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List of Booker Prize No Years Author Title Genre(s) 1 1969 P.H.Newby Something to Answer for Novel 2 1970 Bernice Rubens The Elected Member Novel 1970 J.G.Farrell Trouble Novel 3 1971 V.S.Naipaul In a Free State Novel 4 1972 John Berger G Exper. Novel 5 1973 J.G.Farrell The Siege of Krishnapur Novel 6 1974 Nadine Gordimer The Conservationist Novel 1974 Stanley Middleton Holiday Novel 7 1975 Ruth Prawer Jhabvala Heat and Dust Historical Novel 8 1976 David Storey Saville Novel 9 1977 Paul Scott Staying On Novel 10 1978 Iris Murdoch The Sea The Sea Philosophical Novel 11 1979 Penelope Fitzgerald Off shore Novel 12 1980 William Golding Rites Passage Novel 13 1981 Salman Rushdie Midnight’s Novel 14 1982 Thomas Keneally Schindler’s Ark Biographical Novel 15 1983 J.M.Coetzee Life & Times of Michaelk Novel 16 1984 Anita Brookner Hotel du Lac Novel 17 1985 Keri Hulme The Bone People Mystery Novel 18 1986 Kingstev Amis The old Devils Comic Novel 19 1987 Penelope Lively Moon Tiger Novel 20 1988 Peter Carey Oscar nd Lucinda Historical Novel 21 1989 Kazau Ishiguro The Remains of The Day Historical Novel 22 1990 A.S.Byatt Possession Historical Novel 23 1991 Bon Okri The Famished Road Magic Realism 24 1992 Michael Ondotje The English Patient Historical Novel 1992 Barry Unswarth Sacreal Hunger Historical Novel 25 1993 Roddy Doyle Paddy Clarke Novel 26 1994 Jomes Kelman How Late was,How Late Novel 27 1995 Pat Barker The Ghost Road War Novel 28 1996 Graham Swift Last Orders Novel 29 1997 Arundhati Roy The God of Small Things Novel 30 1998 Ion Mcewan Amisterdam Novel 31 1999 J.M.Coetzee Disgace Novel 32 2000 Margaret Alwood The Bind Assassin Historical Novel 33 2001 Peter Carey The History of the Kelly Gang Historical Novel 34 2002 Yann Markel Life of pi Fantasy Novel 35 2003 DBC Pierre Vernon God Little Black Comedy 36 2004 Alan Hollinghurst The Line of Beauty Historical Novel 37 2005 John Banville The Sea Novel 38 2006 Kiran Desai The Inheritance of Loss Novel 39 2007 Anne Enright The Gatheving Novel 40 2008 Aravind Adiga The White Tiger Novel 41 2009 Hilary Mantel Wolf Hau Historical Novel Ashwin Divekar Page 1 No Years Author Title Genre(s) 42 2010 Howard Jacobson The Finkler Question Comic Novel 43 2011 Joliam Barnes The Sense of an Ending Novel 44 2012 Hikory Mamtel Bring up the Bodies Historical Novel 45 2013 Eleanor Catton The Luminarise Historical Novel 46 2014 Richard Flonagun The Narrow Road of The Deep Novel North 47 2015 Marlon James A Brief History of Seven Novel Killings 48 2016 Paul Beatty The Sellout Satirical Novel 49 2017 George Saunders Lincoin in The Bardo Historical Novel 50 2018 Anna Burns Milkman Novel 51 2019 Margaret Alwood The Testamet Novel 2019 Bernardine Evoristu Girl, Woman Other Experimantal 52 2020 Douglas Sturt Shuggie Bain Novel Ashwin Divekar Page 2 .

