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“Alice munro has done more than anyone to raise the status of the short story … really, who could be better?”—Evening Standard alIce Munro Too Much Happiness Brilliantly paced, lit with sparks of danger and underlying menace, these are dazzling, provocative stories about Svengali men and the radical women who outmanoeuvre them, about destructive marriages and curdled friendships, about mothers and sons, about moments that change or haunt a life. Alice Munro takes on complex, even harrowing emotions and events, and renders them into stories that surprise, amaze, and shed light on the unpredictable ways we accommodate what happens in our lives. Munro’s unsettling stories turn lives into art, and expand our world and our understanding of the strange workings of the human heart. ALicE Munro grew up in Wingham, Ontario, and attended the University of Western Ontario. She has published fourteen previous books. During her distinguished career, she has been sales the recipient of many awards and prizes, including the recent Too Much Happiness was a finalist for the Man Booker International Prize for “a body of work that has 2009 Rogers Writers’ Trust Fiction Prize and contributed to an achievement in fiction on the world stage.” for the Governor General’s Literary Award Photo credit: Jerry Bauer She divides her time between Clinton, Ontario, and Comox, for Fiction British Columbia. It was a national bestseller Published by Knopf in the U.s. and by Chatto and Windus in the U.K. Praise for Alice Munro MarkeTing “One of the grandees of english-language short fiction.” outreach to bookclubs via —Saturday Guardian Penguinbookclub.ca online promotion at Penguin.ca also available: My Best Stories $22.00 / Pb / 978-0-14-317039-6 The View from Castle Rock $19.00 / Pb / 978-0-14-317740-1 Hateship, Friendship, Courtship, Loveship, Marriage $19.00 / Pb / 978-0-14-305454-2 Runaway $19.00 / Pb / 978-0-14-317739-5 septeMber • Penguin The Love of a Good Woman Fiction • 978-0-14-317172-0 • $18.00 $19.00 / Pb / 978-0-14-305500-6 Paperback • 51⁄16 × 7¾ • 320 pages Lives of Girls and Women Rights: Canada, English $19.00 / Pb / 978-0-14-305144-2 Previous Isbn: 978-0-14-317099-0 58.

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Alice Munro and the Anatomy of the Short Story
Alice Munro and the Anatomy of the Short Story Alice Munro and the Anatomy of the Short Story Edited by Oriana Palusci Alice Munro and the Anatomy of the Short Story Edited by Oriana Palusci This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Oriana Palusci and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0353-4 ISBN (13): 978-1-5275-0353-3 CONTENTS Introduction ................................................................................................. 1 Alice Munro’s Short Stories in the Anatomy Theatre Oriana Palusci Section I: The Resonance of Language Chapter One ............................................................................................... 13 Dance of Happy Polysemy: The Reverberations of Alice Munro’s Language Héliane Ventura Chapter Two .............................................................................................. 27 Too Much Curiosity? The Late Fiction of Alice Munro Janice Kulyk Keefer Section II: Story Bricks Chapter Three ............................................................................................ 45 Alice Munro as the Master
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Agrégation D'anglais 2014-2015 Alice Munro, Dance of the Happy Shades, 1968 I. Sources Primaires II. Sources Secondaires
Bibliographie sélective établie par Héliane Ventura (Université de Toulouse-Jean Jaurès) Agrégation d’anglais 2014-2015 Alice Munro, Dance of the Happy Shades, 1968 I. Sources primaires Édition recommandée pour le concours : Alice Munro . Dance of the Happy Shades [1968]. London: Vintage, 2000. Il est vivement conseillé de lire plusieurs autres recueils de nouvelles de Munro, de préférence le second et ceux qui figurent parmi ses derniers. Recueils de nouvelles de Alice Munro Dance of the Happy Shades . Toronto: Ryerson Press, 1968. Lives of Girls and Women. Toronto: McGraw-Hill Ryerson, 1971. Something I’ve Been Meaning to Tell You. Toronto: McGraw-Hill Ryerson, 1974. Who Do You Think You Are? Toronto: Macmillan, 1978. The Moons of Jupiter. Toronto: Macmillan, 1982. The Progress of Love. Toronto: McClelland & Stewart, 1986. Friend of My Youth. Toronto: McClelland & Stewart, 1990. Open Secrets. Toronto: McClelland & Stewart, 1994. The Love of a Good Woman . Toronto: McClelland & Stewart, 1998. Hateship, Friendship, Courtship, Loveship, Marriage. Toronto: McClelland & Stewart, 2001. Runaway. Toronto: McClelland & Stewart, 2004. The View from Castle Rock. Toronto: McClelland & Stewart, 2006. Too Much Happiness. Toronto: McClelland & Stewart, 2009. Dear Life . Toronto: McClelland & Stewart, 2012. II. Sources secondaires a) Biographies *** Ross, Catherine Sheldrick. Alice Munro: A Double Life . Downsview, ON: ECW Press, 1992, 97 p. ———.“Alice Munro.” Dictionary of Literary Biography . Vol. 53. Canadian Writers since 1960 . First Series. Ed. W.H. New. Detroit: Bruccoli Clark Layman Book, Gale Research Inc, 1986. Thacker, Robert . Alice Munro Writing Her Lives . Toronto: McClelland & Stewart, 2005, 603 p. Thèse française : Bigot, Corinne. Le silence dans les nouvelles d’Alice Munro.
