Soho Press London 2015 Foreign Rights List
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Theory and Interpretation of Narrative James Phelan, Peter J
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU THEORY AND INTERPRETATION OF NARRATIVE JAMES PHELAN, PETER J. RABINOWITZ, AND ROBYN WARHOL, SERIES EDITORS FOR VANESSA, MAX, AND MILLY THE RETURN OF THE OMNISCIENT NARRATOR Authorship and Authority in Twenty-First Century Fiction PAUL DAWSON THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dawson, Paul, 1972– The return of the omniscient narrator authorship and authority in twenty-first century fiction / Paul Dawson. pages cm—(Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-1233-2 (cloth : alk. paper) ISBN-10: 0–8142– 1233–6 (cloth : alk. paper) 1. Fiction—Technique. 2. Omniscience (Theory of knowledge) in literature. 3. Narration (Rhetoric) I. Title. II. Series: Theory and interpretation of narrative series. PN3355.D246 2013 808.3—dc23 2013031509 Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Sabon Printed by Sheridan Books, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments vii Introduction The Return of Omniscience in Contemporary Fiction 1 CHaptER 1 Omniscience and Narrative Authority 25 CHaptER 2 The Direct Address and the Ironic -
Foreign Gods, Inc. Reader's Guide with an Interview with Okey Ndibe
Foreign Gods, Inc. Reader’s Guide with an interview with Okey Ndibe In the interview below, Okey Ndibe has said his protagonist, Ike, is “engaged in a drama of self-reclamation.” What can that mean for Ike, an immigrant whose “self” is being rejected by his adopted country—even down to his accent? This battle between Christianity and the followers of Ngene drives an important storyline in Foreign Gods, Inc. How does Ike’s disinterest in both Nigerian folk religion and the Christianity that’s arrived there complicate his trip home? Ike says that Ngene is no longer a war god, because “The warriors of Utonki had not fought a war in more than a hundred years.” Do you think he’s right? Can symbols, especially religious ones, lose an intrinsic potency if their devotees lose faith? Mark Gruels says of Ngene: “a god must travel or die.” What do you think he meant? Is he right? In the Igbo language, “Ike” can mean two things: the correct pronunciation of Ike’s name (Ee-keh) means “Power of God.” An incorrect one (Ee-kay) means buttocks. What do you think might have been intended in giving Ike such a tricky name? What are the various ways greed, wealth, and objectification come into play in Foreign Gods, Inc.? For example, are there different views of what it means to be rich in Nigeria and in the US? Ike’s African American wife is just as condescending about his Nigerian accent as the white characters he encounters. Do you think Ike has a unique vantage on race in the US? Ike avoids his cell phone because he “[abhors the idea of other people being able to reach him at all hours, wherever he was.” Why do you think Ike’s heart is pounding in the first chapter, when he commits to stealing and selling Ngene, a sacred deity from his hometown? Guilt? Excitement? Something else? About a quarter of the way through the book, Ndibe relates the story of Reverend Walter Stanton as heard by a young Ike. -
Don Delillo and the Harbingers of Mortality
MISCELÂNEA Revista de Pós-Graduação em Letras UNESP – Campus de Assis ISSN: 1984-2899 www.assis.unesp.br/miscelanea Miscelânea, Assis, vol.9, jan./jun.2011 DON DELILLO AND THE HARBINGERS OF MORTALITY Gustavo Vargas Cohen (Doutorando — UFRS) RESUMO ABSTRACT O objetivo do presente texto é capturar The aim of the present text is to os sinais e contingências que podem capture the signs and contingencies dificultar e impedir o progresso de um that may hamper and prevent a writer’s escritor. A relevância de Don DeLillo para progress. It acknowledges Don DeLillo’s a literatura mundial é apresentada e relevance to world literature, corroborada por uma lista comentada corroborated by an informed listing of dos prêmios recebidos pelo autor e dos the awards the author has received and temas abordados individualmente em of the themes approached in his suas obras. O texto também discute os individual novels. The text also predecessores de DeLillo, as raízes discusses DeLillo’s predecessors, the históricas de seu tipo de representação historical roots of his kind of realistic realista da sociedade contemporânea e portrayal of contemporary society and as sementes de seu estilo de escrita pós- the seeds to his post-modern writing moderno. A parte final traz um quadro style. The final part brings an outline of geral dos sintomas como evidenciados the symptomatic evidence as shaped by pelos argumentos que seus críticos the arguments that critics offer for oferecem para consideração. O texto consideration. The text concludes by conclui reconhecendo os efeitos acknowledging the side-effects of colaterais de escrever com tamanha writing with such profusion, intensity profusão, intensidade e diversidade. -
