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This collection of essays examines the various ways in which the Homeric epics have been responded to, reworked, and rewritten by women writers of the twentieth and early twenty-first centuries. Beginning in 1914 with the First World War, it charts this understudied strand of the history of Homeric reception over the subsequent century up to the present day, analysing the extraordinary responses both to the Odyssey and to the Iliad by women from around the world. The backgrounds of these authors and the genres they employ - memoir, poetry, children's literature, rap, novels - testify not only to the plasticity of Homeric epic, but also to the widening social classes to whom Homer appeals, and it is unsurprising to see the myriad ways in which women writers across the globe have played their part in the story of Homer's afterlife. From surrealism to successive waves of feminism to creative futures, Homer's footprint can be seen in a multitude of different literary and political movements, and the essays in this volume bring an array of critical approaches to bear on the work of authors ranging from H.D. and Simone Weil to Christa Wolf, Margaret Atwood, and Kate Tempest. Students and scholars of not only classics, but also translation studies, comparative literature, and women's writing will find much to interest them, while the volume's concluding reflections by Emily Wilson on her new translation of the Odyssey are an apt reminder to all of just how open a text can be, and of how great a difference can be made by a woman's voice.
Introduction -- Redressing the Balance -- 1. Novel-Thinking: Re-Defining Omniscience -- 2. Abjection, Self-Abjection and Social Mutations: Engaging with the Reader -- 3. Realist Characterization and the Feminist Politics of Location: Situated Knowledges -- 4. Realist Descriptions: Re-Inscribing Democracy -- 5. Posthuman Naturalism Conclusion: The New Realist Imaginary -- Bibliography -- Index.
This groundbreaking study explores the later lives and late-life writings of more than two dozen British women authors active during the long eighteenth century. Drawing on biographical materials, literary texts, and reception histories, Devoney Looser finds that far from fading into moribund old age, female literary greats such as Anna Letitia Barbauld, Frances Burney, Maria Edgeworth, Catharine Macaulay, Hester Lynch Piozzi, and Jane Porter toiled for decades after they achieved acclaim -- despite seemingly concerted attempts by literary gatekeepers to marginalize their later contributions. Though these remarkable women wrote and published well into old age, Looser sees in their late careers the necessity of choosing among several different paths. These included receding into the background as authors of "classics," adapting to grandmotherly standards of behavior, attempting to reshape masculinized conceptions of aged wisdom, or trying to create entirely new categories for older women writers. In assessing how these writers affected and were affected by the culture in which they lived, and in examining their varied reactions to the prospect of aging, Looser constructs careful portraits of each of her Subjects and explains why many turned toward retrospection in their later works. In illuminating the powerful and often poorly recognized legacy of the British women writers who spurred a marketplace revolution in their earlier years only to find unanticipated barriers to acceptance in later life, Looser opens up new scholarly territory in the burgeoning field of feminist age studies.
Unsurpassed as a text for upper-division and beginning graduate students, Raman Selden's classic text is the liveliest, most readable and most reliable guide to contemporary literary theory. Includes applications of theory, cross-referenced to Selden's companion volume, Practicing Theory and Reading Literature.
As portrayed in Homer's Odyssey, Penelope - wife of Odysseus and cousin of the beautiful Helen of Troy - has become a symbol of wifely duty and devotion, enduring twenty years of waiting when her husband goes to fight in the Trojan War. As she fends off the attentions of a hundred greedy suitors, travelling minstrels regale her with news of Odysseus' epic adventures around the Mediterranean - slaying monsters and grappling with amorous goddesses. When Odysseus finally comes home, he kills her suitors and then, in an act that served as little more than a footnote in Homer's original story, inexplicably hangs Penelope's twelve maids. Now, Penelope and her chorus of wronged maids tell their side of the story in a new stage version by Margaret Atwood, adapted from her own wry, witty and wise novel. The Penelopiad premiered with the Royal Shakespeare Company in association with Canada's National Arts Centre at the Swan Theatre, Stratford-upon-Avon, in July 2007.
This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."