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David Kirby Charles Baxter David H. Lynn Marie Myung-Ok Lee Barbara Hamby Mary Morris Debora Greger Reginald Shepherd Amit Majmudar Page Hill Starzinger Ricardo Pau-Llosa Julianna Baggott G.E. Murray Patrice de La Tour du Pin--translated from the French by Jennifer Grotz R.T. Smith Rebecca Rasmussen Steven A. Dabrowski Celeste Ng Nancy Eimers Chard deNiord Laura Kasischke Derek Mong Judith Valente Debra Nystrom John J. Clayton Erika Dreifus David Wagoner Charlie Smith Pimone Triplett Megan Harlan Jonathan Fink Corey Marks Anne Harding Woodwortth
This Companion provides an accessible overview of the contexts, periods, and subgenres of English-language short fiction outside of North America.
Leo Tolstoy’s and Vladimir Nabokov’s radically opposed aesthetic worldviews emanate from a shared intuition—that approaching a text skeptically is easy, but trusting it is hard Two figures central to the Russian literary tradition—Tolstoy, the moralist, and Nabokov, the aesthete—seem to have sharply conflicting ideas about the purpose of literature. Tatyana Gershkovich undermines this familiar opposition by identifying a shared fear at the root of their seemingly antithetical aesthetics: that one’s experience of the world might be entirely one’s own, private and impossible to share through art. Art in Doubt: Tolstoy, Nabokov, and the Problem of Other Minds reconceives the pair’s celebrated fiction and contentious theorizing as coherent, lifelong efforts to reckon with the problem of other people’s minds. Gershkovich demonstrates how the authors’ shared yearning for an impossibly intimate knowledge of others formed and deformed their fiction and brought them through parallel logic to their rival late styles: Tolstoy’s rustic simplicity and Nabokov’s baroque complexity. Unlike those authors for whom the skeptical predicament ends in absurdity or despair, Tolstoy and Nabokov both hold out hope that skepticism can be overcome, not by force of will but with the right kind of text, one designed to withstand our impulse to doubt it. Through close readings of key canonical works—Anna Karenina, The Kreutzer Sonata, Hadji Murat, The Gift, Pale Fire—this book brings the twin titans of Russian fiction to bear on contemporary debates about how we read now, and how we ought to.
The strength of Carol Frost's Love and Scorn: New and Selected Poems lie not only in the excellence of her work but in the very presentation, which gives a new vitality to her most beloved and familiar poems. This collection will most assuredly find Frost new readers and thrill those already acquainted with her work.
First published in 1990, this work offers an analysis of the phenomenon of encyclopaedism in literature. Hilary Clark develops the theory of an encyclopaedic form in the interests of making clear distinctions between the realist narrative form and that of the encyclopaedic-parodic or fictional encyclopaedia. She makes clear the special links that non-realist, parodic fictions have with the forms of essay, Menippean satire and epic, and indeed with the encyclopaedia itself. The study pays particular attention to the way in which literary encyclopaedism has flourished in the twentieth century, with special reference to the works of James Joyce, Ezra Pound and Philippe Sollers.