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Contemporary British and American fiction is defined by financial markets' power over the global publishing industry and the global economy.
Karl Polanyi’s The Great Transformation is generally acclaimed as being among the most influential works of economic history in the twentieth century, and remains as vital in the current historical conjuncture as it was in his own. In its critique of nineteenth-century ‘market fundamentalism’ it reads as a warning to our own neoliberal age, and is widely touted as a prophetic guidebook for those who aspire to understand the causes and dynamics of global economic turbulence at the end of the 2000s. Karl Polanyi: The Limits of the Market is the first comprehensive introduction to Polanyi’s ideas and legacy. It assesses not only the texts for which he is famous – prepared during his spells in American academia – but also his journalistic articles written in his first exile in Vienna, and lectures and pamphlets from his second exile, in Britain. It provides a detailed critical analysis of The Great Transformation, but also surveys Polanyi’s seminal writings in economic anthropology, the economic history of ancient and archaic societies, and political and economic theory. Its primary source base includes interviews with Polanyi’s daughter, Kari Polanyi-Levitt, as well as the entire compass of his own published and unpublished writings in English and German. This engaging and accessible introduction to Polanyi’s thinking will appeal to students and scholars across the social sciences, providing a refreshing perspective on the roots of our current economic crisis.
Arguing that contemporary celebrity authors like Zadie Smith, Ian McEwan, Martin Amis, Kazuo Ishiguro, Salman Rushdie, Eimear McBride and Anna Burns position their work and public personae within a received modernist canon to claim and monetize its cultural capital in the lucrative market for literary fiction, this book also shows how the corporate conditions of marketing and branding have redefined older models of literary influence and innovation. It contributes to a growing body of criticism focused on contemporary literature as a field in which the formal and stylistic experimentation that came to define a canon of early 20th-century modernism has been renewed, contested, and revised. Other critics have celebrated these renewals, variously arguing that contemporary literature picks up on modernism's unfinished aesthetic revolutions in ways that have expanded the imaginative possibilities for fiction and revived questions of literary autonomy in the wake of postmodern nihilism. While this is a compelling thesis, and one that rightly questions an artificial and problematic periodization that still lingers in academic criticism, those approaches generally fail to address the material conditions that structure literary production and the generation of cultural capital, whether in the historical development of modernism or its contemporary permutations. This book addresses this absence by proposing a materialist history of modernism's afterlives.
#1 NEW YORK TIMES BESTSELLER The stunning debut novel from one of the most creative artists of our generation, Bobby Hall, a.k.a. Logic. “Bobby Hall has crafted a mind-bending first novel, with prose that is just as fierce and moving as his lyrics. Supermarket is like Naked Lunch meets One Flew Over the Cuckoo's Nest—if they met at Fight Club.”—Ernest Cline, #1 New York Times bestselling author of Ready Player One Flynn is stuck—depressed, recently dumped, and living at his mom’s house. The supermarket was supposed to change all that. An ordinary job and a steady check. Work isn’t work when it’s saving you from yourself. But things aren’t quite as they seem in these aisles. Arriving to work one day to a crime scene, Flynn’s world collapses as the secrets of his tortured mind are revealed. And Flynn doesn’t want to go looking for answers at the supermarket. Because something there seems to be looking for him. A darkly funny psychological thriller, Supermarket is a gripping exploration into madness and creativity. Who knew you could find sex, drugs, and murder all in aisle nine?
Introduction: Representing financial abstraction in fiction -- Virtue unrewarded: financial character in the economic novel -- Reagonomic realisms: real estate, character, and crisis in Jane Smiley's Good faith -- Epic compensations: corporate totality in Frank Norris's The octopus and Richard Powers's Gain -- Financial sublime: virtual capitalism in Don DeLillo's Cosmopolis -- Liquid realisms: global asymmetry and mediation in Teddy Wayne's Kapitoil and Mohsin Hamid's How to get filthy rich in raising Asia -- Epilogue: Literary realism and finance capital
Research consistently shows how through the years more of our time gets spent using media, how multitasking our media has become a regular feature of everyday life, and that consuming media for most people increasingly takes place alongside producing media. Media Life is a primer on how we may think of our lives as lived in rather than with media. The book uses the way media function today as a prism to understand key issues in contemporary society, where reality is open source, identities are - like websites - always under construction, and where private life is lived in public forever more. Ultimately, media are to us as water is to fish. The question is: how can we live a good life in media like fish in water? Media Life offers a compass for the way ahead.
The second book in the Elemental Logic series, Earth Logic continues the story from the perspective of Karis, a complex character born of magic and now ruler for the country of Shaftal. Karis is a woman who can heal the war-torn land and expel the invaders, but she lives in obscurity with her fractious found family. With war and disease spreading, Karis must act quickly. And when Karis acts, the very stones of the earth sit up and take notice. “Another stunner of a book. The powerful but subtle writing glows with intelligence.” —Booklist
Laurie Marks’ Elemental Logic series introduced readers to the realm of Shaftal, an intricately imagined land whose people operate within the boundaries of their basic natures—here defined as logics—which sometimes bequeath them with access to magical, elemental powers and sometimes embroil them in unsolvable internal conflicts. Fire Logic centers around the strong female character Zanja Na’Tarwein, a fighter and last survivor of her people in an occupied country. Alongside her is Karis, a powerful half-giant, who is a drug addict and lives in obscurity, hiding her considerable powers. Surrounded by incomprehensible loss, Zanja also forms a bond with Emil, an officer of the army she joins. Battling the complex forces of power, desire, and obligation, follow along as the trio work together to try and change the course of history.
In this lively and provocative study, Geoff Ward puts forward the bold claim that the founding documents of American identity are essentially literary. America was invented, not discovered, and it remains in thrall to the myth of an earthly Paradise. This is Paradise, and American ideology imprisons as it inspires. The Writing of America shows the tension between these forces in a wide range of literary and other texts, from Puritan sermons and the Declaration of Independence, through nineteenth-century classics, to folk and blues lyrics and the popular novel. Alongside his provocative reassessments of canonical writers, Ward offers new material on lost or neglected figures from the world of literature, film and music. His acute and often startling analyses of American literature and culture make this an essential guide to what Lincoln termed the last best hope of earth.
Reimagining the scholarly book as living and collaborative--not as commodified and essentialized, but in all its dynamic materiality. In this book, Janneke Adema proposes that we reimagine the scholarly book as a living and collaborative project--not as linear, bound, and fixed, but as fluid, remixed, and liquid, a space for experimentation. She presents a series of cutting-edge experiments in arts and humanities book publishing, showcasing the radical new forms that book-based scholarly work might take in the digital age. Adema's proposed alternative futures for the scholarly book go beyond such print-based assumptions as fixity, stability, the single author, originality, and copyright, reaching instead for a dynamic and emergent materiality. Adema suggests ways to unbind the book, describing experiments in scholarly book publishing with new forms of anonymous collaborative authorship, radical open access publishing, and processual, living, and remixed publications, among other practices. She doesn't cast digital as the solution and print as the problem; the problem in scholarly publishing, she argues, is not print itself, but the way print has been commodified and essentialized. Adema explores alternative, more ethical models of authorship; constructs an alternative genealogy of openness; and examines opportunities for intervention in current cultures of knowledge production. Finally, asking why it is that we cut and bind our research together at all, she examines two book publishing projects that experiment with remix and reuse and try to rethink and reperform the book-apparatus by taking responsibility for the cuts they make.