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A literary scholar explains how eighteenth-century novels were manufactured, sold, bought, owned, collected, and read alongside Protestant religious texts. As the novel developed into a mature genre, it had to distinguish itself from these similar-looking books and become what we now call “literature.” Literary scholars have explained the rise of the Anglophone novel using a range of tools, from Ian Watt’s theories to James Watt’s inventions. Contrary to established narratives, When Novels Were Books reveals that the genre beloved of so many readers today was not born secular, national, middle-class, or female. For the first three centuries of their history, novels came into readers’ hands primarily as printed sheets ordered into a codex bound along one edge between boards or paper wrappers. Consequently, they shared some formal features of other codices, such as almanacs and Protestant religious books produced by the same printers. Novels are often mistakenly credited for developing a formal feature (“character”) that was in fact incubated in religious books. The novel did not emerge all at once: it had to differentiate itself from the goods with which it was in competition. Though it was written for sequential reading, the early novel’s main technology for dissemination was the codex, a platform designed for random access. This peculiar circumstance led to the genre’s insistence on continuous, cover-to-cover reading even as the “media platform” it used encouraged readers to dip in and out at will and read discontinuously. Jordan Alexander Stein traces this tangled history, showing how the physical format of the book shaped the stories that were fit to print.
There's no one in her life that Kate Grayson despises more than Colton James; he's inconsiderate, rude, irresponsible and perverted, and yet he has an effect on her she can't even begin to explain. Determined not to fall for the resident bad boy, Kate falls into a vicious cycle of being pulled into his attractive charm before forcing herself to stay away. For his part, Colton finds Kate intriguing and when he warns his friend away from her, he realizes that perhaps her lack of desire for him only enhances his own desire for her.
Features a collection of writings across different genres by the mid-twentieth-century author.
“One of my favorite authors.”—Colleen Hoover An insightful, delightful, instant #1 New York Times bestseller from the author of Beach Read and People We Meet on Vacation. Named a Most Anticipated Book of 2022 by Oprah Daily ∙ Today ∙ Parade ∙ Marie Claire ∙ Bustle ∙ PopSugar ∙ Katie Couric Media ∙ Book Bub ∙ SheReads ∙ Medium ∙ The Washington Post ∙ and more! One summer. Two rivals. A plot twist they didn't see coming... Nora Stephens' life is books—she’s read them all—and she is not that type of heroine. Not the plucky one, not the laidback dream girl, and especially not the sweetheart. In fact, the only people Nora is a heroine for are her clients, for whom she lands enormous deals as a cutthroat literary agent, and her beloved little sister Libby. Which is why she agrees to go to Sunshine Falls, North Carolina for the month of August when Libby begs her for a sisters’ trip away—with visions of a small town transformation for Nora, who she’s convinced needs to become the heroine in her own story. But instead of picnics in meadows, or run-ins with a handsome country doctor or bulging-forearmed bartender, Nora keeps bumping into Charlie Lastra, a bookish brooding editor from back in the city. It would be a meet-cute if not for the fact that they’ve met many times and it’s never been cute. If Nora knows she’s not an ideal heroine, Charlie knows he’s nobody’s hero, but as they are thrown together again and again—in a series of coincidences no editor worth their salt would allow—what they discover might just unravel the carefully crafted stories they’ve written about themselves.
Can a woman ever really know herself if she doesn't know her mother? From the author of the smash-hit bestseller Firefly Lane and True Colors comes Kristin Hannah's powerful, heartbreaking novel that illuminates the intricate mother-daughter bond and explores the enduring links between the present and the past. Meredith and Nina Whitson are as different as sisters can be. One stayed at home to raise her children and manage the family apple orchard; the other followed a dream and traveled the world to become a famous photojournalist. But when their beloved father falls ill, Meredith and Nina find themselves together again, standing alongside their cold, disapproving mother, Anya, who even now, offers no comfort to her daughters. As children, the only connection between them was the Russian fairy tale Anya sometimes told the girls at night. On his deathbed, their father extracts a promise from the women in his life: the fairy tale will be told one last time—and all the way to the end. Thus begins an unexpected journey into the truth of Anya's life in war-torn Leningrad, more than five decades ago. Alternating between the past and present, Meredith and Nina will finally hear the singular, harrowing story of their mother's life, and what they learn is a secret so terrible and terrifying that it will shake the very foundation of their family and change who they believe they are.
Winner of the Pulitzer Prize in Fiction Winner of the William Dean Howells Medal Shortlisted for the Man Booker Prize Over One Year on the New York Times Bestseller List A New York Times Notable Book and a Washington Post, Time, Oprah Magazine, Newsweek, Chicago Tribune, and Kirkus Reviews Best Book of the Year "The best novel ever written about trees, and really just one of the best novels, period." —Ann Patchett The Overstory, winner of the 2019 Pulitzer Prize in Fiction, is a sweeping, impassioned work of activism and resistance that is also a stunning evocation of—and paean to—the natural world. From the roots to the crown and back to the seeds, Richard Powers’s twelfth novel unfolds in concentric rings of interlocking fables that range from antebellum New York to the late twentieth-century Timber Wars of the Pacific Northwest and beyond. There is a world alongside ours—vast, slow, interconnected, resourceful, magnificently inventive, and almost invisible to us. This is the story of a handful of people who learn how to see that world and who are drawn up into its unfolding catastrophe.
This eleventh edition was developed during the encyclopaedia's transition from a British to an American publication. Some of its articles were written by the best-known scholars of the time and it is considered to be a landmark encyclopaedia for scholarship and literary style.
Author and former literary agent Nathan Bransford shares his secrets for creating killer plots, fleshing out your first ideas, crafting compelling characters, and staying sane in the process. Read the guide that New York Times bestselling author Ransom Riggs called "The best how-to-write-a-novel book I've read."
In Michigan's Upper Peninsula, a dangerous rescue effort draws the ears and eyes of the entire country. A two-and-a-half-year-old girl has fallen down a mine shaft—"the only sound is an astonished tiny intake of breath from Ursula as she goes down, like a penny into the slot of a bank, disappeared, gone." It is as if all hope for life on the planet is bound up in the rescue of this little girl, the first and only child of a young woman of Finnish extraction and her Chinese-American husband. One TV viewer following the action notes that the Wong family lives in a decrepit mobile home and wonders why all this time and money is being "wasted on that half-breed trailer-trash kid." In response, the novel takes a breathtaking leap back in time to visit Ursula's most remarkable ancestors: a third-century-B.C. Chinese alchemist; an orphaned playmate of a seventeenth-century Swedish queen; Professor Alabaster Wong, a Chautauqua troupe lecturer (on exotic Chinese topics) traveling the Midwest at the end of the nineteenth century; her great-great-grandfather Jake Maki, who died at twenty-nine in a Michigan iron mine cave-in; and others whose richness and history are contained in the induplicable DNA of just one person—little Ursula Wong. Ursula's story echoes those of her ancestors, many of whom so narrowly escaped not being born that her very existence—like ours—comes to seem a miracle. Ambitious and accomplished, Ursula, Under is, most of all, wonderfully entertaining—a daring saga of culture, history, and heredity.
THE STORY: The home of the Blackwoods near a Vermont village is a lonely, ominous abode, and Constance, the young mistress of the place, can't go out of the house without being insulted and stoned by the villagers. They have also composed a nasty s