Another Franzen Detractor
SEARCH Advertisements for Himself Printer friendly by James Wolcott Post date 11.27.02 | Issue date 12.02.02 E-mail this article How to Be Alone ADVERTISEMENT by Jonathan Franzen (Farrar, Straus and Giroux, 278 pp., $24) Click here to purchase the book. Noel Coward had a talent to amuse. Jonathan Franzen has the knack to annoy. Is it a conscious gift? Is he aware of how grating his pleaful moans and hopeful sighs have become? (It's like a snore turned inside out.) Or is he intentionally irritating us, passive-aggressively wearing down his readers' resistance until we finally crack and agree with what he thinks and, more importantly, how he feels? How he felt in the 1990s was melancholy. The country was partying, but he was gnawing on a dry bone. He evokes his sunken condition with a litany of "d" Martin Peretz words: darkness, depression, despair ("My despair about the American Franklin Foer novel began in the winter of 1991..."). The good news delivered by How Leon Wieseltier to Be Alone for anyone who cares is that Franzen's downbeat mood has Peter Beinart more... begun to lift. No longer a miserabilist, Franzen has made a separate peace with the anachronistic calling of being a serious writer in America, a lighthouse keeper who refuses to desert his post. In the personal essays that make up his first collection (which includes a couple of straight reporting pieces to give the book some fiber content), Franzen fuses the roles of fiction writer, social commentator, and concerned citizen, qualifying earlier positions and making amends for being an impetuous hothead in his Shelleyan youth. -
113 Dale Peck
A PROGRAM OF MIX – THE NEW YORK LESBIAN & GAY EXPERIMENTAL FILM FESTIVAL Interviewee: Dale Peck Interview Number: 113 Interviewer: Sarah Schulman Date of Interview: March 17, 2010 © 2013 The New York Lesbian & Gay Experimental Film Festival, Inc. ACT UP Oral History Project 1 Interview of Dale Peck March 17, 2010 SARAH SCHULMAN: The way we start is you say your name, your age, today’s date, and where we are. DALE PECK: My name is Dale Peck. I am 42 years old. Today’s date is, I believe, March 17th, 2010. And we are in my living room. SS: Yes, in the beautiful East Village. DP: Yes. SS: You and I are like the last two artists who live here. DP: Yeah, yeah – SS: And yet we’re here. DP: – I don’t know what’s left in this building anymore. SS: So where were you born? DP: I was born on Long Island, in Bay Shore. SS: And where did you grow up? DP: I moved a lot. So I was on Long Island till I was three. Then we moved upstate, and we lived there for a year. My mother died. Then we moved back to the same house on Long Island. Two more quick marriages, and when the second one ended in divorce, we then moved, first to Colorado, for a little while; and then to far-western Kansas for a couple of years, where my father met his fourth wife. And then we moved to a town in central Kansas, called Hutchinson, where we stayed, albeit with several more moves through several more school districts, until I graduated from high school. -
Wole Soyinka: Writing and Speaking Peace
SOCIAL SCIENCE RESEARCH COUNCIL | WORKING PAPERS WOLE SOYINKA: WRITING AND SPEAKING PEACE OKEY NDIBE AFRICAN PEACEBUILDING NETWORK APN WORKING PAPERS: NO. 23 This work carries a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. This license permits you to copy, distribute, and display this work as long as you mention and link back to the Social Science Research Council, attribute the work appropriately (including both author and title), and do not adapt the content or use it commercially. For details, visit http://creativecommons.org/licenses/by-nc-nd/3.0/us/. ABOUT THE PROGRAM Launched in March 2012, the African Peacebuilding Network (APN) supports independent African research on conflict-affected countries and neighboring regions of the continent, as well as the integration of high-quality African research-based knowledge into global policy communities. In order to advance African debates on peacebuilding and promote African perspectives, the APN offers competitive research grants and fellowships, and it funds other forms of targeted support, including strategy meetings, seminars, grantee workshops, commissioned studies, and the publication and dissemination of research findings. In doing so, the APN also promotes the visibility of African peacebuilding knowledge among global and regional centers of scholarly analysis and practical action and makes it accessible to key policymakers at the United Nations and other multilateral, regional, and national policymaking institutions. ABOUT THE SERIES “African solutions to African problems” is a favorite mantra of the African Union, but since the 2002 establishment of the African Peace and Security Architecture, the continent has continued to face political, material, and knowledge-related challenges to building sustainable peace. -
Negative Reviews of Falling Man