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Reading Alice Munro, 1973-2013
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Table of Contents
Contents About This Volume, Charles E. May vii Career, Life, and Influence On Alice Munro, Charles E. May 3 Biography of Alice Munro, Charles E. May 19 Critical Contexts Alice Munro: Critical Reception, Robert Thacker 29 Doing Her Duty and Writing Her Life: Alice Munro’s Cultural and Historical Context, Timothy McIntyre 52 Seduction and Subjectivity: Psychoanalysis and the Fiction of Alice Munro, Naomi Morgenstern 68 Margaret Atwood and Alice Munro: Writers, Women, Canadians, Carol L. Beran 87 Critical Readings “My Mother’s Laocoon Inkwell”: Lives of Girls and Women and the Classical Past, Medrie Purdham 109 Who does rose Think She is? Acting and Being in The Beggar Maid: Stories of Flo and Rose, David Peck 128 Alice Munro’s The Progress of Love: Free (and) Radical, Mark Levene 142 Friend of My Youth: Alice Munro and the Power of Narrativity, Philip Coleman 160 in Search of the perfect metaphor: The Language of the Short Story and Alice Munro’s “Meneseteung,” J. R. (Tim) Struthers 175 The complex Tangle of Secrets in Alice munro’s Open Secrets, Michael Toolan 195 The houses That Alice munro Built: The community of The Love of a Good Woman, Jeff Birkenstein 212 honest Tricks: Surrogate Authors in Alice munro’s Hateship, Friendship, Courtship, Loveship, Marriage, David Crouse 228 Narrative, Memory, and Contingency in Alice Munro’s Runaway, Michael Trussler 242 v Alice_Munro.indd 5 9/17/2012 9:01:50 AM “Secretly Devoted to Nature”: Place Sense in Alice Munro’s The View from Castle Rock, Caitlin Charman 259 “Age Could Be Her Ally”: Late Style in Alice Munro’s Too Much Happiness, Ailsa Cox 276 Resources Chronology of Alice Munro’s Life 293 Works by Alice Munro 296 Bibliography 297 About the Editor 301 Contributors 303 vi Critical Insights Alice_Munro.indd 6 9/17/2012 9:01:50 AM.
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Alice Munro, at Home and Abroad: How the Nobel Prize in Literature Affects Book Sales
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Bigotry in Alice Munro's Short Story “Too Much Happiness”
The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 Bigotry in Alice Munro’s short story “Too Much Happiness” J.H. HEMA RUBA PhD Research Scholar (English) Sri Sarada College for Women (Autonomous), Salem-16. [email protected] ABSTRACT The historical backdrop of the short story is loaded with logical inconsistency, a trademark which can be believed to have a two-fold impact on the genre, without a moment's delay imbuing the short story form with a sort of abstract vitality, while in the meantime destabilizing its status in the literary group. This article is an analysis on the story “Too Much Happiness”, which mainly focuses on its thematic features. In general Munro typically magnifies social issues taken from real life by submerging this reality into dimensions of dream, fantasy and even horror. The focus on Munro’s stories on a strong, female protagonist who are condemned by the brutalities of love and life yet deliberately choose to lead a life with superior individuality. Key Words: Gender, feebleness, personality, death, struggle, etc., Alice Munro, an unpretentious housewife, had just been working independently as an ingenious non-casualty by exposing the ordinary day to day life encounters of Canadian women in the early 1970s, while the Canadian writers were still learning from Atwood’s works based on the survival about the requirement for defeating the conventional part of victim-hood. Unlike Atwood, Munro was not dynamic in the Women’s Movement of the late sixties and mid-seventies, however she was predominantly compared with Atwood, her first short story collection, Dance of the Happy Shades (1968), won the Governor General’s Award, and Lives of Girls and Women (1971) was acclaimed by Canadian critics for its genuine depiction of the Volume XI, Issue VII, July/2019 Page No:409 The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367 craftsman as a young women and furthermore made business progress in the United States.
