From Moby-Dick to The Unnamable, from A Tale of a Tub to The Book of Questions, Bruce Kawin explores the nature of self-conscious fiction and compares its structure to that of human consciousness. Focusing on texts that confront their own limits by trying to name the unnamable, the ineffable self, Kawin draws on methods from literary criticism to systems theory to explain a variety of first-person works that "dance around the ungraspable subject."
From his birth in rural Kentucky during the Great Depression to his suicide in Manhattan in 1985, Coleman Dowell played many roles. He was a songwriter and lyricist for television. He was a model. He was a Broadway playwright. He served in the U.S. Army, both abroad and at home. And most notably, he was the author of novels that Edmund White, among others, has called "masterpieces." But Dowell was deeply troubled by a depression that hung over him his entire life. Pegged as both a Southern writer and a gay writer, he loathed such categorization, preferring to be judged only by his work. Fever Vision describes one of the most tormented, talented, and inventive writers of recent American literature, and shows how his eventful life contributed to the making of his incredible art.
A collection of short stories, where the lands of both the living and the dead are equally dark and mysterious worlds where logic and reality are subject to constant change and where ideas about identity and self are continually questioned.
Ricardo is making himself sick over his obsession with the girl next door and Elias is hopelessly infatuated with a local prostitute. One lives in the bustle of Mexico City, the other in the quiet of a tiny Baja California town. They both find themselves in a world dominated by desire where "love begins to wither from the moment it takes root".
Set during the US occupation following WWII, this is a novel of conflict - between Western and Eastern traditions, between a husband and his wife, between ideals and reality. Miwa Shunsuke and his wife are trapped in a strained marriage. When his wife has an affair, he is forced to come to terms with the disintegration of their relationship.
This is the first full-length biography of one of the best-known and most influential French writers of our time, as celebrated for her films (Hiroshima Mon Amour) as for her novels (The Ravishing of Lol Stein, The Lover). It takes Duras from colonial Indochina (where she was born in 1914) to wartime France, through the intellectual skirmishes of the 1950s and leftist movements of the 1960s, up to the present time. An autobiographical writer by nature, Duras has poured her exotic life into her books, and Vircondelet is the first to separate fact from fiction, leading us to a greater appreciation of her inimitable fiction. Although it gives a full, chronological account of Duras's life and work, Duras is not a conventional biography. "In order to give an exact account of her life, her inner workings, " Vircondelet explains in his preface, "one needs to acquire and rediscover a secret, a kind of alchemy, the nature of her 'fluent writing, ' as she calls it." Employing a kind of "fluent writing" himself, Vircondelet brings a rare empathy to his task, allowing him to discover secret connections between the life and work. Both a mesmerizing biography and an innovative work of literary criticism, Duras is a bold and unforgettable achievement. First published in France in 1991, the book has been updated by the author for this English translation. It is illustrated with 37 photographs.
The British novelist and critic Christine Brooke-Rose (born 1923) is increasingly being regarded as one of the most significant writers of the contemporary period. In her dozen novels she has explored themes as diverse as biligualism (as a metaphor for alienation) and the influence of computer technology on the humanities.As these themes suggest, Brooke-Rose is sometimes perceived as a difficult writer, especially given the dazzling virtuosity of the linguistic wordplay that enlivens her later novels. "Utterly Other Discourse" (a phrase from her 1984 novel "Amalgamemnon") provides a valuable introduction to her work; in fifteen essays--some previously published, some written for this book--scholars from America, England, and Europe examine her work from a variety of critical angles.
Nic Sacco and Bart Vanzetti rise to fame from a seedy New York vaudeville club via their famous knife-throwing gag, landing precipitately in the bigtime. This work is: part comic novel; part satire; part Pynchonesque slurring of synchronous narratives into historical allegory; and part political commentary.
Into the sooty mouth of New York walks Luc, a French visitor whose life collides with those of Rasky and Lucy in a series of raw encounters as sensual and sensory as the tastes of the city itself. From his disconcerting arrival at Customs to Navarre's incredible ending, here, every step of Luc's odyssey is recounted with detail.
