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Readers, literary critics, and theorists alike have long demonstrated an abiding fascination with the author, both as a real person—an artist and creator—and as a theoretical concept that shapes the way we read literary works. Whether anonymous, pseudonymous, or trending on social media, authors continue to be an object of critical and readerly interest. Yet theories surrounding authorship have yet to be satisfactorily updated to register the changes wrought on the literary sphere by the advent of the digital age, the recent turn to autofiction, and the current literary climate more generally. In Reading the Contemporary Author the contributors look back on the long history of theorizing the author and offer innovative new approaches for understanding this elusive figure. Mapping the contours of the vast territory that is contemporary authorship, this collection investigates authorship in the context of narrative genres ranging from memoir and autobiographically informed texts to biofiction and novels featuring novelist narrators and characters. Bringing together the perspectives of leading scholars in narratology, cultural theory, literary criticism, stylistics, comparative literature, and autobiography studies, Reading the Contemporary Author demonstrates that a variety of interdisciplinary viewpoints and critical stances are necessary to capture the multifaceted nature of contemporary authorship.
Literary culture has become a form of popular culture over the last fifteen years thanks to the success of televised book clubs, film adaptations, big-box book stores, online bookselling, and face-to-face and online book groups. This volume offers the first critical analysis of mass reading events and the contemporary meanings of reading in the UK, USA, and Canada based on original interviews and surveys with readers and event organizers. The resurgence of book groups has inspired new cultural formations of what the authors call "shared reading." They interrogate the enduring attraction of an old technology for readers, community organizers, and government agencies, exploring the social practices inspired by the sharing of books in public spaces and revealing the complex ideological investments made by readers, cultural workers, institutions, and the mass media in the meanings of reading.
"An all-original, A-to-Z guide to 225 of the most fascinating writers of our time, penned by an international cast of talented young critics and reviewers."--Cover.
A fresh, joyful YA novel that is layered with themes of immigration, cultural identity, and finding your voice in any language. Sixteen-year-old Ana is a poet and a lover of language. Except that since she moved to New Jersey from Argentina, she can barely find the words to express how she feels. At first Ana just wants to return home. Then she meets Harrison, the very cute, very American boy in her math class, and discovers the universal language of racing hearts. But when she begins to spend time with Neo, the Greek Cypriot boy from ESL, Ana wonders how figuring out what her heart wants can be even more confusing than the grammar they’re both trying to master. After all, the rules of English may be confounding, but there are no rules when it comes to love. With playful and poetic breakouts exploring the idiosyncrasies of the English language, Love in English is witty and effervescent, while telling a beautifully observed story about what it means to become “American.”
"An exciting new anthology of short fiction chosen by thirty-five of this country's most distinguished and popular fiction writers, You've Got to Read This offers readers an unusually intimate glimpse into how accomplished writers experience literature." "Here are stories that inspired today's leading novelists and short-story writers to embark on their own writing careers, stories that took their breath away and changed them, or the way they responded to literature, forever. Oscar Hijuelos confesses his debt to the great Argentine writer Jorge Luis Borges, whose brilliant story "The Aleph" inspired him to become a writer himself. Mary Gordon stands in awe of what James Joyce wrought in "The Dead," and wonders how writers who come after him can equal it. Robert Coover writes movingly of Angela Carter and her mysterious story "Reflections," while Kenneth A. McClane says that "Sonny's Blues" by James Baldwin literally saved his life." "Some of the stories presented here are classics, like Anton Chekhov's "Gooseberries," introduced by Eudora Welty, or Flannery O'Connor's "A Good Man Is Hard to Find," selected by Sue Miller. Some are less well known, like Lars Gustafsson's "Greatness Strikes Where It Pleases," introduced by Charles Baxter, or John Updike's "Packed Dirt, Churchgoing, a Dying Cat, a Traded Car," whose beauty stunned Lorrie Moore." "All were critically important to some of our finest contemporary writers - among them Annie Dillard, John Irving, Amy Tan, Louise Erdrich, Russell Banks, Jane Smiley, Bobbie Ann Mason, Tobias Wolff - and their comments about the selections offer fascinating entrances into the stories. For lovers of fiction, You've Got to Read This is a treasure trove, a dazzling collection of stories passionately and imaginatively chosen."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Perfect for fans of Jenny Han and Jane the Virgin, this immediately accessible and irresistibly fun rom-com debut will spin readers into an unforgettable summer of late-night dancing, broken hearts, second chances, and telenovela twists. Carmen Aguilar just wants to make her happily ever after come true. Except apparently “happily ever after” for Carmen involves being stuck in an unpaid summer internship. Now she has to perform as a party princess! In a ball gown. During the summer. In Miami. Fine. Except that’s only the first misfortune in what’s turning out to be a summer of Utter Disaster. But if Carmen can manage dancing in the blistering heat, fending off an oh-so-unfortunately attractive ex, and stopping her spoiled cousin from ruining her own quinceañera—Carmen might just get that happily ever after—after all.
