DOCSLIB.ORG

PDF (Volume 1)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF (Volume 1) Durham E-Theses The return of the storyteller in contemporary literature Dragas, Areti How to cite: Dragas, Areti (2007) The return of the storyteller in contemporary literature, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2877/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk THE RETURN OF THE STORYTELLER IN CONTEMPORARY LITERATURE By Areti Dragas A thesis submitted in fulfilment of the requirements for the award of the degree The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or iDformation derived from it may be Doctor of Philosophy published without the prior written consent of the author or university, and any information derived from it should be acknowledged. Department of English Studies University of Durham 2007 THE RETURN OF THE STORYTELLER IN CONTEMPORARY LITERATURE By Areti Dragas ABSTRACT This thesis sets out to identify a growing interest in storytelling in contemporary literature, which I argue is reflected in the return of the figure of the storyteller. This interest in storytelling and stories seems to be inter-disciplinary and is reflected not only in literary critical discourses such as postmodemism and the postcolonialist interest in oral traditions, but also in areas such as cognitive and evolutionary science, which have presented stories as necessary for survival. However, despite this, the role of the storyteller has been relatively neglected in literary criticism and theory, a neglect that may have arisen in part because of the recent preoccupation with writing and textuality, which has led criticism to focus debates on the figure of the author. This thesis sets out to address this omission. The role of the storyteller in contemporary Western fiction is e?q)lored alongside some examples of postcolonial and hybrid fictions. I draw largely on methodologies fi-om narrative and postmodernist theory, and investigate the preoccupation of the storyteller through a reading of six contemporary authors chosen as a representative sample of contemporary fiction today. These are: Jim Grace, Mario Vargas Llosa, Salman Rushdie, John Barth, A.S. Byatt and J.M. Coetzee. Through the close reading of a selection of their novels, I reveal how the storyteller, and the art of storytelling, are genuine preoccupations in their works. Moreover, I show how, through their employment and problematisation of the figure of the storyteller, these writers all raise questions about the role and value of fiction and real authors. Surprisingly, the infemous 'death of the author' has produced a rebirth of the storyteller. The storyteller has returned and provides us with some new and usefiil tools with which to re-map the territories of contemporary fiction. TABLE OF CONTENTS ACKNOWLEDGEMENTS IV PREFACE 1 Why Oie Storyteller? 1 INTRODUCTION: TRACING THE STORYTELLER IN THEORY & CRITICISM 7 /; The Literature Frame and the Problem of Theory 8 Orality and Literacy 16 //; The Case of Literary Criticism 20 IIL Interpreting Benjamin's "The Storyteller" 32 Applications of "The Storyteller" to Literary Authors 40 Schema of Chapters 44 1 WHO IS THE STORYTELLER? 50 The Storyteller's Story 50 The Storyteller in Literature 51 A (Hi)Story of the Storyteller 55 Contemporary Storytellers 64 "Who are you labelling a storyteller?' 66 2 THE BIRTH OF THE STORYTELLER 77 Jim Grace's TTte Gift of Stones 77 The Flight of an Arrow 79 The Wound and the Bow 85 Invention, Storytelling and Survival 93 The Reverend Crace 98 3 STORYTELLER AS PROPHET 107 Mario Vargas Llosa's The Storyteller 107 The Meeting of Worlds; Novelist & Storyteller HI The Question of Authorship 115 Storytelling and Exile: Dante 118 Storytelling and Monstrosity: Frankenstein 122 Storytelling and Ethnic Marginalisation 129 Storytelling and the politics of Ethnos-Creation 135 4 STORYTELLER AS SATAN 141 Sabnan Rushdie's The Satanic Verses 141 Reality or Fiction 143 Who is the Author? 144 Where is the Author? 146 What is the Author: a Voice? 151 The Role of the Reader 155 The 'Real' Satanic Verses 159 History, Story and Postmodernism 164 5 STORYTELLER AS ORATOR 169 Salman Ruslidie's Haroun and tiie Sea of Stories 169 Children's Fairy-Tales 172 Reading Aloud and the Parent-Storyteller 174 Family Storytelling Traditions 181 The Arabian Nights 184 Storytelling for Survival 190 6 POSTMODERN STORY/RETELLER 195 John Barth's The Last Voyage of Somebody the Sailor 195 Postmodern Writer or Storyteller? 