–2013 has been given especially for the convenience of the researchers. The book will be of great interest and benefit to college and university students and teachers of Indian English literature.
Crime fiction written by women in Spain and Latin America since the late 1980s has been successful in shifting attention to crimes often overlooked by their male counterparts, such as rape and sexual battery, domestic violence, child pornography, pederasty, and incest. In the twenty-first century, social, economic, and political issues, including institutional corruption, class inequality, criminalized oppression of immigrant women, crass capitalist market forces, and mediatized political and religious bodies, have at their core a gendered dimension. The conventions of the original noir, or novela negra, genre have evolved, such that some women authors challenge the noir formulas by foregrounding gender concerns while others imagine new models of crime fiction that depart drastically from the old paradigms. This volume, highlighting such evolution in the crime fiction genre, will be of interest to students, teachers, and scholars of crime fiction in Latin America and Spain, to those interested in crime fiction by women, and to readers familiar with the sub-genres of crime fiction, which include noir, the thriller, the police procedural, and the “cozy” novel.
Women and Gender in Chinese Martial Arts Films of the New Millennium, by Ya-chen Chen, examines underexposed gender issues in more recent films, focusing on the contradictory feminism in the film narratives. Through the lens of Chinese martial arts films, Chen delves into "Chinese cinematic martial arts feminism," highlighting the glass ceiling which marks the maximal exercise of feminism which the patriarchal order is willing to accept.
With aggravating global realignments, the dynamics and contradictions of a world (risk) society are looming ahead in the unfolding Third Millennium while globalization is gaining further steam. To this bears witness a potpourri of often frightening geopolitical, social, cultural, economic, demographic, ecological and other changes and challenges that gives substantial cause for concern about getting lost in a 'trans-whatever' sea of turmoil, uncertainty and indeterminateness. The resultant current backlash or rather renewed interest in the nation as a collective identity-establishing category is an effort to gain some anchorage in ever more disintegrating times and proves especially those theoreticians wrong for whom the whole concept of the nation has worn off since long. In 16 resourceful essays internationally distinguished Canadian and European experts from a variety of fields take a fresh look at these developments by focussing on one of the most fascinating multicultural and multifaceted nation(-state)s in the world, Canada in the Third Millennium. The topics they discuss include, among others, Canada's difficult dissociation from Europe and the USA; the reframing and reclaiming of the Canadian story; the role of nations within the nation; the efforts to transcend the nation; pending geopolitical and (geo)ecological crises; glocal issues and new wars. Collectively, the entries prove that Canada is a very progressive nation and opens up new perspectives for other collectives currently reassessing their national identities in a global environment. Thus, the book reaches well beyond the study of 'Canada' and will be valuable to academics, professionals, teachers and students of various disciplines coping with the issue at stake as well as the general reader.
What does it mean to be an English-language fiction writer in a country that is perpetually on the brink of disaster? In this first-ever collection of interviews with Pakistani novelists writing in English, Mushtaq Bilal explores how fictions are informed by the authors' cultural identities. Is it possible, for instance, to write about Pakistan without self-censoring? How do writers contest and challenge Western stereotypes of the country? Do they even consciously do that? And what about challenging Pakistani stereotypes of the West? Providing fresh insights into some of the most important and politically engaged contemporary fiction to come out of the subcontinent, Writing Pakistan is essential reading for anyone interested in the art of storytelling, in books and in Pakistan itself - because to understand a nation, one needs to talk to those who are writing it.
Caren Irr's survey of more than 125 novels outlines the dramatic resurgence of the American political novel in the twenty-first century. She explores the writings of Chris Abani, Susan Choi, Edwidge Danticat, Junot Díaz, Dave Eggers, Jeffrey Eugenides, Aleksandar Hemon, Hari Kunzru, Dinaw Mengestu, Norman Rush, Gary Shteyngart, and others as they rethink stories of migration, the Peace Corps, nationalism and neoliberalism, revolution, and the expatriate experience. Taken together, these innovations define a new literary form: the geopolitical novel. More cosmopolitan and socially critical than domestic realism, the geopolitical novel provides new ways of understanding crucial political concepts to meet the needs of a new century.
This important book examines priestly identity as it has evolved within Anglicanism over the last 15 years, including the ways in which the once nearly synonymous terms “English” and “Anglican” diverged over the years. In the process, the author delineates an intellectual and social history of modern Anglicanism.
A comprehensive, five-volume set, Concise Major 21st-Century Writers profiles today's most outstanding and widely known writers. Clearly written in an easy-to-use format, it collects detailed biographical and bibliographical information on approximately 700 authors who are most often studied in college and high school.
In 2006, a cartoon in a Danish newspaper depicted the Prophet Mohammed wearing a bomb in his turban. The cartoon created an international incident, with offended Muslims attacking Danish embassies and threatening the life of the cartoonist. Editorial cartoons have been called the most extreme form of criticism society will allow, but not all cartoons are tolerated. Unrestricted by journalistic standards of objectivity, editorial cartoonists wield ire and irony to reveal the naked truths about presidents, celebrities, business leaders, and other public figures. Indeed, since the founding of the republic, cartoonists have made important contributions to and offered critical commentary on our society. Today, however, many syndicated cartoons are relatively generic and gag-related, reflecting a weakening of the newspaper industry's traditional watchdog function. Chris Lamb offers a richly illustrated and engaging history of a still vibrant medium that "forces us to take a look at ourselves for what we are and not what we want to be." The 150 drawings in Drawn to Extremes have left readers howling-sometimes in laughter, but often in protest.
