Juliet Annan
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The Great Regression’
Table of Contents 1. Title page 2. Copyright page 3. Contributors 4. Preface 1. Notes 5. 1: Democracy fatigue 1. Leaders and followers 2. The message from above 3. Vox populi 4. Where is Europe headed? 5. Notes 6. 2: Symptoms in search of an object and a name 1. Notes 7. 3: Progressive and regressive politics in late neoliberalism 1. Neoliberal globalization as the challenge 2. Progressive movements against neoliberal globalization 3. Regressive movements? 4. On movements and counter-movements: some conclusions 5. Notes 8. 4: Progressive neoliberalism versus reactionary populism: a Hobson's choice 9. 5: From the paradox of liberation to the demise of liberal elites 1. Paradoxes of liberation 2. The Janus face of a secular culture and a religious state 3. The big bang of Israeli politics 4. A tragic end 5. The task of the left 6. Notes 10. 6: Majoritarian futures 1. The end of…? 2. Normative threats 3. The migrants’ revolution 4. The populist turn 5. Notes 11. 7: Europe as refuge 12. 8: Overcoming the fear of freedom 1. The neoliberal attack 2. The moral effects of structural transformation 3. The narrative failure of neoliberalism 4. How consent for migration disintegrated 5. The narrative struggle ahead 6. Notes 13. 9: Politics in the age of resentment: the dark legacy of the Enlightenment 1. Notes 14. 10: The courage to be audacious 1. Let's talk about class 2. Cultural alienation 3. Restoring momentum to the European Union 4. A clear view of reality 5. Dilemmas that will remain 6. Notes 15. -
The Amazing Adventures of Aaron Broom a Novel A
The Amazing Adventures of Aaron Broom A Novel A. E. Hotchner A heartwarming amateur detective story set in Depression-era St. Louis from beloved author A. E. Hotchner. Street-savvy, almost-thirteen-year-old Aaron Broom is guarding his father's car when he witnesses a robbery gone wrong in a jewlery store across the street. To Aaron's shock, his father, a travelling watch salesman in the wrong place at the wrong time, is fingered as the prime suspect in the murder. Despite seeing the real killer flee the scene, Aaron can't do much to help in the moment--no one will take a kid's word for it. Undaunted, Aaron enlists an unlikely band of friends and helpful adults to clear his father's name. Aaron's unusual mission is complicated by the painful realities of the Depression: His father's longtime business folded, leaving the family in financial straits; his mother is in a sanatorium after nearly dying of tuberculosis. So Aaron is forced to fend for himself while his father is held in wrongful custody. He ducks truant officers and nosy neighbors, landlords and social workers, and he bums meals from friends and relatives alike. In his search for justice, Aaron draws upon the resources of a world-weary paperboy, an aspiring teen journalist, a kindly lawyer, and a neighborhood friend with a penchant for baking. And as they dig into the details of the case, these unconventional detectives reveal a cover-up that goes much deeper than a ON SALE 7/10/2018 jewelry-store heist gone sour. -
Interview with Jim Crace Sameerah Mahmood
Interview with Jim Crace Sameerah Mahmood Jim Crace was born in Hertfordshire in 1946 and is the author of 11 novels. I first met him at a reading event at Chichester Festival on 25 June 2013, and my interview with him took place on 10 July 2013. Before becoming a novelist, he worked as a freelance journalist, and wrote educational plays and a number of short stories between 1968 and 1986. He has won numerous awards and became a Fellow of the Royal Society of Literature in 1999. His success began when his first book, Continent (1986), won the Whitbread First Novel Award, the Guardian Fiction Prize and the David Higham Prize for Fiction. His most recent novel, Harvest, won him the James Tait Black Prize for fiction. Crace also won a Windham Campbell literature prize in 2014 for his career in fiction writing. The epigraph of Jim Crace’s debut is a statement from a