Why do Americans read contemporary fiction? This question seems simple, but is it? Do Americans read for the purpose of aesthetic appreciation? To satisfy their own insatiable intellectual curiosities? While other forms of media have come to monopolize consumers’ leisure time, in the past two decades book clubs have proliferated, Amazon has sponsored thriving online discussions, Oprah Winfrey has inspired millions of viewers to read both contemporary works and classics, and novels have retained their devoted following within middlebrow communities. In Reading as Therapy, Timothy Aubry argues that contemporary fiction serves primarily as a therapeutic tool for lonely, dissatisfied middle-class American readers, one that validates their own private dysfunctions while supporting elusive communities of strangers unified by shared feelings. Aubry persuasively makes the case that contemporary literature’s persistent appeal depends upon its capacity to perform a therapeutic function. Aubry traces the growth and proliferation of psychological concepts focused on the subjective interior within mainstream, middle-class society and the impact this has had on contemporary fiction. The prevailing tendency among academic critics has been to decry the personal emphasis of contemporary fiction as complicit with the rise of a narcissistic culture, the ascendency of liberal individualism, and the breakdown of public life. Reading as Therapy, by contrast, underscores the varied ideological effects that therapeutic culture can foster. To uncover the many unpredictable ways in which contemporary literature answers the psychological needs of its readers, Aubry considers several different venues of reader-response—including Oprah’s Book Club and Amazon customer reviews—the promotional strategies of publishing houses, and a variety of contemporary texts, ranging from Khaled Hosseini’s The Kite Runner to Anita Shreve’s The Pilot’s Wife to David Foster Wallace’s Infinite Jest. He concludes that, in the face of an atomistic social landscape, contemporary fiction gives readers a therapeutic vocabulary that both reinforces the private sphere and creates surprising forms of sympathy and solidarity among strangers.
Reading the Contemporary Author brings together leading scholars in cultural theory, literary criticism, stylistics, narratology, comparative literature, and autobiography studies to interrogate how we read the contemporary author in public and cultural life, in life writing, and in literature.
The Marvelous Mrs. Maisel comes to high school in acclaimed author Katie Henry’s coming-of-age YA contemporary about a girl who accidentally falls into the world of stand-up comedy. Perfect for fans of John Green and Becky Albertalli! Sixteen-year-old Izzy is used to keeping her thoughts to herself—in school, where her boyfriend does the talking for her, and at home, where it’s impossible to compete with her older siblings and high-powered parents. When she mistakenly walks into a stand-up comedy club and performs, the experience is surprisingly cathartic. After the show, she meets Mo, an aspiring comic who’s everything Izzy’s not: bold, confident, comfortable in her skin. Mo invites Izzy to join her group of friends and introduces her to the Chicago open mic scene. The only problem? Her new friends are college students—and Izzy tells them she’s one, too. Now Izzy, the dutiful daughter and model student, is sneaking out to perform stand-up with her comedy friends. Her controlling boyfriend is getting suspicious, and her former best friend knows there’s something going on. But Izzy loves comedy and this newfound freedom. As her two parallel lives collide—in the most hilarious of ways—Izzy must choose to either hide what she really wants and who she really is, or finally, truly stand up for herself. * Rise: A Feminist Book Project Book of the Year * A YALSA Best Fiction for Young Adults Book of the Year *
In the past decade, contemporary African art has been featured in major exhibtions in museums, galleries, international biennials, and other forums. African cinema has established itself on the stage of world cinema, culminating in the Ouagadougou Film Festival. While African art and visual culture have become an integral part of the art history and cultural studies curricula in universities worldwide, critical readings and interpretations have remained difficult to obtain. This pioneering anthology collects twenty key essays in which major critical thinkers, scholars, and artists explore contemporary African visual culture, locating it within current cultural debates and within the context of the continent's history. The sections of the book are Theory and Cultural Transaction, History, Location and Practice, and Negotiated Identities. Copublished with the Institute of International Visual Arts (inIVA), London