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The Anthology and the Rise of the Novel, first published in 2000, brings together two traditionally antagonistic fields, book history and narrative theory, to challenge established theories of 'the rise of the novel'. Leah Price shows that far from leveling class or gender distinctions, as has long been claimed, the novel has consistently located them within its own audience. Shedding new light on Richardson and Radcliffe, Scott and George Eliot, this book asks why the epistolary novel disappeared, how the book review emerged, why eighteenth-century abridgers designed their books for women while Victorian publishers marketed them to men, and how editors' reproduction of old texts has shaped authors' production of new ones. This innovative study will change the way we think not just about the history of reading, but about the genealogy of the canon wars, the future of intellectual property, and the role that anthologies play in our own classrooms.
Novel Definitions captures the lively critical debate surrounding the invention of the English novel, showing how the rise of the novel was accompanied by a rise in popular literary criticism. The anthology collects over 135 primary sources that chart the long eighteenth century’s interpretation of the novel. These sources—many newly-discovered—include essays, prefaces, reviews, and sermons written by authors ranging from Aphra Behn to Walter Scott. Novel Definitions brings together authors’ prefatory analyses of their work; essayists’ debates concerning the novel’s formal qualities; commentators’ questions concerning the novel’s cultural position, including whether or not women and children should read novels; reviewers’ definitions of the qualities that make a novel successful; and literary historians’ first attempts to write the history of the novel.
From the acclaimed cultural historian Philip F. Gura comes Truth's Ragged Edge, a comprehensive and original history of the American novel's first century. Grounded in Gura's extensive consideration of the diverse range of important early novels, not just those that remain widely read today, this book recovers many long-neglected but influential writers—such as the escaped slave Harriet Jacobs, the free black Philadelphian Frank J. Webb, and the irrepressible John Neal—to paint a complete and authoritative portrait of the era. Gura also gives us the key to understanding what sets the early novel apart, arguing that it is distinguished by its roots in "the fundamental religiosity of American life." Our nation's pioneering novelists, it turns out, wrote less in the service of art than of morality. This history begins with a series of firsts: the very first American novel, William Hill Brown's The Power of Sympathy, published in 1789; the first bestsellers, Susanna Rowson's Charlotte Temple and Hannah Webster Foster's The Coquette, novels that were, like Brown's, cautionary tales of seduction and betrayal; and the first native genre, religious tracts, which were parables intended to instruct the Christian reader. Gura shows that the novel did not leave behind its proselytizing purpose, even as it evolved. We see Catharine Maria Sedgwick in the 1820s conceiving of A New-England Tale as a critique of Puritanism's harsh strictures, as well as novelists pushing secular causes: George Lippard's The Quaker City, from 1844, was a dark warning about growing social inequality. In the next decade certain writers—Hawthorne and Melville most famously—began to depict interiority and doubt, and in doing so nurtured a broader cultural shift, from social concern to individualism, from faith in a distant god to faith in the self. Rich in subplots and detail, Gura's narrative includes enlightening discussions of the technologies that modernized publishing and allowed for the printing of novels on a mass scale, and of the lively cultural journals and literary salons of early nineteenth-century New York and Boston. A book for the reader of history no less than the reader of fiction, Truth's Ragged Edge—the title drawn from a phrase in Melville, about the ambiguity of truth—is an indispensable guide to the fascinating, unexpected origins of the American novel.
As television transformed American culture in the 1950s, critics feared the influence of this newly pervasive mass medium on the nation's literature. While many studies have addressed the rhetorical response of artists and intellectuals to mid-twentieth-century mass culture, the relationship between the emergence of this culture and the production of novels has gone largely unexamined. In A Novel Marketplace, Evan Brier illuminates the complex ties between postwar mass culture and the making, marketing, and reception of American fiction. Between 1948, when television began its ascendancy, and 1959, when Random House became a publicly owned corporation, the way American novels were produced and distributed changed considerably. Analyzing a range of mid-century novels—including Paul Bowles's The Sheltering Sky, Ray Bradbury's Fahrenheit 451, Sloan Wilson's The Man in the Gray Flannel Suit, and Grace Metalious's Peyton Place—Brier reveals the specific strategies used to carve out cultural and economic space for the American novel just as it seemed most under threat. During this anxious historical moment, the book business underwent an improbable expansion, by capitalizing on an economic boom and a rising population of educated consumers and by forming institutional alliances with educators and cold warriors to promote reading as both a cultural and political good. A Novel Marketplace tells how the book trade and the novelists themselves successfully positioned their works as embattled holdouts against an oppressive mass culture, even as publishers formed partnerships with mass-culture institutions that foreshadowed the multimedia mergers to come in the 1960s. As a foil for and a partner to literary institutions, mass media corporations assisted in fostering the novel's development as both culture and commodity.