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Literary Awards 2018
Baileys Women’s Prize for Fiction The Golden Man Booker Home Fire (winner) 2018 marked the 50th year of the Man Kamila Shamsie Booker Prize for fiction. Of all the winning Isma, Aneeka and Parvaiz are novels over the years, one from each decade siblings from an immigrant was nominated for the shortlist. family in the UK. After their In a Free State (1971) by V.S. Naipul mother’s death Isma looked Moon Tiger (1987) by Penelope Lively after her brother and sister. The English Patient (1992) by Michael Now free to pursue her own Ondaatje dreams she can’t stop worrying about her Wolf Hall (2009) by Hilary Mantel sister who she left behind, or her brother Lincoln in the Bardo (2017) by George who has fled to pursue the jihadist legacy of Saunders a father they never knew. st From the shortlist, readers voted The English Sing, Unburied, Sing (finalist) Patient as their favourite. Jesmyn Ward The English Patient (winner) This is a novel of how far the bonds of family Michael Ondaatje stretch, particularly when they are tested by 1 Four lives cross paths in an poverty, drugs and race. With Italian villa at the end of a loving but mostly absent the Second World War. A mother, Jojo is a 13 year old boy looking for a role model. 2018 nurse, a soldier and a thief are all troubled by the past While he finds one in his of the English patient, a grandfather where does his man who has been burnt father, about to be released Literary beyond recognition who from prison, fit in? lies in the upstairs bedroom.
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Excellent Women
EXCELLENT WOMEN: THE NOVELS OF BARBARA PYM AND ANITA BROOKNER Elizabeth Susanna van Aswegen B.A. (Bib!.), M.A. A thesis accepted by the Faculty of Arts, Potchefstroomse Universiteit vir Christelike Boer Onderwys, in fulfilment or the requirements for the degree of DOCTOR LITTERARUM Promoter: Prof. Annette L. Combrink, M.A., D.Litt., U.E.D. POTCHEFSTROOM April 198'l ACKNOWLEDGEMENTS I .wish to thank: my promoter, Professor Combrink, for her painstaking and valued guidance, as well as for her help and encouragement to this long-distance writer; the staff of the Ferdinand Postma Library and the Cape Technikon Library for their assistance; Cathy Coetzee and Brenda Bodde for their encouragement; Jenny Zinn for her impeccable typing; my daughter, Lisa, who faced the ordeal of a scrivening mother with patience and good nature. iii TABLE OF CONTimTS INTRODUCTION 2 A SURVEY OF CRITICISM: BARBARA PYM 11 2.1 Introduction 13 2.2 The early novels 14 2.3 The early published novels 16 2.4 Critical acclaim 20 2.5 "The novelist most touted by one's most literate friends" 23 2.6 Criticism: 1977 to date 26 2.6.1 Some Tame Gazelle 27 2.6.2 Excellent Women 29 2.6.3 Jane and Prudence 37 2.6.4 Less than Angels 40 2.6.5 A Class of Blessings 43 2.6.6 No Fond Return of Love 48 2.6. 7 An Unsuitable Attachment 54 2.6.8 Quartet in Autumn 61 2.6.9 The Sweet Dove Died 63 2.6.10 A Few Green Leaves 68 2.6.11 Crampton Hodnet 73 2.6.12 An Academic Question 79 2.
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ENGL 6115 Syllabus SSII 2020
English 6115 21st Century Global Anglophone Literature Virtual sessions on Google Meet, Wednesdays from 5:30-8:00 Instructor: Matt Franks Virtual Office Hours on Google Meet, Thursdays from 4-5 & by appt. Email: [email protected] Course Description: This class will focus on British, South Asian, African, and Caribbean literature from the past 20 years. We will engage in these texts through a transnational feminist framework focused on the afterlives of slavery and colonialism in the 21st century and ongoing resistance to gender, racial, and class domination. We will attempt to describe the current state of global literatures written in English, asking some of the following questions: how do contemporary writers and theorists respond to late 20th century global frameworks like postcolonialism, subaltern studies, and the black Atlantic? How has advanced globalization impacted formerly colonized sites as well as literary production itself? What problems does the term “Global Anglophone” itself elucidate and conceal? Required Texts: Zadie Smith, NW; Mohsin Hamid, Exit West; Aravind Adiga, The White Tiger; Chimamanda Ngozi Adichie, Half of a Yellow Sun; Bernardine Evaristo, Girl, Woman, Other; M. NourbeSe Philip, Zong!; Dionne Brand, A Map to the Door of No Return; Marlon James, Black Leopard, Red Wolf Learning Outcomes: Students will learn to… ® Demonstrate advanced mastery of content within the field of contemporary Global Anglophone literary studies by answering comprehensive discussion questions about specific writers, genres, texts, and theories within this period in class discussions. ® Demonstrate refined skills in scholarly writing by completing an extended research-based project. ® Demonstrate a facility in relating the facts and ideas of the discipline of English studies to the field of Global Anglophone literature and theory within the context of Western intellectual history.