197 The Barthian "life-text" 201 Framing the Story 206 The Storyteller and His Audiaice 213 Naming the Storyteller 217 Scheherazade alias John Barth 221 7 STORYTELLER AS FAIRY-TALE TELLER 226 A. S. Byatt's 'The Djmn in the Nightingale's Eye" 226 Telling (Fairy)Tales 230 A return to the Nights 237 Death and Storytelling 242 Wishing and Bdieving 250 CONCLUSION: THE STORYTELLER RETURNS 257 /. Storytelling and Ae Intemationalisation of the Contemporary Novel 257 II. J. M. Coetzee: ProhlematisingAuthorship with Storytelling 263 BIBUOGRAPHY 279 111 ACKNOWLEDGEMENTS This tiiesis tells the story of the storyteller, but for the story to come into being, to become real and to be contained within these pages, there have been many people involved, besides the storyteller and myself. I would like to ejqjress my gratitude to all those who have accompanied me and assisted me in so many ways on the journey. Special thanks go to my supervisor Professor Patricia Waugh. I am deeply indebted to her and commend her ability to guide, encourage and also provide me with the fieedom to find my own path in the world of literary criticism and theory. With her encouragement, quiet wisdom and generosity, both personally and intellectually, she has not only allowed me to enjoy my research, but also helped foster a desire to continue to forge new paths. In this, I feel I have been especially fortunate. I would also like to acknowledge the love and support of my family, particularly that of my parents, who have helped in ways that these few words cannot describe. Thank you for believing in me, encouraging me and supporting me unquestioningly and always. Finally, I would like to thank all my friends who have offered their support and encouragement along the way, and especially my partner, Justin, who has been there fi-om the beginning, forever holding my hand. IV PREFACE Why the Storyteller? But in all the wonderful worlds that writing opens, the spoken word still resides and lives. Written texts all have to be related somehow, directly or indirectly, to the world of sound, the natural habitat of language, to yield their meanings. Walter Ong, Orality & Literacy This thesis began with an attempt to understand better the line between oral storytelling and written fiction. More specifically, it began with a questioning of the origins of the stories that live within the written woild of the novel. However, as I moved deeper and deeper into this area of research, the storyteller started to emerge as the quintessential figure that married the oral and written worlds together, and this idea became more and more compelling. Consequently, I began to question: what is the relation between telling and writing? Is not writing a type of telling? And if so, could we not call the 'writer-author' a 'storyteller'? More importantly, if we call the author 'storyteller', how does this change our perception and reading of literature? In this prefece I highlight the main reasons why I argue for the storyteller's retum to contemporary fiction. Although 'the author' has had a relatively well-documented history which has engendered an ever-thriving critical debate within literary studies, the story of oral storytelling traditions, along with the figure of the storyteller, is often less substantive. Moreover, despite the growing interest in post-colonial literatures which has traced links between oral storytelling and the written narrative tradition,' within ' For example, as in Native American writers such as Leslie Marmon Silko and Gerald Vizenor, or African writers such as Chinua Achebe and Ngugi wa Thiong'O as well as writers coming out of indigenous peoples from the Caribbean, New Zealand, Australia and occasionally Russia and Eastern Europe through skaz. the Western European and Anglo-American tradition, there has been fer less interest, hideed, outside this critical interest in post-colonial writers who come fi-om active oral storytelling cultures and traditions, European and Anglo-American literary history has concentrated on investigations of the author and the written word, blinkered by restrictive notions of 'literariness', hi other words, its focus has tended to be less on storytelling and the storyteller, and more on authorship and imphed narration. Stemming fixjm a long-standing cultural tradition that has privileged 'text', as part of a 'canon' of writing, perh^s it is no wonder that the storyteller has been neglected in relation to the author. The storyteller, instead, is most commonly thought of as belonging to folklore, to oral tradition, to a realm that lives well below the dizzying peaks of the mountain which is 'Literature'.