“Exceptionally compelling . . . even the stories without surreal contours seem to be set in a world that is not quite our own.” —New York Daily News The stories in Rise are fairytales, except that the witch, lucky Hans, and the frog prince are characters at the fringes of everyday life. There are rockets, swells of starlings, and children who disappear into thin air. L. Annette Binder writes magical tales with authority and restraint, and we believe her stories, every one. “In one of these amazing stories a character says to her husband, ‘Why are you smiling? You’re scaring me.’ That’s how I feel about Rise. There is a yearning so deep in each story, something beautiful and urgent, that the book glows. L. Annette Binder arrives with worlds of empathy and strange surprise.” —Ron Carlson “L. Annette Binder is a stunningly talented writer. Her stories are the stories of outsiders, gripping and heartfelt, heightened with hidden undertones of the surreal. It is this tension that makes the worlds she creates so vibrant, and allows her readers to see so deeply into these characters’ souls. Rise is a beautiful book, and Binder’s words cut clear and straight to the bone.” —Hannah Tinti “She both casts a spell and breaks it. To experience Rise is to experience wonder.” —Laura Kasischke
Why have scholars located the emergence of the novel in eighteenth-century England? What historical forces and stylistic developments helped to turn a disreputable type of writing into an eminent literary form? This Reader's Guide explores the key critical debates and theories about the rising novel, from eighteenth-century assessments through to present day concerns. Nicholas Seager: - Surveys major criticism on authors such as Aphra Behn, Daniel Defoe, Samuel Richardson, Henry Fielding and Jane Austen - Covers a range of critical approaches and topics including feminism, historicism, postcolonialism and print culture - Demonstrates how critical work is interrelated, allowing readers to discern trends in the critical conversation. Approachable and stimulating, this is an invaluable introduction for anyone studying the origins of the novel and the surrounding body of scholarship.
A frustrated geologist studying global warming becomes obsessed with eating rocks after embarking on his first same-sex relationship in Europe. Back home, his young sister is a high-school girl who suddenly starts to ooze honey through her pores, an affliction that attracts hordes of bees as well as her male classmates but ultimately turns her into a social pariah. Meanwhile, their obsessive Pentecostal mother repeatedly calls on the Holy Spirit to rid her family of demons. The siblings are reunited on a ship bound for Europe where they hope to start a new life, but are unaware that their disguised mother is also on board and plotting to win back their souls, with the help of the Virgin Mary. Told in a lush baroque prose, this intense, extravagant magic-realist novel combines elements of fairy tales, horror movies, and romances to create a comic, hallucinatory celebration of excess and sensuality. Barry Webster's first book, The Sound of All Flesh, won the ReLit Award for story collections.
One of the most common—and wounding—misconceptions about literary scholars today is that they simply don’t love books. While those actually working in literary studies can easily refute this claim, such a response risks obscuring a more fundamental question: why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have played a vital role in the formation of private life—that the love of literature, in other words, is deeply embedded in the history of literature. Yet at the same time, our love is neither self-evident nor ahistorical: our views of books as objects of affection have clear roots in eighteenth- and nineteenth-century publishing, reading habits, and domestic history. While never denying the very real feelings that warm our relationship to books, Loving Literature nonetheless serves as a riposte to those who use the phrase “the love of literature” as if its meaning were transparent. Lynch writes, “It is as if those on the side of love of literature had forgotten what literary texts themselves say about love’s edginess and complexities.” With this masterly volume, Lynch restores those edges and allows us to revel in those complexities.
A new anthology celebrating the witches and sorcerers of epic fantasy—featuring stories by George R. R. Martin, Scott Lynch, Megan Lindholm, and many others! Hot on the heels of Gardner Dozois’s acclaimed anthology The Book of Swords comes this companion volume devoted to magic. How could it be otherwise? For every Frodo, there is a Gandalf . . . and a Saruman. For every Dorothy, a Glinda . . . and a Wicked Witch of the West. What would Harry Potter be without Albus Dumbledore . . . and Severus Snape? Figures of wisdom and power, possessing arcane, often forbidden knowledge, wizards and sorcerers are shaped—or misshaped—by the potent magic they seek to wield. Yet though their abilities may be godlike, these men and women remain human—some might say all too human. Such is their curse. And their glory. In these pages, seventeen of today’s top fantasy writers—including award-winners Elizabeth Bear, John Crowley, Kate Elliott, K. J. Parker, Tim Powers, and Liz Williams—cast wondrous spells that thrillingly evoke the mysterious, awesome, and at times downright terrifying worlds where magic reigns supreme: worlds as far away as forever, and as near as next door. FEATURING SIXTEEN ALL-NEW STORIES: “The Return of the Pig” by K. J. Parker “Community Service” by Megan Lindholm “Flint and Mirror” by John Crowley “The Friends of Masquelayne the Incomparable” by Matthew Hughes “The Biography of a Bouncing Boy Terror: Chapter Two: Jumping Jack in Love” by Ysabeau S. Wilce “Song of Fire” by Rachel Pollack “Loft the Sorcerer” by Eleanor Arnason “The Governor” by Tim Powers “Sungrazer” by Liz Williams “The Staff in the Stone” by Garth Nix “No Work of Mine” by Elizabeth Bear “Widow Maker” by Lavie Tidhar “The Wolf and the Manticore” by Greg Van Eekhout “The Devil’s Whatever” by Andy Duncan “Bloom” by Kate Elliott “The Fall and Rise of the House of the Wizard Malkuril” by Scott Lynch Plus George R. R. Martin’s classic story “A Night at the Tarn House” and an introduction by Gardner Dozois Praise for The Book of Magic “In The Book of Magic, you get everything you expect and more! Assembling seventeen great authors in one place is a difficult job but this book, with a lot of help from editor Gardner Dozois, does just that. . . . This compilation is a treat for any who love a good fantasy tale.”—Geeks of Doom