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Introduction
Notes Introduction 1. Helen Hoy, “‘Rose and Janet’: Alice Munro’s Metafiction,” Canadian Literature 121 (1989): 59– 83. 2. Robert Thacker, Alice Munro: Writing Her Lives (Toronto: McClelland and Stewart, 2005), 414. 3. Alice Munro, quoted in Thacker, Alice Munro, 417, italics in original. 4. Jeanne McCulloch and Mona Simpson, “Alice Munro: The Art of Fiction CXXXVIII,” Paris Review 131 (1994): 227– 64. 5. Alice Munro, “What Is Real?” Canadian Forum (September 1982): 5, 32. 6. Catherine Sheldrick Ross, Alice Munro: A Double Life (Toronto: ECW Press, 1992), 88. The interview from which Ross quotes, entitled “Interview: Alice Munro,” is with Kevin Connolly, Douglas Freake, and Jason Sherman, and is published in What (September– October 1986): 8– 10. 7. Daphne Merkin, “Northern Exposure,” New York Times Magazine (October 24, 2004): 20– 23. 8. Aida Edemariam, “Riches of a Double Life,” Guardian Review (September 24, 2003): 20– 23. 9. Alice Munro continues to publish in the New Yorker. On October 11, 2010, the short story “Corrie” was published (pp. 94– 101), and on January 31, 2011, “Axis” (pp. 62– 69). She has also published recently in Harper’s: the story “Pride” appeared in April 2011 (pp. 59– 67). 10. Eleanor Wachtel, “An Interview with Alice Munro,” Brick 40 (1991): 48– 53. 11. Catherine Sheldrick Ross, “‘Too Many Things’: Reading Alice Munro’s ‘The Love of a Good Woman,’” University of Toronto Quarterly 71, no. 3 (Summer 2002): 786– 808. 12. Dennis Duffy, “‘A Dark Sort of Mirror’: ‘The Love of a Good Woman’ as Pauline Poetic,” Essays in Canadian Writing 66 (Winter 1998): 169– 90.
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Edina Szalay ([email protected]') THE GOTHIC AS ADOLESCENT FANTASY: ALICE MUNRO'S LIVES OF GIRLS AND WOMEN Abstract The Gothic as a means of conveying the sense of the unsayable and invisible yet inherent and organic features of human existence constantly reemerges in Munro 's fiction. Lives of Girls and Women is speciál, however, because there is no other volume in the Munro canon where the analysis of the interrelatedness of Gothic fantasy and female psychology would have such a comprehensive and overarching significance from the point of view of the collection as a whole, i.e., it does develop into a theme on its own. In my analysis I intend to focus on how Del's relationship with men and sexuality in generál are influenced by the Gothic patterns of her fantasy, which are rooted in her excessive reading of such novels. Munro, however, also carries out a "re-visionary" study of the genre, to apply Adrienne Rich's term, when, through mapping out Del's budding sense of independence, she systematically undermines the validity of Gothic discourse. In this way, the Gothic, revisioned by Del in her reading and writing practice, gradually comes to sink into artificiality, and finally proves to be inadequate to provide role models for this teenager—autonomous women being commonly absent from Gothic fiction—who becomes aware of the need to overcome the traditional myths ofwomanhood. Résumé Le gothique comme le moyen ďexpression des expériences inexprimables et invisibles est présent continuellement dans la prose ďAlice Munro děs le commencement.
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“A Sort of Refusal”: Alice Munro’s Reluctant Career Lorraine York s we look back together in this fortieth anniversary issue of Studies in Canadian Literature to the journal’s founding year, 1976, that date stands out to scholars of Canadian lit- eraryA celebrity for a couple of additional reasons. That was the year that Margaret Atwood took the unprecedented step for a Canadian writer of incorporating the business activities of her career as O.W. Toad Limited (an anagram of “Atwood”). The move, probably undertaken for practical and private financial reasons, was little commented upon at the time, but I have argued that it marks a turning point in the his- tory of Canadian writers’ public visibility and professional organization (Margaret Atwood 7). Atwood’s early recognition of the extent of her literary success signalled a nascent recognition of literary celebrity as an industry. Although there is plenty of evidence that Canadian writ- ers considered their work as a business before this — one thinks, for example, of the founding of the Canadian Authors Association in 1921 — Atwood’s incorporation renders explicit the collaborative labour that supports literary celebrity. The very fact that Atwood’s move was not widely discussed, or even recognized as a sign of something larger taking shape in Canadian literary circles, sheds light on these intervening forty years and on the way in which the growing industrialization of literary celebrity has come up against the persistent image of the Canadian writer as solely concerned with aesthetics and humble, restricted fields of small-scale production. As Kit Dobson observes, interviews with Canadian writers “rarely engage writers in conversations about what it means for them to create artistic works in a market that is necessarily concerned with its economic bottom line” (Dobson and Kamboureli 4).
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