Load more

Recommended publications
  • Promoting the Latin American “Boom” in the Pages of Mundo Nuevo
    Vol. 5, No. 3, Spring 2008, 75-94 www.ncsu.edu/project/acontracorriente The Politics of Literary Prestige: Promoting the Latin American “Boom” in the Pages of Mundo Nuevo Russell Cobb University of Alberta The history of the Boom… is written in the pages of Mundo Nuevo. —José Donoso Nothing kills a man like having to represent a country. —Jacques Vache I. Decades have passed since the Boom ended and yet the period remains controversial among critics. Was it a literary movement or a marketing phenomenon? Why were certain authors (Gabriel García Márquez, Mario Vargas Llosa, Carlos Fuentes, etc.) given pride of place over others (Guillermo Cabrera Infante, Severo Sarduy, Augusto Roa Bastos)? Who was primarily responsible for making the Boom such an unprecedented success in international literary circles? This much is agreed upon: in roughly one decade, Latin American fiction emerged from obscurity in Europe and the United States to become a major critical and commercial phenomenon. International recognition had already been bestowed upon Latin American poets such as Pablo Neruda, Gabriel Cobb 76 Mistral, and César Vallejo earlier in the twentieth century while fiction writers remained curiously neglected in what Pascale Casanova has called the “World Republic of Letters.” With the Boom in the early 1960s, however, for the first time in history, Latin American writers were widely translated, published, and awarded the most prestigious literary prizes on the planet. At the risk of oversimplifying matters, there are essentially two strands of thought regarding the Boom’s overwhelming critical and commercial success. There are its supporters, who believe that Boom novels flourished because of the writers’ full embrace of cosmopolitan modernism, or what Goethe called Weltliteratur, a concept of literature as a space existing outside national or linguistic boundaries.
    [Show full text]
  • Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America
    Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America. Tucson: University of Arizona Press, 2011. Print. 179 Pp. ──────────────────────────────── CARLOS AGUIRRE UNIVERSITY OF OREGON Mario Vargas Llosa, one of Latin America’s most important writers and intellectuals and the recipient of, among numerous other awards, the 2010 Nobel Prize in literature, is not only the author of an admirable corpus of novels, theater plays, and essays on literary criticism, but also somebody that has been at the center on countless political and literary controversies ever since he came into the literary and political spotlight in 1962 when he won the Biblioteca Breve award for his novel Time of the Hero at the age of twenty-six: the novel was received with great hostility in his home country, Peru, where prominent members of the military accused him of being a Communist and a traitor; in 1967, when he won the Rómulo Gallegos prize for his novel The Green House, he engaged in a dispute (at that time private) with Cuban officials such as Haydeé Santamaría who allegedly wanted him to make a fake donation of the cash prize to Che Guevara’s guerrilla movements; in 1971, he publicly and loudly denounced the Cuban government after the imprisonment and public recounting of Heberto Padilla and other writers accused of counter-revolutionary activities; in 1974, he criticized the confiscation of media in Peru by a military regime that he had hitherto supported and became the subject of a fierce polemic in his country; in 1976, he was
    [Show full text]
  • Siède French Svmbousm Through Its Premise That an Idea
    Mester, Vol. xvz.v, (2000) Mario Vargas Llosa: Literatura, Art, and Goya's Ghost The relatíonship between the \'erbal and the pictorial—that is, between the written word and its \'isual representation, has exercised a particular fascination upon writers and ¿irtists throughout the ages. This nexus has operated both ways: artists have been fascinated by the manner in which writers manipúlate words, syntax and style to fashion new verbal realities (novéis, poems, plays), while writers for their part have succumbed to the allure of artists who utilise paint, ink, acid or crayons to créate new \'isual realities. Examples of this mutual attrac- tion and occasional cross-fertilisation between artists and writers abound. Perhaps no aesthetic movement illustrates the symbiosis be- tween literature and art more consistently and strikingly than fin ãc siède French svmboUsm through its premise that an idea could be expressed through form, the word orobjectrepresented beingnomore thím a sign to open up the pri\'ate world of the imagination. Thus, symbolist poets like Mallarmé, Verlaine and Rimbaud had their coun- terparts in painters like Redon, Moreau, Rops and Ensor—a spiritucd bond between the verbal and the plástic arts that has inspired exhibi- tions in importantmuseums,galleries andlibraries in cities as far apart as Melboume and Madrid.^ With respect to the Hispímic world, it is well-known that Sah ador Dalí and Federico García Lorca exercised considerable creative intlu- ence upon each other, while Dali also produced a series of one hundred wood engravings illustrating Dante's The Divine Comedi/. The early novéis of the Spanish Nobel Prize winner for literature, Camilo José Cela, were influenced by the power and the passion of Picasso's Guemica (1937), whose tortured images of mayhem in tum echo the scenes of murder cind mutilation in La familia de Pascual Duarte.