Paul Nathanson and Katherine Young believe that this reveals a shift in the United States and Canada to a worldview based on ideological feminism, which presents all issues from the point of view of women and, in the process, explicitly or implicitly attacks men as a class. They argue that ideological feminism is silently reshaping law, public policy, education, and journalism.
This is a seminal work that discusses the validity of the perception that the new generation of African novelists is remarkably different in vision, style, and worldview from the older generation. The contention is that the older generation novelists who were too close to the colonial period in Africa had invariably made culture-conflict and little else their dominant thematic concern while the younger generation novelists are more versatile and more contemporary in their thematic preoccupations, and are more global in their vision and style. Do the facts in the novels justify and validate these claims? The 13 papers in this volume have been carefully selected to consider these issues. Brenda Cooper a renowned literary scholar from Cape Town writes on Chimamanda Adichie's Purple Hibiscus, Omar Sougou of Universite Gaston Berger, Senegal discusses `ambivalent inscriptions' in Buchi Emecheta's later novels, Clement Okafor of the University of Maryland, discusses `racial memory' in Isidore Okpewho's Call Me By My Rightful Name, juxtaposed between the world of the old and the realities of the present. Joseph McLaren, Hofstra University, New York, discusses Ngugi's latest novel, Wizard of the Crow, while Machiko Oike , Hiroshima University, Japan looks at a new theme in African adolescent literature, `the youth in an era of HIV/AIDS'. The thirteen chapters in this book provide abundant evidence of the contrasts and diversities which characterize the African novel not only geographically, but also ideologically and generationally.
Pakistan's current generation of English-language novelists, born after the 1971 war and writing in the twenty-first century, must navigate between the ancient cultural history they have inherited and the relative youth of their country as a political construct. In this book, Dr David Waterman explores the works of seven writers of this generation, including both residents of Pakistan and authors from the diaspora, in order to examine the manner in which questions of history, culture, and identity arise from this process. Pakistan's history and its present moment have introduced a number of issues of urgent relevance that these writers explore in very practical terms: What does it mean to be a Pakistani now and what might it mean in the near future? How does one speak of past trauma without disrupting the present? What is the role for Islam to play in the governance of such a diverse country? How can we ensure the future of the boys and girls of this land, which is paradoxically both rich and poor? Where Worlds Collide is a survey of contemporary Pakistani writers and their efforts to trace the itinerary of Pakistan in the twenty-first century. The fictional portrayals of lives represented in the works of these authors take into account everyday issues, stories of individuals and their families, their joys and sorrows and fears, and place them in the context of the greater story of Pakistan.
The depiction of personal and collective suffering in modern Chinese novels differs significantly from standard Communist accounts and many Eastern and Western historical narratives. Writers such as Yu Hua, Su Tong, Wang Anyi, Mo Yan, Han Shaogong, Ge Fei, Li Rui, and Zhang Wei skew and scramble common conceptions of China's modern development, deploying avant-garde narrative techniques from Latin American and Euro-American modernism to project a surprisingly "un-Chinese" dystopian vision and critical view of human culture and ethics. The epic narratives of modern Chinese fiction make rich use of magical realism, surrealism, and unusual treatments of historical time. Also featuring graphic depictions of sex and violence, as well as dark, raunchy comedy, these novels reflect China's recent history re-presenting the overthrow of the monarchy in the early twentieth century and the resulting chaos of revolution and war; the recurring miseries perpetrated by class warfare during the dictatorship of Mao Zedong; and the social dislocations caused by China's industrialization and rise as a global power. This book casts China's highbrow historical novels from the late 1980s to the first decade of the twenty-first century as a distinctively Chinese contribution to the form of the global dystopian novel and, consequently, to global thinking about the interrelations of utopia and dystopia.
Biography & Autobiography by Raymond Leslie Williams
Awarded the Nobel Prize in 2010 at the age of seventy-four, Peruvian writer Mario Vargas Llosa has held pivotal roles in the evolution and revolutions of modern Latin American literature. Perhaps surprisingly, no complete history of Vargas Llosa's works, placed in biographical and historical context, has been published—until now. A masterwork from one of America's most revered scholars of Latin American fiction, Mario Vargas Llosa: A Life of Writing provides a critical overview of Vargas Llosa's numerous novels while reinvigorating debates regarding conventional interpretations of the work. Weaving analysis with discussions of the writer's political commentary, Raymond Leslie Williams traces the author's youthful identity as a leftist student of the 1960s to a repudiation of some of his earlier ideas beginning in the 1980s. Providing a unique perspective on the complexity, nuance, and scope of Vargas Llosa's lauded early novels and on his passionate support of indigenous populations in his homeland, Williams then turns his eye to the recent works, which serve as a bridge between the legacies of the Boom and the diverse array of contemporary Latin American fiction writers at work today. In addition, Williams provides a detailed description of Vargas Llosa's traumatic childhood and its impact on him—seen particularly in his lifelong disdain for authority figures—as well as of the authors who influenced his approach, from Faulkner to Flaubert. Culminating in reflections drawn from Williams's formal interviews and casual conversations with the author at key phases of both men's careers, this is a landmark publication that will spark new lines of inquiry into an intricate body of work.