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Explores the affective, ethical, and political demands that difficult reading places on readers of midcentury Latin American literature The radical formal experiments undertaken by writers across Latin America in the mid-twentieth century introduced friction, opacity, and self-reflexivity to the very act of reading. Dwelling in Fiction: Poetics of Place and the Experimental Novel in Latin America explores the limitations and the possibilities of literature for conveying place-specific forms of life. Focusing on authors such as José María Arguedas, João Guimarães Rosa, and Juan José Saer, who are often celebrated for universalizing regional themes, Ashley R. Brock brings a new critical lens to Latin American writers who were ambivalent toward their era’s “boom.” Beyond mere resistance to or critique of the commodification and political instrumentalization of rural topics and types, this countertrend of critical regionalism positions readers themselves as outsiders, pushing them to engage their senses, to train their attention, and to learn to dwell in unknown textual landscapes. Dwelling in Fiction draws on a transnational community of thinkers and writers to show how their midcentury aesthetic practices of sensorial pedagogy anticipate contemporary turns toward affect, embodiment, decoloniality, and ecological thought.
What is a house? And what can architecture tell us about individual psychology, national character and aspiration? The house holds a central place in American mythology, as Marilyn Chandler demonstrates in a series of "house tours" through American novels, beginning with Thoreau's Walden and ending with Toni Morrison's Beloved and Marilynne Robinson's Housekeeping. Chandler illuminates the complex analogies between house and psyche, house and family, house and social environment, and house and text. She traces a historical path from settlement to unsettledness in American culture and explores all the rituals in between: of building, decorating, inhabiting, and abandoning houses. She notes the ambivalence between our desire for rootedness and our romanticization of wide open spaces, relating these poles to the tension between materialism and spirituality in our national character. At a time when housing has become a problem of unprecedented dimensions in America, this look at the place of houses and homes in the American imagination reveals some sources of the attitudes, assumptions, and expectations that underlie the designing and building of the homes we buy, sell, and dream about. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.
FOR SALE: Newly renovated single-family home. New hardwood floors, all appliances. Bathroom, 3+ bedrooms, unique decor, must be seen.. . . 362 Belisle Street is a homeowner’s dream. Recently renovated! Victorian detail! Good neighborhood! A steal at $95,900! Real estate agent Glenn Darnley wonders why this charming property keeps coming back on the market. Perhaps the clawed feet of the old bath-tub look a little too real. Or maybe it’s the faint hospital-like smell of the room at the end of the hall. Or the haunting music that seems to come from nowhere.. . . Three families buy 362 Belisle, but no one stays there for long. For this dream house has a mind and a heart of its own. It’s waiting patiently for its dream owner. Open the door to a spine-chilling novel of terror in which home is not where you live – it’s where you hope to get out alive.. . .
Reproduction of the original: The Dwelling Place of Light by Winston Churchill
From the gothic fantasies of Walpole’s Otranto to post-modern takes on the country house by Kazuo Ishiguro and Ian McEwan, Phyllis Richardson guides us on a tour through buildings real and imagined to examine how authors’ personal experiences helped to shape the homes that have become icons of English literature. We encounter Jane Austen drinking ‘too much wine’ in the lavish ballroom of a Hampshire manor, discover how Virginia Woolf’s love of Talland House at St Ives is palpable in To the Lighthouse, and find Evelyn Waugh remembering Madresfield Court as he plots Charles Ryder’s return to Brideshead. Drawing on historical sources, biographies, letters, diaries and the novels themselves, House of Fiction opens the doors to these celebrated houses, while offering candid glimpses of the writers who brought them to life.
Author of The Swan House offers a story of sacrifice and hope that finds a daughter and mother linked by love, but separated by secrets.
Mack and Jodie have no idea how much their lives are going to change when they decide to give up farming. Mack is hospitalized with depression, Jodie finds herself tempted by the affections of another man, and their teenage children begin looking for answers outside the family—Kenzie turns to fundamentalist Christianity, and Taylor starts cavorting with Goths. Told in the unforgettable voices of each family member, this powerful story of family life reveals the stubborn resilience of love and how sometimes the very thing we're looking for has been waiting at home all along.
When the lights go down and the film starts to roll, we give ourselves over to the magic of movies. But as George Toles observes, what we experience in this house of light may strike closer to home than we imagine. In eleven essays, Toles combines aesthetic inquiry with a psychology of spectatorship to illuminate the dialogue between sentiment and irony that unfolds in every good movie. Reflecting a literary critic's and professional screenwriter's ongoing love affair with cinema, each essay plunges the reader into the experience of one or more films, inviting us to ponder the nature and implications of that experience. Toles considers a wide variety of film experience, from Frank Capra to the Coen brothers to Alfred Hitchcock. However escapist a trip to the movies might be, says Toles, there is no escaping some version of "home" in every film experience. Toles examines important homes-from the cottage in Random Harvest to the foreboding Bates house in Psycho-to suggest that the house of film is a frame we long to enter in the spirit of homecoming but one that we cannot possess any more securely than the lost home of our beginnings. As film study marks a return to art-centered criticism, A House Made of Light breaks new ground in its assessment of the creation-and enjoyment-of movies.