    [Show full text]
  • Seek out the Voice of the Critic (Pdf)
    SEEK OUT THE VOICE OF THE CRITIC By Ben Haggarty A New Foreword (2005) Re-reading this version of a talk that I gave ten years ago, I’m struck that it now looks almost like a prologue to a book that has yet to be written. ‘Seek Out the Voice of the Critic’, published and edited by the Society for Storytelling, reported my stocktaking of how the Storytelling revival in England and Wales stood in 1995. It was intended to be a clarion call to action, polemical, even provocative, and in the course of its argument it formulated more than 40 questions to stimulate further thought and debate. And forgive me if this new foreword continues that approach. During the intervening ten years very many marvellous things have happened to storytelling on the Island of Britain. There has been growth in all directions. The Scottish, liberated by devolution and powered by national pride have been able to create a fabulous permanent Centre for Scottish Storytelling in the Netherbow Centre in Edinburgh. In Wales, The Beyond the Border Wales International Storytelling Festival has established itself as Europe’s most ‘festive’ of festivals, and recently a new initiative, The George Ewart Evans Centre for Storytelling, has been launched under the auspices of the University of Glamorgan. Hugh Lupton and Eric Maddern’s annual ‘Storytelling in the Mythological Landscape’ retreat is in its 12th year. In England, The Festival at the Edge is the first – and only – English storytelling organisation to have secured regular ‘revenue’ funding from the Arts Council of England.
    [Show full text]
  • World Literature Reading List
    WEST BLOOMFIELD HIGH SCHOOL ENGLISH DEPARTMENT Eleventh Grade Honors World Literature: Summer Reading Assignment 2019 Please complete the assignment during the summer. Assignment #1 Step A: Read Homegoing by Yaa Gyasi Winner of the PEN/ Hemingway Award Winner of the NBCC's John Leonard Award Shortlisted for the British Book Award - Debut of the Year A New York Times Notable Book A Washington Post Notable Book One of the Best Books of the Year: NPR, Time, Oprah.com, Harper’s Bazaar, San Francisco Chronicle, Mother Jones, Esquire, Elle, Paste, Entertainment Weekly, the Skimm, PopSugar, Minneapolis Star Tribune, BuzzFeed, The Guardian, Financial Times Ghana, eighteenth century: two half-sisters are born into different villages, each unaware of the other. One will marry an Englishman and lead a life of comfort in the palatial rooms of the Cape Coast Castle. The other will be captured in a raid on her village, imprisoned in the very same castle, and sold into slavery. Homegoing follows the parallel paths of these sisters and their descendants through eight generations: from the Gold Coast to the plantations of Mississippi, from the American Civil War to Jazz Age Harlem. Yaa Gyasi’s extraordinary novel illuminates slavery’s troubled legacy both for those who were taken and those who stayed— and shows how the memory of captivity has been inscribed on the soul of our nation. Assignment #2 Independent reading choice!!! This summer, I want you to choose a book (or more if you’d like to!) to read from which you will both find enjoyment and learn about another part of the world.
