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Maupassant and the American Short Story isolates and develops more fully than any previous study the impact of Maupassant's work on the writing of Ambrose Bierce, O. Henry, Kate Chopin, and Henry James. It introduces a new perspective to assess their canons, reviving the importance of many often-ignored stories and, in the cases of Maupassant and O. Henry, reasserting the necessity of studying such writers to understand the history of the genre. An important moment in the history of the short story occurred with the American misreading of Maupassant's use of story structure. At the turn of the century, writers such as Bierce and O. Henry seized upon the surprise-inversion form because Maupassant's translators promoted him as championing it. Only a few writers, such as James and Chopin, both of whom read Maupassant in French, appreciated his deft handling of form more fully. Their vision and the impact of Maupassant upon their fiction was largely ignored by later generations of writers who preferred to associate Maupassant and O. Henry with the &"trick ending&" story. This book details the origins and consequences of this misperception. The book further contributes to the study of the short-story genre. Through an adaptation of Aristotelian concepts, Richard Fusco proposes an original approach to short-story structure, defining and developing seven categories of textual formulas: linear, ironic coda, surprise-inversion, loop, descending helical, contrast, and sinusoidal. As a practitioner of all these forms, Maupassant established his mastery of the genre. By studying his use of form, the book asserts a major reason for his pivotal importance in the historical development of the short story.
Between the 1780s and the end of the nineteenth century, an army of sad women took up residence in other people's homes, part and yet not part of the family, not servants, yet not equals. To become a governess, observed Jane Austen in Emma, was to "retire from all the pleasures of life, of rational intercourse, equal society, peace and hope, to penance and mortification for ever." However, in an ironic paradox, the governess, so marginal to her society, was central to its fiction-partly because governessing was the fate of some exceptionally talented women who later wrote novels based on their experiences. But personal experience was only one source, and writers like Wilkie Collins, William Makepeace Thackeray, Henry James, and Jane Austen all recognized that the governess's solitary figure, adrift in the world, offered more novelistic scope than did the constrained and respectable wife. Ruth Brandon weaves literary and social history with details from the lives of actual governesses, drawn from their letters and journals, to craft a rare portrait of real women whose lives were in stark contrast to the romantic tales of their fictional counterparts. Governess will resonate with the many fans of Jane Austen and the Brontës, whose novels continue to inspire films and books, as well as fans of The Nanny Diaries and other books that explore the longstanding tension between mothers and the women they hire to raise their children.
Two friends reunite—and discover hidden feelings—while investigating a murder in this sensual, witty historical romance perfect for fans of Evie Dunmore and Netflix's Bridgerton! Jane Halliwell once dreamed of a home of her own—but those dreams (and her dowry) died with her father. Now, she works as a governess, preparing her charge for a future no longer within her reach. When her employer is murdered during a house party, however, Jane is forced back into the world of the ton. But stepping in as hostess will require working with the same lord who once broke her girlish heart. Lord Adrian Fielding was too consumed with his job at the Foreign Office to pay young Jane much heed, but he always considered her a friend. Which is why he’s confounded by her icy demeanor now. More troubling still is his desire to melt the tensions between them. But his mentor’s murder means he must first find the culprit—and ensure Jane’s safety as she manages a house full of foreign dignitaries. Only Jane insists on joining the investigation, and Adrian, despite all his diplomatic skills, finds himself seduced by her sharp wit and sparkling eyes. But with a vicious killer circling ever closer, will it soon be too late for their chance at forever?
Taking as its point of departure recent insights about the performative nature of genre, The Poetics and Politics of the American Gothic challenges the critical tendency to accept at face value that gothic literature is mainly about fear. Instead, Agnieszka Soltysik Monnet argues that the American Gothic, and gothic literature in general, is also about judgment: how to judge and what happens when judgment is confronted with situations that defy its limits. Poe, Hawthorne, Melville, Gilman, and James all shared a concern with the political and ideological debates of their time, but tended to approach these debates indirectly. Thus, Monnet suggests, while slavery and race are not the explicit subject matter of antebellum works by Poe and Hawthorne, they nevertheless permeate it through suggestive analogies and tacit references. Similarly, Melville, Gilman, and James use the gothic to explore the categories of gender and sexuality that were being renegotiated during the latter half of the century. Focusing on "The Fall of the House of Usher," The Marble Faun, Pierre, The Turn of the Screw, and "The Yellow Wallpaper," Monnet brings to bear minor texts by the same authors that further enrich her innovative readings of these canonical works. At the same time, her study persuasively argues that the Gothic's endurance and ubiquity are in large part related to its being uniquely adapted to rehearse questions about judgment and justice that continue to fascinate and disturb.
Gertrude Stein's 'The Making of Americans' is a groundbreaking family saga that delves into the complexities of American life, identity, and relationships. Written in Stein's signature stream-of-consciousness style, the novel pushes the boundaries of traditional narrative structure, challenging readers to look beyond the surface and explore the interconnectedness of individual experiences. Set against the backdrop of early 20th century America, the book offers a profound exploration of the American psyche and the immigrant experience, making it a timeless piece of literature. Stein's innovative use of language and narrative technique elevates 'The Making of Americans' to a work of art that continues to inspire and provoke readers to this day.
Published in 1925, Gertrude Stein's "The Making of Americans" is a groundbreaking exploration of identity, family, and the American experience. The novel spans generations, delving into the lives of two families as they navigate the complexities of self-discovery and societal expectations. Stein employs her distinctive, experimental prose style, challenging traditional narrative structures. Through a meticulous examination of characters and their evolving relationships, Stein crafts a profound meditation on the intricate process of shaping individual and collective identities. "The Making of Americans" stands as a seminal work in modernist literature, pushing boundaries and redefining the possibilities of narrative form.
El Centrolista20122015 is written to inspire Yes we Can Hispanic Si se Puede Republican, Democrat, and liberal political warriors to register, participate, and vote for human-first American politics in America today. The text in this book consists of my cyberpolitical advice and correspondence to and from President Barack Obama in our effort to dignify humanity by way of Hispanic political power as I see it.
For about a century and a half after they arrived from England, America's first permanent colonists considered themselves to be English. They were proud of their heritage and loyal to their country. England's royal family truly was the royal family of America--until the era of the American Revolution, when the colonies fought for their independence from England and its rulers. Elizabeth I, James I, Charles I, Charles II, James II, William III and Mary II, Anne, George I, George II, and George III--the English royals who were also the royals of early America--are all covered in this work. It begins with Queen Elizabeth I, as it was during her rule that Sir Walter Ralegh established his settlements in America, and ends with King George III, as it was during his rule that the American Revolution began. A biographical sketch is provided for each royal and his or her spouse and legitimate children. Brief mention is made of mistresses and illegitimate children.
This series presents a comprehensive, global and up-to-date history of English-language prose fiction and written ... by a international team of scholars ... -- dust jacket.