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The flagship issue fêtes Christine Brooke-Rose, one of the most innovative voices of the twentieth century, whose fiction plays challenging games with form and structure, using grammatical constraints, multiple languages, and a dicing of genre styles and theoretical discourses as an integral component of her novels. Brooke-Rose is among an unfortunate revue of writers whose work is fading out of print, rarely part of critical or academic discussion. This 320-page issue contains creative and critical responses to her fiction, theory, and criticism, written with an eye to the general literary reader unfamiliar with her output, but with enough homage, parody, imitation, and analysis to excite her devoted fan base.
The sixth Verbivoracious Festschrift is a brobdingnagian spectacular fEting the famous workshop of potential literature, The Oulipo, now entering its 57th year. Our contributors were invited to write a piece of fiction, an essay, a poem, or any other hybrid, and choose their own constraints. The results have yielded a marvellous sprawl of oulipian homage, from petite poetic tributes to Queneau, to long lipogrammatic bows to Perec. In this issue: Philip Terry's take on Perec's I Remember, Warren Motte's literary abecedaries, David Bellos's iconoclastic essay on Hugo and Perec, two chapters from Jeff Bursey's lipogrammic novel Ennead, Louis Bury's anticipatory blurbs, Michael Leong's take on the Oulipo's ever-expanding influence, Tom Jenks and Jeanelle D'Alessandro's satirical N]7s, Andriana Minou's typographically playful novella Hypnotic Labyrinth, John Peck's murder mystery in 100 sentences, poetry from Doug Nufer and Stephen Frug, Marc Lapprand's view on evolution and The Oulipo, a slew of palindromes, lists, papers, and fancies from Pablo Ruiz, and many other pieces. The issue concludes with a wholly original work of sustained constraint: Christine Brooke-Rose's first novel rewritten with her grammatical constraints and polylingual puns reinstated. The sixth issue is our fattest feast yet, and a must for Oulipo enthusiasts.
Continental Theory Buffalo is the inaugural volume of the Humanities to the Rescue book series, a public humanities project dedicated to discussing the role of the arts and humanities today. This book is a collaborative act of humanistic renewal that builds on the transcontinental legacy of May 1968 to offer insightful readings of the cultural (d)evolution of the last fifty years. The volume contributors revisit, reclaim and reassess the "revolutionary" legacy of May 1968 in light of the urgency of the present and the future. Their essays are effective illustrations of the potential of such interpretive traditions as philosophy, literature and cultural criticism to run interference with (and offer alternatives to) the instrumentalist logic and predatory structures that are reducing the world to a collection of quantifiable and tradeable resources. The book will be of interest to cultural historians and theorists, media studies scholars, political scientists, and students of French and Francophone literature and culture on both sides of the Atlantic.
Surrealist women’s writing: A critical exploration is the first sustained critical inquiry into the writing of women associated with surrealism. Featuring original essays by leading scholars of surrealism, the volume demonstrates the extent and the historical, linguistic, and culturally contextual breadth of this writing. It also highlights how the specifically surrealist poetics and politics of these writers’ work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, otherness, anthropocentrism, and the environment. Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of numerous women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production. These include Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning, and Rikki Ducornet.
This book utilizes archive research, interviews and historical analysis to present a comprehensive overview of the works of Christine Brooke-Rose. A writer well-known for her idiosyncratic and experimental approaches to the novel form; this work traces her development from her early years as a social satirist, through her space-aged experimentalism in the 1960s, to her later poststructuralism and interest in digital computing and genetics. The book gives an overview of her writing and intellectual career with new archival research that places Brooke-Rose’s work in the context of the historically important events in which she was a participant: Bletchley Park codebreaking in the Second World War, the events in Paris during May 1968, the dawning of the internet and the rise of poststructuralism. Joseph Darlington begins with Brooke-Rose’s first novels written in the late 1950s of social satire, studies her experimental phase of writing and finally illuminates her unique approach to autobiography, arguing for reevaluating this interdisciplinary author and her contribution to poststructuralism, life writing and post-war literature.
This book is about Raymond Federman and his incredible textual obsession with Samuel Beckett. Federman was a scholar of Beckett, postmodern theorist, a self-translator and avant-garde novelist. Born in Paris in 1928, all of his immediate family perished in the Holocaust. Federman escaped thanks to his mother, who hid him in a closet. After the war, he migrated to America and devoted his life to scholarship and creative writing. In both, he devoted his life to Beckett. Federman’s creative and theoretical writings contaminate and pervert each other just as, in his novels, French contaminates English and fiction perverts reality. His work is centered on the details of his survival, enacting a perpetual return to the closet, as previous studies have demonstrated. By examining Beckettian (and by extension Joycean) intertextuality in the novels of Raymond Federman, this study traces the contours of a second closet.
The Experimentalists is a collective biography, capturing the life and times of the British experimental writers of the swinging 1960s. A decade of research, including as-yet unopened archives and interviews with the writers' colleagues, is brought together to produce a comprehensive history of this ill-starred group of renegade writers. Whether the bolshie B.S. Johnson, the globetrotting Ann Quin, the cerebral Christine Brooke-Rose, or the omnipresent Anthony Burgess, these writers each brought their own unique contributions to literature at a time uniquely open to their iconoclastic message. The journey connects historical moments from Bletchley Park, to Paris May '68, to terrorist groups of the 1970s. A tale of love, loss, friendship and a shared vision, this book is a fascinating insight into a bold, provocative and influential group of writers whose collective story has gone untold, until now.
Boxing Day circa 1935. A snowed-in manor on the very edge of Dartmoor. A Christmas house-party. And overhead, in the attic, the dead body of Raymond Gentry, gossip columnist and blackmailer, shot through the heart. But the attic door is locked from the inside, its sole window is traversed by thick iron bars and, naturally, there is no sign of a murderer or a murder weapon. Fortunately (though, for the murderer, unfortunately), one of the guests is the formidable Evadne Mount, the bestselling author of countless classic whodunits. In fact, were she not its presiding sleuth, THE ACT OF ROGER MURGATROYD is exactly the type of whodunit she herself might have written.