Schweighauser and Schneck 1 Do not cite. Schweighauser, Philipp and Peter Schneck. "Introduction: The American and the European DeLillo." Terrorism, Media, and the Ethics of Fiction: Transatlantic Perspectives on Don DeLillo. Ed. Schneck and Schweighauser. New York: Continuum, 2010. 1-15. The published version of this essay is available here: http://www.bloomsbury.com/us/terrorism-media-and-the-ethics-of-fiction- 9781441139931/ Prof. Dr. Philipp Schweighauser Assistant Professor and Head of American and General Literatures Department of English University of Basel Nadelberg 6 4051 Basel Switzerland Phone Office: +41 61 267 27 84 Phone Secretary: +41 61 267 27 90 Fax: +41 61 267 27 80 Email: [email protected] Schweighauser and Schneck 2 Prof. Dr. Peter Schneck Director of the Institute for English and American Studies University of Osnabrück Neuer Graben 40 Room 123 D-49069 Osnabrück Germany Phone: +49 541 969 44 12 or +49 541 969 60 42 Fax: +49 541 969 42 56 Email: [email protected] Introduction: The American and the European DeLillo Philipp Schweighauser and Peter Schneck In Mao II (1991), Don DeLillo lets his protagonist, the novelist Bill Gray, speak words that have been read as eerily prophetic in the aftermath of 9/11: "Years ago [...] I used to think it was possible for a novelist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory. They make raids on human consciousness" (41). While the collective imagination of the past was guided, DeLillo seems to suggest, by the creative order and ethos of narrative fictions told by novelists, our contemporary fantasies and anxieties are completely controlled by the endless narratives of war and terror constantly relayed by the mass media. -
University of Florida Thesis Or Dissertation Formatting
ONE NATION, UNDER TEENS: YOUNG ADULT LITERATURE AND THE EVOLUTION OF THE AMERICAN TEENAGER By CASEY WILSON A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2016 © 2016 Casey Wilson To the ladies of the Cottage, past, present, and honorary: Thank you for getting me through ACKNOWLEDGMENTS Although so much of writing a dissertation comes down to one person in front of a computer screen for hours on end, it is far from a solitary process. I owe an immense debt of gratitude to so many—friends, family, and colleagues alike—for ensuring that I never once felt alone on this journey. First and foremost, I must thank my committee. I am grateful to Kenneth Kidd for his seemingly inexhaustible kindness and generosity, and to Laurie Gries for being so committed to providing the best support and advice possible. I am glad to have had Ben DeVane’s help in developing the initial shape of my project, and I am thankful that Sevan Terzian was willing to step into a project nearing its end with such thoughtfulness and enthusiasm. This project would not exist without all of your expertise, insight, and support. I also wish to thank the incredible community of scholars in the University of Florida Department of English for being so intelligent and supportive. Emily Brooks, Andrew Wilson, Kelly Beck, Asmaa Ghonim, Jonathan Hernandez, and so many others have made it a pleasure to walk into my office each day. -
Disillusionment and Survival in African Migration Literature: a Study of Okey Ndibe’S Foreign Gods, Inc
University of Ghana http://ugspace.ug.edu.gh DISILLUSIONMENT AND SURVIVAL IN AFRICAN MIGRATION LITERATURE: A STUDY OF OKEY NDIBE’S FOREIGN GODS, INC. AND UNOMA AZUAH’S EDIBLE BONES. BY GIDEON BROBBEY (10638251) A THESIS SUBMITTED TO THE DEPARTMENT OF ENGLISH, UNIVERSITY OF GHANA, IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF MASTER OF PHILOSOPHY (MPHIL) ENGLISH. DEPARTMENT OF ENGLISH UNIVERSITY OF GHANA OCTOBER, 2020. i University of Ghana http://ugspace.ug.edu.gh DECLARATION With the exception of the references used in this work which have been duly acknowledged, I hereby declare that the views that have been expressed here are the product of my own study and no part or the whole of this work has been submitted to any institution for the award of any degree. GIDEON BROBBEY DATE: (10638251) ii University of Ghana http://ugspace.ug.edu.gh CERTIFICATION I hereby certify that this thesis was supervised in accordance with laid down procedures by the University of Ghana. DR. MAWULI ADJEI (PRINCIPAL SUPERVISOR) DR. PRINCE KWAME ADIKA DATE (CO-SUPERVISOR) iii University of Ghana http://ugspace.ug.edu.gh DEDICATION I dedicate this work to my dear wife, Mrs. Grace Brobbey, who kept her queries coming; “so which chapter are you now?” “Have you contacted your supervisors?” I could not have finished this work without your encouragement and sacrifice. iv University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGMENTS I would like to first give thanks to God for the grace to finish this thesis. My supervisors, Dr. Mawuli Adjei and Dr. -
Lacanian Reflections on Delillo's Americana