fictitious author: ‘“There and beyond is a seventh continent – seven peoples, seven masters, seven seas. And its business is trade and superstition.” PYCLETIUS, Histories. IV, 3’1 which introduces the subsequent worlds in his fiction. These worlds have made him a part of the mainstream of contemporary British fiction. Among British contemporary novelists, Jim Crace has made a space for himself which is uniquely his. It is known as ‘Craceland’, a term which describes his gift for setting his novels in mythically oriented landscapes. Crace is not holding a mirror to our real world but rather he is inventing his continent from the real world’s dark corners, worlds of his own making. -
Here Is a List of Popular British Authors That Can Be Considered for the Sample; Any Other Current British Authors Can Also Be Included
Here is a list of popular British authors that can be considered for the sample; any other current British authors can also be included. 1. Peter Ackroyd 2. Elizabeth Adler 3. Cecelia Ahern 4. Monica Ali 5. Martin Amis 6. Jeffrey Archer 7. Kate Atkinson 8. John Banville 9. Clive Barker 10. Nicola Barker 11. Pat Barker 12. Julian Barnes 13. M. C. Beaton 14. Peter Benson 15. Mark Billingham 16. Maeve Binchy 17. Rhys Bowen 18. William Boyd 19. Barbara Taylor Bradford 20. Anita Brookner 21. Hester Browne 22. Ken Bruen 23. Stella Cameron 24. John le Carre 25. Lee Child 26. P F Chisholm 27. Jonathan Coe 28. Rowan Coleman 29. Jackie Collins 30. John Connolly 31. Bernard Cornwell 32. Jim Crace 33. Lindsey Davis 34. Emma Donoghue 35. Ruth Downie 36. Sarah Dunant 37. Helen Dunmore 38. Anne Enright 39. Harriet Evans 40. Roopa Farooki 41. Sebastian Faulks 42. Jasper Fforde 43. Helen Fielding 44. Ken Follett 45. Neil Gaiman 46. Jane Gardam 47. Jane Green 48. Sarah Hall 49. Joanne Harris 50. Robert Harris 51. Nick Hornby 52. Conn Iggulden 53. Kazuo Ishiguro 54. Cathy Kelly A. L. Kennedy 55. Marian Keyes 56. Sophie Kinsella 57. Doris Lessing 58. Hilary Mantel 59. Sujata Massey 60. Simon Mawer 61. Peter Mayle 62. Patrick McCabe 63. Ian McEwan 64. Adrian McKinty 65. Anna McPartlin 66. Michael J. Merry 67. Rosalind Miles 68. Robert Morgan 69. Melissa Nathan 70. Elizabeth Noble 71. Helen Oyeyemi 72. Adele Parks 73. Anne Perry 74. Caryl Phillips 75. Robin Pilcher 76. Terry Pratchett 77. -
Pastoral Place and Violence in Contemporary British Fiction
Concentric: Literary and Cultural Studies 44.2 September 2018: 51-79 DOI: 10.6240/concentric.lit.201809_44(2).0003 Pastoral Place and Violence in Contemporary British Fiction John Armstrong Department of Applied Foreign Languages National Formosa University, Taiwan Abstract This paper close-reads Jon McGregor’s Reservoir 13 (2017), Graeme Macrae Burnet’s His Bloody Project (2016) and Jim Crace’s Harvest (2013) as exemplars of a larger wave of fiction reimagining the British village as a microcosm of global violence. Against a backdrop of theories on pastoral from Raymond Williams’s The Country and the City (1974), Paul Alpers, Terry Gifford, and John Kinsella, and ideas on violence, the essay considers in each novel the dynamics of pastoral and violence, testing whether existing critical ideas on the pastoral have the scope and reach to encompass the darkest and most visceral elements of contemporary rural fiction. The study finds that 1) McGregor’s Reservoir 13 is a quintessential post-pastoral text, engaging with all of Gifford’s tenets of the mode, yet with suggestions of child-murder and pedophilia that create a tense relationship between the novel and post-pastoral’s predominantly eco-critical bent; 2) Macrae Burnet uses a remote Scottish estate to attack the pastoral in nearly all of its historical forms, de-romanticizing lives of shepherds and crofters through representation of a traumatized place of structural and physical violence and sexual abuse; 3) Crace’s anti-pastoral novel Harvest presents a nameless, timeless English village, where enclosure for pasture is a catalyst for destruction rather than development. -
The Booker: Prized in Public Libraries?