    [Show full text]
  • Listening to Mario Vargas Llosa
    PODCAST – “LA BIBLIOTECA” An exploration of the Library’s collections that focus on the cultures of Spain, Portugal, Latin America, and the Hispanic community in the US. SEASON 1/Episode 2 Listening to Mario Vargas Llosa Talía Guzmán-González: ¡Hola! and welcome to La biblioteca I am Talía Guzmán-González a reference librarian in the Hispanic Division at the Library of Congress, and I am here with my colleague… Catalina Gómez: Catalina Gómez, also a reference librarian in the Hispanic Division. Hi Talía! TGG: Hi Catalina! This is our second episode of the first season of our podcast La biblioteca where we will be exploring the Archive of Hispanic Literature on Tape. CG: Yes, and today we will be listening to recording of Peruvian novelist, journalist, politician, intellectual and Nobel laureate Mario Vargas Llosa reading from his work. TGG: I have to say, this is one of my favorite recordings in the Archive. It is so fun. He really chose a wonderful text to read for this recording. The recording is from 1977, so it turned 40 this year. CG: Today we will be listening to a previously recorded interview with Professor Charlotte Rogers form the University of Virginia who will share with us some her insights about this recording. Dr. Rogers received her Ph.D. in Spanish from Yale University, and her book Jungle Fever: Exploring Madness and Medicine in Twentieth-Century Tropical Narratives was published by Vanderbilt University Press in 2012. TGG: Great, let’s listen! Interview with Charlotte Rogers CG: Thank you so much Charlotte for being with us.
    [Show full text]
  • Mario Vargas Llosa, Autor Peruano
    Mario Vargas Llosa, autor peruano Mario Vargas Llosa es uno de los autores más famosos de la literatura latinoamericana. El 28 de marzo es su cumpleaños. Ha escrito muchas novelas y otras publicaciones, y por su obra ha recibido muchos premios. Las letras detrás de la respuesta correcta dan – leídas de 1 a 16 – el título original de uno de sus libros. Las informaciones que se necesitan las encontrará en www.clubcultura.com/clubliteratura/clubescritores/vargasllosa y los enlaces "Biografía portátil / Cronología" (preguntas 1-4) y en los textos que acompañan las fotos de la "Biografía portátil" (preguntas 5-16). 1. El 28 de marzo de 1936 Mario Vargas Llosa nació en - Cajamarca (M) - Arequipa (L) - Cochabamba (E) 2. La familia se trasladó a Cochabamba (Bolivia) donde su abuelo había sido enviado como representante de una - (A) empresa peruana - embajador (N) - cónsul (I) 3. Regresó a Perú en - 1945 (T) - 1954 (E) - 1961 (O) 4. El título de su primera novela es - La casa verde (L) - La tía Julia y el (R) escribidor - La ciudad y los perros (U) 5. Su madre se llamaba - Dora Llosa de Vargas (M) - Gloria Llosa de Vargas (F) - Dora Vargas Llosa (C) 6. En Cochabamba fue al - Colegio de los (U) Salesianos - Colegio San Salvador (T) - Colegio La Salle (A) 7. El huyano es - una danza incaica (E) - una danza maya (D) - una canción folklórica (V) de los Andes Autorin des Übungsblattes: Hildegard Rudolph © Max Hueber Verlag 2003 Mario Vargas Llosa, autor peruano 8. Julia Urquidi fue - su tía (L) - su primera (N) esposa - su prima (P) 9.