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The Inauthentic Portrayal of India in Aravind Adiga's the White Tiger
THE INAUTHENTIC PORTRAYAL OF INDIA IN ARAVIND ADIGA’S THE WHITE TIGER DR. S. MURUGARAJAN Lt. S. NITHYA SGT, PUPS, Assistant Professor, Perumalkovil Pudur, Erode 638151 Karpagam Academy of Higher Education, (TN) INDIA Coimbatore. (TN) INDIA The White Tiger is the reflection of the mind of an Indian born outsider Aravind Adiga. It had won the Booker Prize for Literature in 2008 for its presentation of his ‘Real India’. But truly it is not. It is a cynical anthropology from an outsider. Adiga may be born in India but his novel exposes himself as an outsider. The Indian critics have commended him as an outsider because of his ideas and thoughts, which represented in his novel through the mouth of the protagonist Balram Halwai. Adiga’s The White Tiger is published in 2008 and the same year it had won the man of booker prize. That makes everyone to look at him. It is an attempt to reveal the inauthentic presentation of India by Aravind Adiga. INTRODUCTION The White Tiger is a debut novel, which describes India in a different point of view. Adiga gives a picture or tale of two India’s, the India of Darkness and Light, the India of Poverty. And this novel comes across an inauthentic portrait by real India, it is the comment given by the critics of India. Most of the foreign critics and others are praised Adiga for his presentation of India in a different angle. But the Indian Critics did not accept the views and presentation of such ideas. DR. S. MURUGARAJAN Lt.
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Fragmentation and Vulnerability in Anne Enright´S the Green Road (2015): Collateral Casualties of the Celtic Tiger in Ireland
International Journal of IJES English Studies UNIVERSITY OF MURCIA http://revistas.um.es/ijes Fragmentation and vulnerability in Anne Enright´s The Green Road (2015): Collateral casualties of the Celtic Tiger in Ireland MARIA AMOR BARROS-DEL RÍO* Universidad de Burgos (Spain) Received: 14/12/2016. Accepted: 26/05/2017. ABSTRACT This article explores the representation of family and individuals in Anne Enright's novel The Green Road (2015) by engaging with Bauman's sociological category of “liquid modernity” (2000). In The Green Road, Enright uses a recurrent topic, a family gathering, to observe the multiple forms in which particular experiences seem to have suffered a process of fragmentation during the Celtic Tiger period. A comprehensive analysis of the form and plot of the novel exposes the ideological contradictions inherent in the once hegemonic notion of Irish family and brings attention to the different forms of individual vulnerability, aging in particular, for which Celtic Tiger Ireland has no answer. KEYWORDS: Anne Enright, The Green Road, Ireland, contemporary fiction, Celtic Tiger, mobility, fragmentation, vulnerability, aging. 1. INTRODUCTION Ireland's central decades of the 20th century featured a nationalism characterized by self- sufficiency and a marked protectionist policy. This situation changed in the 1960s and 1970s when external cultural influences through the media, growing flows of migration and economic transformations initiated by the government, together with the weakening of the Welfare State, progressively transformed a rural new-born country into an international _____________________ *Address for correspondence: María Amor Barros-del Río. Departamento de Filología. Facultad de Humanidades y Comunicación. Paseo de los Comendadores s/n.
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Bring up the Bodies
BRING UP THE BODIES BY HILARY MANTEL ADAPTED FOR THE STAGE BY MIKE POULTON DRAMATISTS PLAY SERVICE INC. BRING UP THE BODIES Copyright © 2016, Mike Poulton and Tertius Enterprises Ltd Copyright © 2014, Mike Poulton and Tertius Enterprises Ltd Bring Up the Bodies Copyright © 2012, Tertius Enterprises Ltd All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of BRING UP THE BODIES is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for BRING UP THE BODIES are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016.