Ordered by two mysterious men to "write a statement of about 100 pages," the narrator of "Chinese Letter--who's not sure of his name, but calls himself Fritz--faithfully records the bizarre occurrences of his daily life: his absurd conversations with his mother who is abducted by slave traders, his visits to his friend who works in the hospital's autopsy room, and his sister's tumultuous marriage to the butcher's son, to name a few. Widely respected in Serbia, the term "Basarian" has been coined to refer to Basara's unique writing style, reminiscent of the best of Samuel Beckett for its directness, existential pondering, and odd sense of humor.
Dorothy Nelson's first book to be published in the United States focuses on a demented, dysfunctional Irish family. The Crawford family is dominated by Da (Joe), a manic-depressive thief and liar who has spent two years in prison for exposing himself in the woods to young children and couples. Ma is a weak and downtrodden victim of her husband's violent temper who occasionally flirts with her son Benjee, an overly-sensitive boy with little hope for future happiness. As the narrative passes back and forth between the members of the family (in a style reminiscent of Ann Quinn), a compelling portrait of abuse and its consequences is constructed, one that contains both horror and humor in the sexual and social sickness of the characters.
While investigating his mentor's life and death, Michael, a voyeuristic fashion photographer, travels through a Dionysian landscape where sex is daydream, women and horses share the same erotic power, and perversity is the rule. In his search, Michael uses photographs and paintings to visualize the past and thereby expose a family's decadent legacy of sex, lies, and betrayal.
Arthur M. Saltzman, Stanley Elkin: An Introduction/Peter J. Bailey, 'A Hat Where There Never Was a Hat': Stanley Elkin's Fifteenth Interview/Stanley Elkin, Words and Music/William Gass, Stanley Elkin: An Anecdote/Jerome Charyn, On Stanley Elkin/Jerome Klinkowitz, Elkin before Elkin/Charles Molesworth, Stanley Elkin and 'Everything': The Problem of Surfaces and Fullness in the Novels/Alan Wilde, Final Things: More Letters to mzimmer%humanitas@hub.ucsb.edu/D. C. Dougherty, Nemeses and MacGuffins: Paranoia as Focal Metaphor in Stanley Elkin, Joseph Heller, and Thomas Pynchon/Peter G. Christensen, The Escape from the Curse of History in Stanley Elkin's George Mills/Patrick O'Donnell, Of Red Herrings and Loose Ends: Reading 'Politics' in Elkin's The MacGuffin/Arthur M. Saltzman, A Stanley Elkin Checklist/Mark Axelrod, Alasdair Gray: An Introduction, of Sorts/Mark Axelrod, An Epistolary Interview, Mostly with Alasdair Gray/Alasdair Gray, The Anthology of Prefaces/Alasdair Gray, Time Travel/Philip Hobsbaum, Alasdair Gray: The Voice of His ProseGeorge Donaldson and Alison Lee, Is Eating People Really Wrong? Dining with Alasdair Gray/William M.Harrison, The Power of Work in the Novels of Alasdair Gray/Stephen Bernstein, Scottish Enough: The London Novels of Alasdair Gray/John C. Hawley, Bell, Book, and Candle: Poor Things and the Exorcism of Victorian Sentiment/Lynne Diamond-Nigh, Gray's Anatomy: When Words and Images Collide/Peter Christensen, Language and Its Discontents in Alasdair Gray's 'Logopandocy'/Janice Galloway, Different Oracles: Me and Alasdair Gray/Mark Axelrod, An Alasdair Gray Checklist
"It's outrageous that an educated man and a gifted writer like Mr. Mathews could make such a public confession of such shameful activities." Q. Kuhlmann, author of The Eye of Anguish: Subversive Activity in the German Democratic Republic
First published in 1923, Knight's Move is a collection of articles and short critical pieces that Viktor Shklovsky, no doubt the most original literary critic and theoretician of the twentieth century, wrote for the newspaper The Life of Art between 1919 and 1921. With his usual epigrammatic, acerbic wit and genius, Shklovsky pillories the bad writers, artists, and critics of his time, especially those who used art as a political or social tool. And at no time is Shklovsky better than when he insists with indignation and outrage that "Art has always been free of life. Its flag has never reflected the color of the flag that flies over the city fortress." As fresh and revolutionary today as they were when written nearly a century ago, these pieces promise to infuriate an English-speaking readership as much as the Russian one of the 1920s.
