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Focusing on canonical works by Daniel Defoe, Henry Fielding, Laurence Sterne, and others, this book explains the relationship between British fiction and historical writing when both were struggling to attain status and authority. History was at once powerful and vulnerable in the empiricist climate of seventeenth- and eighteenth-century England, suspect because of its reliance on testimony, yet essential if empiricism were ever to move beyond natural philosophy. The Boundaries of Fiction shows how, in this time of historiographical instability, the British novel exploited analogies to history. Titles incorporating the term ?history,? pseudo-editors presenting pseudo-documentary ?evidence,? and narrative theorizing about historical truth were some of the means used to distinguish novels from the fictions of poetry and other literary forms. These efforts, Everett Zimmerman maintains, amounted to a critique of history's limits and pointed to the novel's power to transcend them. He offers rich analyses of texts central to the tradition of the novel, chiefly Clarissa, Tom Jones, and Tristram Shandy, and concludes with discussions of Sir Walter Scott's development of the historical novel and David Hume's philosophy of history. Along the way, Zimmerman refers to such other important historical figures as John Locke, Richard Bentley, William Wotton, and Edward Gibbon and engages contemporary thinkers, including Paul Ricoeur and Michel Foucault, who have addressed the philosophical and methodological issues of historical evidence and narrative.
Dorothy Richardson is existing just above the poverty line, doing secretarial work at a dentist's office and living in a seedy boarding house in Bloomsbury, when she is invited to spend the weekend with a childhood friend, Jane. Jane has recently married a writer who is on the brink of fame. His name is H.G. Wells, or Bertie, as they call him. Bertie appears unremarkable at first. But then Dorothy notices his grey-blue eyes taking her in, openly signalling approval. He tells her he and Jane have an agreement which allows them the freedom to take lovers, although Dorothy can tell her friend would not be happy with that arrangement. Not wanting to betray Jane, yet unable to draw back Dorothy free-falls into an affair with Bertie. Then a new boarder arrives at the house- beautiful Veronica Leslie-Jones-and Dorothy finds herself caught between Veronica and Bertie. Amidst the personal dramas and wreckage of a militant suffragette march, Dorothy finds her voice as a writer.
Moving between the American South and Mexico, these stories explore how immigrant and native characters are shaped by absent family and geography. A Chilanga teen wins a trip to Miami to film a reality show about family while pining for the American brother she’s never met. A Louisiana carpenter tends to his drug-addicted son while rebuilding his house after a slew of hurricanes. A New Orleans ne’er-do-well opens a Catholic-themed bar in the wake of his devout mother’s death. A village girl from Chiapas baptizes her infant on a trek toward the U.S. border. In the collection’s second half, we follow a Veracruzan-born drifter, Manuel, and his estranged American son, Tommy. Over decades, they negotiate separate nations and personal tragicomedies on their journeys from innocence to experience. As Manuel participates in student protests in Mexico City in 1968, he drops out to pursue his art. In the 1970s, he immigrates to Louisiana, but soon leaves his wife and infant son behind after his art shop fails. Meanwhile, Tommy grows up in 1980s Louisiana, sometimes escaping his mother’s watchful eye to play basketball at a park filled with the threat of violence. In college, he seeks acceptance from teammates by writing their term papers. Years later, as Manuel nears death and Tommy reaches middle age, they reconnect, embarking on a mission to jointly interview a former riot policeman about his military days; in the process, father and son discover what it has meant to carry each other’s stories and memories from afar.
What hope do you have when no one believes in you?Tough-talking and ready with his fists, Mickie didn't exactly have the best start in life. Growing up in the 80s in a rough Glaswegian suburb where no one's heard of dyslexia, his teachers view him as a lost cause, while his parents despair. When the only available entertainment is breaking into cake vans and hotwiring construction vehicles, Mickie's future looks bleak.The only shining light in his life is his best friend, Angus. Struggling just as much with literacy, Angus manages to rise above his disability to prove you can achieve against the odds. Angus is an inspiration, but can Mickie follow his example and build a better life, or will he lose himself in a world of drugs, gang violence, and crime?Boundaries: Real Life can be Stranger than Fiction, is perfect for those who love reading heart-breaking biographies with a hint of Trainspotting, The Breakfast Club, and The Godfather. In this crime fiction based on real events, Gavin McChristie takes you on a whirlwind journey of emotion and self-discovery that will leave you breathless.Lose yourself in this incredible story of one man's fight against all odds to save himself for the sake of his son.
In Trespassing Boundaries , ten contemporary Woolf scholars discuss a broad range of Woolf's short stories. Despite being now easily available these stories have not yet received the attention they deserve. Complex yet involving, they deserve to be read not only for the light they shed on the novels, but in their own right, as major contributions to the short fiction as a genre. This volume places Woolf's short stories in the context of modernist experimentalism, then explores them as ambitious attempts to challenge generic boundaries, undercutting traditional distinctions between short fiction and the novel, between experimental and popular fiction, between fiction and nonfiction. Collectively the essays suggest that Woolf's contribution to the short story is as important as her contribution to the novel.
Surveying the vast expanse of politically-charged science fiction, this book posits that the defining dilemma for these tales rests in whether identity and meaning germinate from progressive linear changes or progress, or from a continuous return to primitive realities of war, death and the competition for survival.
When to say yes, when to say no to take control of your life.
'A daring blend of romance, crime and history, and an intelligent exposé of the inherent injustice and consequences of all forms of oppression' Tsitsi Dangarembga, Nervous Conditions Opening with the shooting of Lady Virginia 'Ginie' Courtauld in her tranquil garden in 1950s Rhodesia, The Dragon Lady tells Ginie's extraordinary story, so called for the exotic tattoo snaking up her leg. From the glamorous Italian Riviera before the Great War to the Art Deco glory of Eltham Palace in the thirties, and from the secluded Scottish Highlands to segregated Rhodesia in the fifties, the narrative spans enormous cultural and social change. Lady Virginia Courtauld was a boundary-breaking, colourful and unconventional person who rejected the submissive role women were expected to play. Ostracised by society for being a foreign divorcée at the time of Edward VIII and Mrs Simpson, Ginie and her second husband ,Stephen Courtauld, leave the confines of post-war Britain to forge a new life in Rhodesia, only to find that being progressive liberals during segregation proves mortally dangerous. Many people had reason to dislike Ginie, but who had reason enough to pull the trigger? Deeply evocative of time and place, The Dragon Lady subtly blends fact and fiction to paint the portrait of an extraordinary woman in an era of great social and cultural change.
Challenging the view that a critical sense of history is missing from the Enlightenment, Suzanne Gearhart links the works of Voltaire, Montesquieu, Diderot, and Rosseau with the inquiry into the boundary between literature and history in contemporary critical discourse. She considers the theories of Levi-Strauss, Foucault, Althusser, Genette, White, de Man, and Derrida in order to develop a critical approach to fiction and history and to reveal that investigations into the fo undations of historical knowledge, and specifically into what distinguishes hsitory from fiction, were central to the Enlightenment. This book questions many assumptions basic to contemporary criticism by establishing a dialogue between major theorists and Enlightenment figures. It challenges certitudes of fiction and literature by examining the historicity of language, form, and literature itself, redefining history to show its crucial relevance to literary studies and opening historiography to the insights of literary theory. Suzanne Gearhart is Associate Professor of Literature at the University of California, San Diego. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
All of Byron's major poems, together with his forays into prose fiction, are considered in this volume.