The Booker: Prized in Public Libraries? An investigation into the attitudes of public librarians towards the Man Booker Prize for Fiction. A study submitted in partial fulfilment of the requirements for the degree of Master of Arts in Librarianship at The University of Sheffield by Karl Hemsley September 2003 1 Acknowledgements I owe thanks, first of all, to the fifteen librarians who so kindly gave of their time to be interviewed for this work. They all paid me the compliment of taking my questions seriously and providing thoughtful replies. I would also like to thank Lord Baker of Dorking, Mariella Frostrup, Simon Jenkins and Russell Celyn Jones, four former judges of the Booker Prize, who replied to emails that I sent rather late in the day. It was very kind of them to take the trouble to do this. I am very grateful to my supervisor, Professor Bob Usherwood, for his encouragement and advice, which have helped to make doing this piece of work an enjoyable experience, and much less daunting than it would otherwise have been. Finally, thanks to Bess for the loan of the digital recorder and helping this Luddite by putting the interviews onto disk. I still haven’t worked out where the cassettes go. 2 Abstract This report examines the attitude of a selection of public librarians towards the Man Booker Prize for Fiction. Fifteen librarians, from five library authorities in the north of England, were interviewed, in order to ascertain their opinions regarding the Booker and its place in public libraries. The report also considers the views of commentators on the Booker and literature concerning fiction provision in public libraries. -
Norris, Sharon (1995) "Simply the Best (Better Than All the Rest?)" : an Investigation Into the Booker Prize, 1980-198
Norris, Sharon (1995) "Simply the best (better than all the rest?)" : an investigation into the Booker Prize, 1980-1989, with particular regard to the general rise in business sponsorship of literary awards during the eighties, and the likely effects of the Booker on fiction. PhD thesis. http://theses.gla.ac.uk/2398/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 'Simply the Best (Better than All the Rest? )' An investigation into the Booker Prize, 1980-1989, with particular regard to the general rise in business sponsorship of literary awards during the Eighties, and the likely effects of the Booker on fiction. A thesissubmitted for the degreeof Doctorof Philosophyat the Departmentof EnglishLiterature, University of Glasgow by SharonNorris, M. A. APRIL 1995 (c) SharonNorris 1995 2 SUMMARY The thesiswas planned as an attemptto investigatethe generalincrease in thenumber of literaryprizes in the 1980sand particularly those sponsored by business.However it is alsoan investigationinto the specificworkings of the BookerPrize as the bestknown literary award of its kind in Britain, andinto the effectsthat prizessuch as the Booker may have had on fiction. -
The Post-Apocalyptic Communities of Jim Crace's the Pesthouse
Caroline Edwards Microtopias: the post-apocalyptic communities of Jim Crace’s The Pesthouse This is a post-print (i.e. final draft post-refereeing) version of an article published in the journal Textual Practice, Volume 23, Number 5 (2009), pp. 763-786. The article should be cited from its final published version, which can be accessed via the Textual Practice website (using Shibboleth / Open Athens, requires institutional login): http://www.tandfonline.com/doi/abs/10.1080/09502360903169144#.VlUa5d_hBs M This post-print is published for reference use only, in accordance with the publisher copyright polices for green open access and self-archiving. For more information, see: http://www.sherpa.ac.uk/romeo/search.php?source=journal&sourceid=8601&la=en &fIDnum=%7C&mode=simple This post-print version is the copyright of Dr Caroline Edwards, Lecturer in Modern & Contemporary Literature, Birkbeck College, University of London [email protected] Caroline Edwards Microtopias: the post-apocalyptic communities of Jim Crace’s The Pesthouse Happiness was in the east. Wasn’t that what everyone believed? (Jim Crace, The Pesthouse) After the fall of the Berlin Wall and the subsequent collapse of communism in the former Soviet bloc, the concept of utopia was blighted with the stigma of Stalinist totalitarianism. Khrushchev’s denunciation of Stalin’s despotism at the 20th Congress of the Communist Party in 1956 revealed the Stalinist- communist utopia to be a brutal experiment in institutionality and caused many thinkers and writers on the Left to withdraw their support, as manifested by a sharp rise in dystopian and anti-utopian fiction and commentary. -
Myth and History
Part I Myth and History Part I Introduction After 1979 Britain seemed tentatively aware that a new phase of history might well have begun, which if acknowledged, separated it from the earlier post-war period.A new generation of writers, responding to their literary antecedents, developed a newly focused literary consciousness.This was not simply a matter of reflecting historical events or trends.In politics, the reality and myth of Marga- ret Thatcher and an attendant concept of history were dominant.The themes of myth and history long considered by literature acquired a currency in the public sphere.Novelists responded to both the con- temporaneous political domain and their literary predecessors.The place of history in our everyday lives, its literary recovery and the question of its status recur in a variety of contemporary British fictional texts. The following chapters consider what might be regarded as a new phase of the historical novel.The writers selected are part of a wider literary commitment to reworking the past as fiction.The novels and other texts featured in this section consider the creation of myth within a perspective framed almost entirely by recognizable everyday events. Jim Crace's fiction is typical in this respect.In Quarantine the culturally resonant contexts of Christ's experience in the desert are stripped of religious significance and made prosaic.In another work, Signals of Distress, Crace creates a setting where slavery and its trade in human life serve as a moral backdrop to a very human story of sexual desire and temptation.The effect of Crace's almost lyrical prose is determined both by his use of repetition and by his constant undermining of the parabolic force of narrative.History in 12 Richard J. -