A quintessential Elkin protagonist, Ellerbee is a good husband, a good employer, a good sport who cares greatly about his fellow human beings-until he is killed during a senseless liquor-store hold-up. Suddenly smote by a deity as indifferent as history, Ellerbee is off on a whirlwind tour of a distressingly familiar theme-park Heaven and inner-city Hell-to learn, along with his late coworkers and a marvelously vivid cast of characters, that much of what they've always heard about God's love, God's wrath, and the afterlife is, unfortunately, quite true.
At the City Hall in a small town in the South of France, one man starts his campaign to correct the ills that have overtaken his proud nation by lecuring the town's inhabitants on the art of conversation. In the narrator's opinion, "coversation is a specialty that is most eminently French," an art that should be nurtured and practiced, and can help repair France's reputation. Not to mention being a good conversationalist is extremely useful for seducing women, which is how the narrator managed to attract Lucienne, his "superbly lumpish" wife who died two months before giving this lecture. One of the oddest characters in contemporary fiction, the lecturer in this novel can't help but digress about his sad life in the midst of his speech, giving the reader a view of a self-centered man trying to turn one of his greatest faults into a virtue to be forced on everyone else. By turns ironic, hilarious, pathetic, and mortifying, Salvayre's The Lecture is an exuberant example of the exciting fiction being written in France.
In this widely acclaimed translation, Dominic DiBernardi expertly captures Celine's trademark style of prose which has served as inspiration to such American writers as Philip Roth, Kurt Vonnegut, William Burroughs, Jack Kerouac, Charles Bukowski, Norman Mailer and Joseph Heller.
A contemporary version of Thomas Mann's "The Magic Mountain, Curtis White's new novel begins with Mann's "unassuming young man," Hans Castorp, visiting his cousin at a health retreat. In this book though, the retreat is a spa for recovering alcoholics, totally unlike all other rehab centers. Rather than encouraging their patients to free themselves of their addiction, the directors of The Elixir believe that sobriety isn't for everyone, that you must let alcohol work its way on you. Filled with many compelling, outrageous, and comic voices, White's novel is disturbing, charming, and biting. It is about a weird and unlikely world that, nevertheless, is quite recognizable as our own.
A landmark of postmodern American fiction, Letters is (as the subtitle genially informs us) "an old time epistolary novel by seven fictitious drolls & dreamers each of which imagines himself factual". Seven characters (including the Author himself) exchange a novel's worth of letters during a 7-month period in 1969, a time of revolution that recalls the U.S.'s first revolution in the 18th century - the heyday of the epistolary novel. Recapitulating American history as well as the plots of his first six novels, Barth's seventh novel is a witty and profound exploration of the nature of revolution and renewal, rebellion and reenactment, at both the private and public levels. It is also an ingenious meditation on the genre of the novel itself, recycling an older form to explore new directions, new possibilities for the novel.
A Scathing Satire On Psychology, Identity Theory And Class Prejudice; Cards of Identity is a scathing satire of psychology, identity theory, and class prejudice. The plot centers on an annual meeting of the Identity Club, a group of psychologists who come together to present "case histories" promoting their chosen theory of identity. These case studies (three of which are presented in the novel) are not scientific treatises, but fictional representations of characters in line with the author's biases. In fact, members of the Club aren't allowed to interact with actual patients when creating their stories. Surrounding this meeting is the equally bizarre story of the local townspeople, who are brainwashed and transformed into servants for the convention, and who end the book with a show-stopping Shakespearian play.
Annihilation is about a day in the life of a Polish-Jewish town shortly before World War II and the Holocaust, a town that soon will be annihilated by Nazi atrocities. With grace, wit, and love for the people and place that will be destroyed, Piotr Szewc creates a hymn to the victims of the Holocaust, as well as a literary masterpiece whose brilliance is evidenced on every page.
After the success of his first novels (Edwin Mullhouse and Portrait of a Romantic), Steven Millhauser went on to enchant critics and readers with two short story collections that captured the magic and beauty of his longer works in vivid miniature. The seven stories of In the Penny Arcade blend the real and the fantastic in a seductive mix that illuminates the full range of the author's gifts, from the story of "e;August Eschenburg,"e; the clockmaker's son whose extraordinary talent for creating animated figures is lost on a world whose taste for the perverse and crude supersedes that of the refined and beautiful, to "e;Cathay,"e; a kingdom whose wonders include elaborate landscape paintings executed on the eyelids and nipples of court ladies.
"So entertaining that it would be dangerous to read it without laughing aloud."--Los Angeles Times Book Review
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