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No synopsis or comparison can convey the novel's lyric comedy or, indeed, its sinister power—sinister because of the strength of will Cyril exerts over his wife, his mistress, his wife's reluctant lover; lyric, since he is also a “sex-singer" in the land where music is the food of love. "Need I insist that the only enemy of the mature marriage is monogamy? That anything less than sexual multiplicity . . . is naive? That our sexual selves are merely idylers in a vast wood?" Thus the central theme of John Hawkes's widely acclaimed novel The Blood Oranges is boldly asserted by its narrator, Cyril, the archetypal multisexualist. Likening himself to a white bull on Love's tapestry, he pursues his romantic vision in a primitive Mediterranean landscape. There two couples—Cyril and Fiona, Hugh and Catherine—mingle their loves in an "lllyria" that brings to mind the equally timeless countryside of Shakespeare's Twelfth Night.
"Need I insist that the only enemy of the mature marriage is monogamy? That anything less than sexual multiplicity . . . is naive? That our sexual selves are merely idylers in a vast wood?" Thus the central theme of John Hawkes's widely acclaimed novel The Blood Oranges is boldly asserted by its narrator, Cyril, the archetypal multisexualist. Likening himself to a white bull on Love's tapestry, he pursues his romantic vision in a primitive Mediterranean landscape. There two couples--Cyril and Fiona, Hugh and Catherine--mingle their loves in an "lllyria" that brings to mind the equally timeless countryside of Shakespeare's Twelfth Night.
For over forty years, John Hawkes has created fictions remarkable for their stylistic beauty and narrative experimentation. Rita Ferrari's Innocence, Power, and the Novels of John Hawkes is an unprecedented exploration of Hawkes's sixteen novels and novellas.
Blood Oranges traces the origins and legacy of racial differences between Anglo Americans and ethnic Mexicans (Mexican nationals and Mexican Americans) in the South Texas borderlands in the twentieth century. Author Tim Bowman uncovers a complex web of historical circumstances that caused ethnic Mexicans in the region to rank among the poorest, least educated, and unhealthiest demographic in the country. The key to this development, Bowman finds, was a “modern colonization movement,” a process that had its roots in the Mexican-American war of the nineteenth century but reached its culmination in the twentieth century. South Texas, in Bowman’s words, became an “internal economy just inside of the US-Mexico border.” Beginning in the twentieth century, Anglo Americans consciously transformed the region from that of a culturally “Mexican” space, with an economy based on cattle, into one dominated by commercial agriculture focused on citrus and winter vegetables. As Anglos gained political and economic control in the region, they also consolidated their power along racial lines with laws and customs not unlike the “Jim Crow” system of southern segregation. Bowman argues that the Mexican labor class was thus transformed into a marginalized racial caste, the legacy of which remained in place even as large-scale agribusiness cemented its hold on the regional economy later in the century. Blood Oranges stands to be a major contribution to the history of South Texas and borderland studies alike.
Volume VII of the Cambridge History of American Literature examines a broad range of American literature of the past half-century, revealing complex relations to changes in society. Christopher Bigsby discusses American dramatists from Tennessee Williams to August Wilson, showing how innovations in theatre anticipated a world of emerging countercultures and provided America with an alternative view of contemporary life. Morris Dickstein describes the condition of rebellion in fiction from 1940 to 1970, linking writers as diverse as James Baldwin and John Updike. John Burt examines writers of the American South, describing the tensions between modernization and continued entanglements with the past. Wendy Steiner examines the postmodern fictions since 1970, and shows how the questioning of artistic assumptions has broadened the canon of American literature. Finally, Cyrus Patell highlights the voices of Native American, Asian American, Chicano, gay and lesbian writers, often marginalized but here discussed within and against a broad set of national traditions.
Browsing through books and TV channels we find people pre-occupied with eating, cooking and competing with chefs. Eating and food in today's media have become a form of entertainment and art. A survey of literary history and culture shows to what extent eating used to be closely related to all areas of human life, to religion, eroticism and even to death. In this volume, early modern ideas of feasting, banqueting and culinary pleasures are juxtaposed with post-18th- and 19th-century concepts in which the intake of food is increasingly subjected to moral, theological and economic reservations. In a wide range of essays, various images, rhetorics and poetics of plenty are not only contrasted with the horrors of gluttony, they are also seen in the context of modern phenomena such as the anorexic body or the gourmandizing bête humaine. It is this vexing binary approach to eating and food which this volume traces within a wide chronological framework and which is at the core not only of literature, art and film, but also of a flourishing popular culture. --
My name’s Quinn. If you buy into my reputation, I’m the most notorious demon hunter in New England. But rumors of my badassery have been slightly exaggerated. Instead of having kung-fu skills and a closet full of medieval weapons, I’m an ex-junkie with a talent for being in the wrong place at the right time. Or the right place at the wrong time. Or…whatever. Wanted for crimes against inhumanity I (mostly) didn’t commit, I was nearly a midnight snack for a werewolf until I was “saved” by a vampire calling itself the Bride of Quiet. Already cursed by a werewolf bite, the vamp took a pint out of me too. So now…now, well, you wouldn’t think it could get worse, but you’d be dead wrong.
Novelist, playwright, essayist, and master of the short story. Artist and engaged working-class intellectual; husband, father, and grandfather as well as committed revolutionary activist. From his first publication (a short story collection An Old Pub Near the Angel on a tiny American press) through his latest novel (God's Teeth and other Phenomena) and work with Noam Chomsky (Between Thought and Expression Lies a Lifetime—both published on a slightly larger American press), All We Have Is the Story chronicles the life and work—to date—of “Probably the most influential novelist of the post-war period.” (The Times) Drawing deeply on a radical tradition that is simultaneously political, philosophical, cultural, and literary, James Kelman articulates the complexities and tensions of the craft of writing; the narrative voice and grammar; imperialism and language; art and value; solidarity and empathy; class and nation state; and. above all, that it begins and ends with the story. “One of the things the establishment always does is isolate voices of dissent and make them specific—unique if possible. It's easy to dispense with dissent if you can say there's him in prose and him in poetry. As soon as you say there's him, him, and her there, and that guy here and that woman over there, and there's all these other writers in Africa, and then you've got Ireland, the Caribean—suddenly there's this kind of mass dissent going on, and that becomes something dangerous, something that the establishment won't want people to relate to and go Christ, you're doing the same as me. Suddenly there's a movement going on. It's fine when it's all these disparate voices; you can contain that. The first thing to do with dissent is say ‘You're on your own, you're a phenomenon.’ I'm not a phenomenon at all: I'm just a part of what's been happening in prose for a long, long while.” —James Kelman from a 1993 interview
A collection of eleven chronologically arranged pieces of literary criticism on the works of twentieth-century American author John Irving, with a chronology and secondary bibliography; essays cover the novels, "The World According to Garp," "The Hotel New Hampshire," "The 158-Pound Marriage," "A Prayer for Owen Meany," and "The Cider House Rules."