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ADKINS-DOCUMENT-2016.Pdf
Copyright Alexander Adkins 2016 ABSTRACT Postcolonial Satire in Cynical Times by Alexander Adkins Following post-1945 decolonization, many anticolonial figures became disenchanted, for they witnessed not the birth of social revolution, but the mere transfer of power from corrupt white elites to corrupt native elites. Soon after, many postcolonial writers jettisoned the political sincerity of social realism for satire—a less naïve, more pessimistic literary genre and approach to social critique. Satires about the postcolonial condition employ a cynical idiom even as they often take political cynicism as their chief object of derision. This dissertation is among the first literary studies to discuss the use of satire in postcolonial writing, exploring how and why some major Anglophone global writers from decolonization onward use the genre to critique political cynicisms affecting the developing world. It does so by weaving together seemingly disparate novels from the 1960s until today, including Chinua Achebe’s sendup of failed idealism in Africa, Salman Rushdie’s and Hanif Kureishi’s caricatures of Margaret Thatcher’s enterprise culture, and Aravind Adiga’s and Mohsin Hamid’s parodies of self-help narratives in South Asia. Satire is an effective form of social critique for these authors because it is equal opportunity, avoiding simplistic approaches to power and oppression in the postcolonial era. Satire often blames everyone—including itself—by insisting on irony, hypocrisy, and interdependence as existential conditions. Postcolonial satires ridicule victims and victimizers alike, exchanging the politics of blame for messiness, association, and implication. The satires examined here emphasize that we are all, to different degrees, mutually implicated subjects, especially in the era of global capitalism.
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Stuartdybekprogram.Pdf
1 Genius did not announce itself readily, or convincingly, in the Little Village of says. “I met every kind of person I was going to meet by the time I was 12.” the early 1950s, when the first vaguely artistic churnings were taking place in Stuart’s family lived on the first floor of the six-flat, which his father the mind of a young Stuart Dybek. As the young Stu's pencil plopped through endlessly repaired and upgraded, often with Stuart at his side. Stuart’s bedroom the surface scum into what local kids called the Insanitary Canal, he would have was decorated with the Picasso wallpaper he had requested, and from there he no idea he would someday draw comparisons to Ernest Hemingway, Sherwood peeked out at Kashka Mariska’s wreck of a house, replete with chickens and Anderson, Theodore Dreiser, Nelson Algren, James T. Farrell, Saul Bellow, dogs running all over the place. and just about every other master of “That kind of immersion early on kind of makes everything in later life the blue-collar, neighborhood-driven boring,” he says. “If you could survive it, it was kind of a gift that you didn’t growing story. Nor would the young Stu have even know you were getting.” even an inkling that his genius, as it Stuart, consciously or not, was being drawn into the world of stories. He in place were, was wrapped up right there, in recognizes that his Little Village had what Southern writers often refer to as by donald g. evans that mucky water, in the prison just a storytelling culture.
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MA Issues in Modern Culture Reading List 20-21.Pdf
M.A. Issues in Modern Culture Reading List 2020–21 AUTHORS AUTUMN TERM 1. Gustave Flaubert Dr Scarlett Baron Gustave Flaubert, Madame Bovary [1857], trans. Margaret Mauldon (Oxford: Oxford University Press, 2008). Gustave Flaubert, ‘A Simple Heart’, in Three Tales [1877], trans. A.J. Krailsheimer (Oxford: Oxford University Press, 1991). Gustave Flaubert, Dictionary of Received Ideas [1913], in Bouvard and Pécuchet, with the Dictionary of Received Ideas, trans. A.J. Krailsheimer (Harmondsworth: Penguin, 1977). Further Reading: Gustave Flaubert, Selected Letters, trans. Geoffrey Wall (Harmondsworth: Penguin, 1997). Julian Barnes, Flaubert’s Parrot (London: Jonathan Cape, 1984) Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Paul Elek, 1974). Stephen Heath, Flaubert: Madame Bovary (Cambridge: Cambridge University Press, 1992). Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986). Francis Steegmuller, Flaubert in Egypt: A Sensibility on Tour [1972] (Harmondsworth: Penguin Classics, 1996). Geoffrey Wall, Flaubert: A Life (New York: Farrar, Straus and Giroux, 2001). Tim Unwin (ed.), The Cambridge Companion to Flaubert (Cambridge: Cambridge University Press, 2004). Jennifer Yee, The Colonial Comedy: Imperialism in the French Realist Novel (New York: Oxford University Press, 2016). 2. Henry James Professor Philip Horne Henry James, The Golden Bowl (1904), ed. Ruth Bernard Yeazell (Penguin Classics, 2009) This contains the ‘Preface’ to the (only very slightly different) New York Edition version of the novel (1909); the other Prefaces (collected in The Art of the Novel, ed. R.P. Blackmur, 1934; now U. of Chicago Press) Henry James, ‘The Lesson of Balzac’ (1905) Available at: https://archive.org/details/questionourspee01jamegoog/page/n9/mode/2up Secondary Reading: Nicola Bradbury, Henry James: The Later Novels (Oxford University Press, 1979).
