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This book explores the puzzling phenomenon of new veiling practices among lower middle class women in Cairo, Egypt. Although these women are part of a modernizing middle class, they also voluntarily adopt a traditional symbol of female subordination. How can this paradox be explained? An explanation emerges which reconceptualizes what appears to be reactionary behavior as a new style of political struggle--as accommodating protest. These women, most of them clerical workers in the large government bureaucracy, are ambivalent about working outside the home, considering it a change which brings new burdens as well as some important benefits. At the same time they realize that leaving home and family is creating an intolerable situation of the erosion of their social status and the loss of their traditional identity. The new veiling expresses women's protest against this. MacLeod argues that the symbolism of the new veiling emerges from this tense subcultural dilemma, involving elements of both resistance and acquiescence.
Jim Crace is one of the most imaginative of contemporary novelists. The author of nine novels, he has received great public and intellectual acclaim across the UK, Europe, Australia and the United States. He was awarded the National Book Critics’ Circle Fiction prize (USA) for Being Dead in 2000. Philip Tew's study is the first extended critical examination of Crace's oeuvre and is based on extensive interviews with the novelist, including discussions of his work from his first worldwide bestseller Continent (1986) up to The Pesthouse (2007). Designed especially both for undergraduates of contemporary fiction, and for those who simply enjoy reading the author, Jim Crace is an excellent addition to the Contemporary British Novelists series. Tew's treatment of themes, contexts and narrative strategies illuminates the literary and critical contexts within which Crace operates, situating him as one of the most adventurous and challenging of Britain’s twenty-first century authors.
Featuring a broad range of contemporary British novelists from Iain Banks to Jeanette Winterson, Louis de Bernieres to Irvine Welsh and Salman Rushdie, this book offers an excellent introductory guide to the contemporary literary scene. Each entry includes concise biographical information on each of the key novelists and analysis of their major works and themes. Fully cross-referenced and containing extensive guides to further reading, Fifty Contemporary British Novelists is the ideal guide to modern British fiction for both the student and the contemporary fiction buff alike.
If Spook Street is where spies live, Joe Country is where they go to die. In Slough House, the London outpost for disgraced MI5 spies, memories are stirring, all of them bad. Catherine Standish is buying booze again, Louisa Guy is raking over the ashes of lost love, and new recruit Lech Wicinski, whose sins make him an outcast even among the slow horses, is determined to discover who destroyed his career, even if he tears his life apart in the process. Meanwhile, in Regent’s Park, Diana Taverner’s tenure as First Desk is running into difficulties. If she’s going to make the Service fit for purpose, she might have to make deals with a familiar old devil . . . And with winter taking its grip, Jackson Lamb would sooner be left brooding in peace, but even he can’t ignore the dried blood on his carpets. So when the man responsible for killing a slow horse breaks cover at last, Lamb sends the slow horses out to even the score.
With the increasing number of books on contemporary fiction, there is a need for a work that examines whom we value, and why. These questions lie at the heart of this book which, by focusing on four novelists, literary and popular, interrogates the canon over the last fifty years. The argument unfolds to demonstrate that academic trends increasingly control canonicity, as do the demands of genre, the increasing commercialisation of literature, and the power of the literary prize. Turner argues that literary excellence, demonstrated by style and imaginative power, is often missing in many works that have become modern classics and makes a case for the value of the 'universal' in literature. Written in a jargon-free style, with reference to many supporting writers, the book raises a number of significant cultural questions about the arts, fashions and literary reputations, of interest to readers in contemporary literary studies.
This book is the sequel to Britain Through Muslim Eyes and examines contemporary novelistic representations of and by Muslims in Britain. It builds on studies of the five senses and ‘sensuous geographies’ of postcolonial Britain, and charts the development since 1988 of a fascinating and important body of fiction by Muslim-identified authors. It is a selective literary history, exploring case-study novelistic representations of and by Muslims in Britain to allow in-depth critical analysis through the lens of sensory criticism. It argues that, for authors of Muslim heritage in Britain, writing the senses is often a double-edged act of protest. Some of the key authors excoriate a suppression or cover-up of non-heteronormativity and women’s rights that sometimes occurs in Muslim communities. Yet their protest is especially directed at secular culture’s ocularcentrism and at successive British governments’ efforts to surveil, control, and suppress Muslim bodies.