    [Show full text]
  • The Role of Social Agents in the Translation Into English of the Novels of Naguib Mahfouz
    Some pages of this thesis may have been removed for copyright restrictions. If you have discovered material in AURA which is unlawful e.g. breaches copyright, (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please read our Takedown Policy and contact the service immediately The Role of Social Agents in the Translation into English of the Novels of Naguib Mahfouz Vol. 1/2 Linda Ahed Alkhawaja Doctor of Philosophy ASTON UNIVERSITY April, 2014 ©Linda Ahed Alkhawaja, 2014 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without proper acknowledgement. Thesis Summary Aston University The Role of Social Agents in the Translation into English of the Novels of Naguib Mahfouz Linda Ahed Alkhawaja Doctor of Philosophy (by Research) April, 2014 This research investigates the field of translation in an Egyptain context around the work of the Egyptian writer and Nobel Laureate Naguib Mahfouz by adopting Pierre Bourdieu’s sociological framework. Bourdieu’s framework is used to examine the relationship between the field of cultural production and its social agents. The thesis includes investigation in two areas: first, the role of social agents in structuring and restructuring the field of translation, taking Mahfouz’s works as a case study; their role in the production and reception of translations and their practices in the field; and second, the way the field, with its political and socio-cultural factors, has influenced translators’ behaviour and structured their practices.
    [Show full text]
  • Reply to Council Question
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Central Archive at the University of Reading The destinies of literary manuscripts: past present and future Article Accepted Version Sutton, D. C. (2014) The destinies of literary manuscripts: past present and future. Archives and Manuscripts, 42 (3). pp. 295- 300. ISSN 0157-6895 doi: https://doi.org/10.1080/01576895.2014.948559 Available at http://centaur.reading.ac.uk/37251/ It is advisable to refer to the publisher's version if you intend to cite from the work. To link to this article DOI: http://dx.doi.org/10.1080/01576895.2014.948559 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online THE DESTINIES OF LITERARY MANUSCRIPTS: PAST PRESENT AND FUTURE David C. Sutton The following essay is abridged and updated from a longer keynote address given on the occasion of the fiftieth birthday of the Beinecke Library, Yale University, in April 2013. The nature of literary manuscripts This esssay reviews the ways in which literary manuscripts may be considered to be archivally unique, as well as valuable in all senses of the word, and gives a cautious appraisal of their future in the next ten to twenty years. Literary manuscripts are not like other archives.
    [Show full text]
  • Nobel Prize in Literature Winning Authors 2020
    NOBEL PRIZE IN LITERATURE WINNING AUTHORS 2020 – Louise Gluck Title: MEADOWLANDS Original Date: 1996 DB 43058 Title: POEMS 1962-2012 Original Date: 2012 DB 79850 Title: TRIUMPH OF ACHILLES Original Date: 1985 BR 06473 Title: WILD IRIS Original Date: 1992 DB 37600 2019 – Olga Tokarczuk Title: DRIVE YOUR PLOW OVER THE BONES OF THE DEAD Original Date: 2009 DB 96156 Title: FLIGHTS Original Date: 2017 DB 92242 2019 – Peter Handke English Titles Title: A sorrow beyond dreams: a life story Original Date: 1975 BRJ 00848 (Request via ILL) German Titles Title: Der kurze Brief zum langen Abschied 10/2017 NOBEL PRIZE IN LITERATURE WINNING AUTHORS Original Date: 1972 BRF 00716 (Request from foreign language collection) 2018 – No prize awarded 2017 – Kazuo Ishiguro Title: BURIED GIANT Original Date: 2015 BR 20746 /DB 80886 Title: NEVER LET ME GO Original Date: 2005 BR 21107 / DB 59667 Title: NOCTURNES: FIVE STORIES OF MUSIC AND NIGHTFALL Original Date: 2009 DB 71863 Title: REMAINS OF THE DAY Original Date: 1989 BR 20842 / DB 30751 Title: UNCONSOLED Original Date: 1995 DB 41420 BARD Title: WHEN WE WERE ORPHANS Original Date: 2000 DB 50876 2016 – Bob Dylan Title: CHRONICLES, VOLUME 1 Original Date: 2004 BR 15792 / DB 59429 BARD 10/2017 NOBEL PRIZE IN LITERATURE WINNING AUTHORS Title: LYRICS, 1962-2001 Original Date: 2004 BR 15916 /DB 60150 BARD 2015 – Svetlana Alexievich (no books in the collection by this author) 2014 – Patrick Modiano Title: DORA BRUDER Original Date: 1999 DB 80920 Title: SUSPENDED SENTENCES: THREE NOVELLAS Original Date: 2014 BR 20705