The Landscape of Trauma, Pain and Hope in Jim Crace's the Pesthouse
DOI: 10.1515/aa-2018-0001 The landscape of trauma, pain and hope in Jim Crace’s The Pesthouse Petr Chalupský Petr Chalupský is Associate Professor at the Department of English Language and Literature, Faculty of Education, Charles University, where he teaches courses in English Literature, Literary Studies and Literary Theory. His research and publication activities focus on contemporary British fiction. He is the author of the monographs The Postmodern City of Dreadful Night: The Image of the City in the Works of Martin Amis and Ian McEwan (2009) and A Horror and a Beauty: The World of Peter Ackroyd’s London Novels (2016). Abstract: Jim Crace likes to refer to himself as a “landscape writer” and indeed, in each of his eleven novels he has created a distinct yet recognizable imaginary landscape or cityscape. This has led critics to coin the term “Craceland” to describe the idiosyncratic milieux he creates, which, through his remarkably authentic and poetic rendering of geography and topography, appear to be both other and familiar at the same time. In The Pesthouse (2007), the milieu is the devastated America of an imagined future, a country which has deteriorated into a pre-modern and pre-industrial wasteland so hostile to sustainable existence that most of its inhabitants have become refugees travelling eastwards to sail to a new life on another continent. Franklin and Margaret, two such refugees, are leaving their homes not only to flee misery and destitution, but also the trauma and pain occasioned by the loss of their relatives. Using geocriticism as a practice and theoretical point of departure, this article presents and analyses the various ways in which Crace’s novel renders and explores its spaces, landscapes and places, as well as how it links them with the transformation of the protagonists’ psyches and mental worlds. -
1000 Novels Everyone Must Read
Bouvard et Pécuchet by Gustave Flaubert 1000 novels everyone must Towards the End of the Morning by Michael Frayn read: the definitive list The Polygots by William Gerhardie Cold Comfort Farm by Stella Gibbons Dead Souls by Nikolai Gogol theguardian.com, Friday 23 January 2009 Oblomov by Ivan Goncharov 10.23 EST The Wind in the Willows by Kenneth Grahame Brewster's Millions by Richard Greaves (George Barr Selected by the Guardian's Review team and a panel McCutcheon) of expert judges, this list includes only novels – no Squire Haggard's Journal by Michael Green memoirs, no short stories, no long poems – from any Our Man in Havana by Graham Greene decade and in any language. Originally published in Travels with My Aunt by Graham Greene thematic supplements – love, crime, comedy, family Diary of a Nobody by George Grossmith and self, state of the nation, science fiction and The Little World of Don Camillo by Giovanni fantasy, war and travel – they appear here for the first Guareschi time in a single list. The Curious Incident of the Dog in the Night-time by Mark Haddon Catch-22 by Joseph Heller Comedy Mr Blandings Builds His Dream House by Eric Hodgkins Lucky Jim by Kingsley Amis High Fidelity by Nick Hornby Money by Martin Amis I Served the King of England by Bohumil Hrabal The Information by Martin Amis The Lecturer's Tale by James Hynes The Bottle Factory Outing by Beryl Bainbridge Mr Norris Changes Trains by Christopher Isherwood According to Queeney by Beryl Bainbridge The Mighty Walzer Howard by Jacobson Flaubert's Parrot by Julian Barnes Pictures from an Institution by Randall Jarrell A History of the World in 10 1/2 Chapters by Julian Three Men in a Boat by Jerome K Jerome Barnes Finnegans Wake by James Joyce Augustus Carp, Esq. -
Juliet Annan
David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] DGA Rights Guide Frankfurt 2013 David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] Fiction FIVE STAR BILLIONAIRE by Tash Aw HARVEST by Jim Crace A COOL, DARK PLACE by Supriya Dravid HUNTERS IN THE SNOW by Daisy Hildyard THE GYPSY GODDESS by Meena Kandasamy A BAD CHARACTER by Deepti Kapoor UNEXPLODED by Alison MacLeod THE DEFECTIONS by Hannah Michell THE TABLE OF LESS VALUED KNIGHTS by Marie Phillips THE WILDINGS by Nilanjana Roy A LOVE LIKE BLOOD by Marcus Sedgwick THE BONE SEASON by Samantha Shannon DREAMERS OF THE ABSOLUTE by Anna Sun THEIR LIPS TALK OF MISCHIEF by Alan Warner Non-Fiction TRACKS by Robyn Davidson THE GREATEST CONSOLATION by Katherine Frank FALLING UPWARDS by Richard Holmes BENJAMIN BRITTEN by Paul Kildea IN THE NAME OF THE PEOPLE by Lara Pawson ROOTS OF YOGA by James Mallinson and Mark Singleton FEDERER AND ME by William Skidelsky A MAN OF GOOD HOPE by Jonny Steinberg THE LAST ASYLUM by Barbara Taylor TIGER FIRE by Valmik Thapar BEDSIT DISCO QUEEN by Tracey Thorn ROMANY AND TOM by Ben Watt David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] FICTION David Godwin Associates Ltd -55 Monmouth Street, London WC2H 9DG +44 (0) 207 240 9992 - [email protected] ***LONGLISTED FOR THE MAN BOOKER PRIZE 2013*** FIVE STAR BILLIONAIRE by Tash Aw UK: 4th Estate US: Spiegel & Grau UK publication date: February 2013 Finished copies available Length: 150,000 words ‘Tash Aw's Five Star Billionaire opens with a bang, not a whimper.