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Hollinghurst, Alan (B
Hollinghurst, Alan (b. 1954) by Raymond-Jean Frontain Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com Alan Hollinghurst. Photograph by Robert Alan Hollinghurst has been as warmly celebrated for his elegant prose style and subtle Taylor. representations of moral ambiguities, as he has been criticized by gay and straight Image courtesy readers alike for his frank representations of casual gay sex. In recent years he has Bloomsbury USA. emerged as the most important gay novelist in Great Britain since E. M. Forster. Hollinghurst extends the narrative tradition inaugurated by Christopher Isherwood and developed most significantly by Edmund White in which a character's gayness is simply a given in the novel, forcing the reader to adjust his or her expectations accordingly. Hollinghurst neither idealizes nor melodramatizes his characters' experiences, but dares to present the emotional complexities of everyday gay life in all of their mundanity. Hollinghurst possesses a sharp eye for social excesses and for the individual's propensity for self-delusion. His satiric impulse is tempered by a lyrical gift that renders many passages poems in prose. In Hollinghurst's novels, an exquisite aesthetic sensibility is conjoined with what Hollinghurst himself terms an acceptance of sex as "an essential thread running through everything . in a person's life." Were Marcel Proust or Ronald Firbank able to impose his style upon the subject matter of Jean Genet, the result would read like Hollinghurst's fiction. Biography Hollinghurst was born on May 26, 1954, into an economically comfortable, politically conservative household in Stroud, Gloucestershire.
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Hilary Mantel Papers
http://oac.cdlib.org/findaid/ark:/13030/c8gm8d1h No online items Hilary Mantel Papers Finding aid prepared by Natalie Russell, October 12, 2007 and Gayle Richardson, January 10, 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © October 2007 The Huntington Library. All rights reserved. Hilary Mantel Papers mssMN 1-3264 1 Overview of the Collection Title: Hilary Mantel Papers Dates (inclusive): 1980-2016 Collection Number: mssMN 1-3264 Creator: Mantel, Hilary, 1952-. Extent: 11,305 pieces; 132 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: The collection is comprised primarily of the manuscripts and correspondence of British novelist Hilary Mantel (1952-). Manuscripts include short stories, lectures, interviews, scripts, radio plays, articles and reviews, as well as various drafts and notes for Mantel's novels; also included: photographs, audio materials and ephemera. Language: English. Access Hilary Mantel’s diaries are sealed for her lifetime. The collection is open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.
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Gothic Inheritance and the Troubles in Contemporary Irish Fiction
Page 3 ‘Give it Welcome’: Gothic Inheritance and the Troubles in Contemporary Irish Fiction Matthew Schultz On April 10, 1998, the British and Irish governments signed the Good Friday Agreement, marking the official end of the Troubles in Northern Ireland––though not the cessation of violence. A year earlier, Jeffrey Glenn, a 46 year old librarian in Ballynahinch, County Down, submitted an essay for a retrospective collection, Children of The Troubles: Our Lives in the Crossfire of Northern Ireland . In it, he recalls the pangs of terror he regularly experienced while growing up in a Belfast suburb in the 1950s: As a young child, I used to look carefully under my bed every night before saying my prayers. The Irish Republican Army campaign of the fifties was in full swing and I was checking for bombs. Even if I couldn’t see one, I still lay quaking with fear for what seemed like hours every night.(1) Glenn’s variation on this common childhood anxiety of ‘monsters under the bed’ highlights the particular paranoia caused by Irish paramilitary violence that threatened to erupt into domestic spaces. Glenn was a prisoner in his own “suburban stronghold.”(2) Outside, he recalls, “Buses, trucks, cars, and construction equipment formed blazing barricades and groups of angryfaced men were busy hijacking more.”(3) Later, Belfast was to be divided by more permanent ‘peace lines’ constructed of iron, brick, and steel, and topped with metal netting that reached a height of twentyfive feet. These barriers separated Catholic from Protestant neighborhoods,
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