orbit. Delillo Special Issue How to Cite: Foster, G 2016 A Deep Insider’s Elegiac Tribute: The Work of Don DeLillo in David Foster Wallace’s Infinite Jest. Orbit: Writing around Pynchon, 4(2): 8, pp. 1–20, DOI: http://dx.doi.org/10.16995/orbit.127 Published: 31 May 2016 Peer Review: This article was peer-reviewed internally by the guest editor and by a member of the Orbit editorial team. Copyright: © 2016 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and repro- duction in any medium, provided the original author and source are credited. See http://creativecommons.org /licenses/by/4.0/. Open Access: Orbit: Writing around Pynchon is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Graham Foster, ‘A Deep Insider’s Elegiac Tribute: The Work of Don DeLillo in David Foster Wallace’s Infinite Jest’ (2016) 4(2): 8 Orbit: . orbit Writing around Pynchon, DOI: http://dx.doi.org/10.16995/orbit.127 DELILLO SPECIAL ISSUE A Deep Insider’s Elegiac Tribute: The Work of Don DeLillo in David Foster Wallace’s Infinite Jest Graham Foster School of Advanced Study, University of London, GB [email protected] This article explores the influence the work of Don DeLillo has on David Foster Wallace’s Infinite Jest (1996), scrutinising the way Wallace built some of his most important themes on a foundation of literary allusion, particularly to the DeLillo novels End Zone (1972) and Americana (1971). -
Introduction: After Postmodernism
m Introduction: After Postmodernism Andrew Hoberek T h e essays in this issue o f Twentieth-Century Literature propose new models for understanding contemporary fiction in the wake of postmod ernism’s waning influence. By now, as Jeremy Green notes, declarations of postmodernism’s demise have become a critical commonplace (19-24). The intellectual historian Minsoo Kang provides a usefully succinct ex ample, dating “the death knell of postmodernism in the US” on “June 18, 1993,” the date that the John McTiernan-directed Arnold Schwarzeneg ger vehicle The Last Action Hero brought “the standard [postmodern] devices of self-reference, ironic satire, and playing with multiple levels of reality” to the multiplex.“[I]n the US,” Kang wryly notes,“there’s no surer sign of an intellectual idea’s final demise than its total appropriation by mass culture.” In this formulation, postmodernism was done in by its own success. Postmodern writers had enjoyed a notorious and wild ride of radical challenge to institutionalized art and its generic categories in the 1970s and 1980s, but their ironic, skeptical, and knowing (yet celebratory) juxtapositions of high and low, and their rejection of objective (or politi cal) reality as a significant object or limit for representation, no longer worked by the 1990s. Mass culture itself had appropriated the aesthetics of postmodernism, which—now playing monotonously on everyone’s television and computer screens—turned out to be as reproducible as its creators had contemptuously said all previous art was. At least that’s one way to tell the story. But while there are good rea sons, as the contributors to this issue show, for arguing that contemporary fiction is no longer adequately described as postmodern, this particular narrative of postmodernism’s decline has three interrelated problems. -
Narrating the Diaspora Dissertation
Narrating the Diaspora Transmigration and Socio-Cultural Imaginaries in 21st Century Nigerian Literature Dissertation zur Erlangung des Doktorgrades der Philosophie an der Karl-Franzens-Universität Graz eingereicht von Maximilian FELDNER, MA am Institut für Anglistik Erstbegutachter: Ao. Univ.-Prof. Mag. Dr.phil. Martin Löschnigg Zweitbegutachterin: Ao. Univ.-Prof. Mag. Dr.phil. Maria Löschnigg 2017 Table of Contents Introduction 1 1. Contexts: The Nigerian Diaspora and its Literature 1.1. The New African Diaspora and the Novelists of the Nigerian Diaspora 13 1.2. Nigerian Diaspora Literature in the Context of African Literature and Cultural Nation Building 31 1.3. Nigerian Diaspora Literature and Postcolonialism 53 1.4. The Nigerian Diaspora on the Global Literary Marketplace 75 2. A Life Elsewhere: Stories of Migration and Rooted Hybridity 2.1. Leaving Nigeria: Stories of Migration and Transmigration 97 2.2. Exploring the Limitations of Afropolitanism in Taiye Selasi’s Ghana Must Go 115 2.3. Second Generation Nigerians in England: Helen Oyeyemi’s The Icarus Girl and the Negative Experience of Hybridity 131 2.4. The Concept of Transmigration in Chimamanda Ngozi Adichie’s Americanah 147 3. News from Home: Literary Nation Building and Dystopian Representations of Nigeria 3.1. Returning to Nigeria: Teju Cole’s Every Day is for the Thief and Sefi Atta’s Everything Good Will Come 165 3.2. Biafra and Nigerian Identity Formation in Chimamanda Ngozi Adichie’s Half of a Yellow Sun 183 3.3. City of Stories: The Lagos Imaginary in Chris Abani’s GraceLand and Sefi Atta’s Swallow 205 3.4. The Prison of 1990s Nigeria: Helon Habila’s Waiting for an Angel 225 Conclusion 245 Bibliography 251 Introduction Over the first two decades of the twenty-first century an impressive body of work by Nigerian novelists has emerged.