    [Show full text]
  • Lonely Planet Publications 150 Linden St, Oakland, California 94607 USA Telephone: 510-893-8556; Facsimile: 510-893-8563; Web
    Lonely Planet Publications 150 Linden St, Oakland, California 94607 USA Telephone: 510-893-8556; Facsimile: 510-893-8563; Web: www.lonelyplanet.com ‘READ’ list from THE TRAVEL BOOK by country: Afghanistan Robert Byron’s The Road to Oxiana or Eric Newby’s A Short Walk in the Hindu Kush, both all-time travel classics; Idris Shah’s Afghan Caravan – a compendium of spellbinding Afghan tales, full of heroism, adventure and wisdom Albania Broken April by Albania’s best-known contemporary writer, Ismail Kadare, which deals with the blood vendettas of the northern highlands before the 1939 Italian invasion. Biografi by Lloyd Jones is a fanciful story set in the immediate post-communist era, involving the search for Albanian dictator Enver Hoxha’s alleged double Algeria Between Sea and Sahara: An Algerian Journal by Eugene Fromentin, Blake Robinson and Valeria Crlando, a mix of travel writing and history; or Nedjma by the Algerian writer Kateb Yacine, an autobiographical account of childhood, love and Algerian history Andorra Andorra by Peter Cameron, a darkly comic novel set in a fictitious Andorran mountain town. Approach to the History of Andorra by Lídia Armengol Vila is a solid work published by the Institut d’Estudis Andorrans. Angola Angola Beloved by T Ernest Wilson, the story of a pioneering Christian missionary’s struggle to bring the gospel to an Angola steeped in witchcraft Anguilla Green Cane and Juicy Flotsam: Short Stories by Caribbean Women, or check out the island’s history in Donald E Westlake’s Under an English Heaven Antarctica Ernest Shackleton’s Aurora Australis, the only book ever published in Antarctica, and a personal account of Shackleton’s 1907-09 Nimrod expedition; Nikki Gemmell’s Shiver, the story of a young journalist who finds love and tragedy on an Antarctic journey Antigua & Barbuda Jamaica Kincaid’s novel Annie John, which recounts growing up in Antigua.
    [Show full text]
  • Key Words Ancient Egypt, Enlightenment, Dictator Rule, Colonialism, Patriotism, Individualism, Middle-Ages Arab Nationalism
    CONTEMPORARY LITERARY REVIEW INDIA – The journal that brings articulate writings for articulate readers. CLRI ISSN 2250-3366 eISSN 2394-6075 Western-Made Source of Naguib Mahfouz’s Pharaonic Novels by Mohamed Kamel Abdel-Daem Abstract This paper argues that the efforts and discoveries in Egyptology made by European archaeologists and historians are the main references that helped the modern Egyptian people and writers learn about the history of ancient Egypt. Naguib Mahfouz’s three novels about ancient Egypt – written in the late 1930s when Egypt was under the British occupation and the Turkish rule – unconsciously conveyed postcolonial ideas to the colonized people, i.e, surrender to Fate (the colonizer’s and dictator’s reality) (Khufu’s Wisdom), irrelevance of democratic rule, lack of centralized regime leads to conflict between two domineering authorities – religious and military (Rhadopis of Nubia), and political relief from contemporary oppression springing from nostalgic pride for forcing the invaders out (Thebes at War). The three novels foster enlightenment principles of Egyptian patriotism (rather than Middle-Ages Arab) nationalism, and this helped implement the European colonizer’s strategy: ‘diaírei kaì basíleue ’. Key words ancient Egypt, enlightenment, dictator rule, colonialism, patriotism, individualism, Middle-Ages Arab nationalism. Introduction Egypt had been one of the places that witnessed the birth of human civilization. Pharaonic culture had come to existence thousands of years before, and lasted thousands of years longer than, Western civilization. But how did we know about, and how did the modern Egyptians learn about, the history of their ancient forefathers? The answer would certainly be: “from history sourcebooks”; and these books are mainly based on information in ancient parchments, as well as paintings on ancient Egyptian monuments.
    [Show full text]