Bøger i Literature Now serien

This book develops a new theory of the novel for the twenty-first century. In the works of writers such as J. M. Coetzee, Rachel Cusk, James Kelman, W. G. Sebald, and Zadie Smith, Timothy Bewes identifies a mode of thought that he calls "free indirect," in which the novel's refusal of prevailing ideologies can be found.

The critic, poet, and scholar Vidyan Ravinthiran searches for alternatives to the standard models of writing about poetry, pursuing close, imaginative readings of a variety of authors. Discussing neglected writers and those well-known in the West, these essays are unabashedly passionate and subjective yet keenly analytical and investigative.

Jacob Edmond examines the turn toward repetition in poetry, using the explosion of copying to offer a deeply inventive account of modern and contemporary literature. Make It the Same explores how poetry is increasingly made from other texts through sampling, appropriation, and other forms of repetition.

Thomas Heise identifies and investigates the emerging "gentrification plot" in contemporary crime fiction. He considers recent novels that depict the sweeping transformations of five iconic neighborhoods-the Lower East Side, Chinatown, Red Hook, Harlem, and Bedford-Stuyvesant.

Ellen Jones offers a new framework for understanding literary multilingualism, emphasizing how authors and translators can use its defamiliarizing and disruptive potential. She examines the connection between translation and multilingualism and considers its significance for the theory, practice, and publishing of literature in translation.

Zara Dinnen analyzes a range of contemporary novels, films, and artworks to contend that we live in the condition of the "digital banal," not noticing the affective and political novelty of our relationship to digital media. The Digital Banal recovers the shrouded disturbances that can help us recognize and antagonize our media environment.

Sunny Xiang offers a new way of understanding the American cold war in Asia by tracing aesthetic manifestations of "Oriental inscrutability" across a wide range of texts. She puts interrogation reports, policy memos, and field notes into conversation with novels, poems, documentaries, and mixed media work.

Jessica Pressman explores the rise of "bookishness" as an identity and an aesthetic strategy that proliferates from store-window decor to experimental writing. Ranging from literature to kitsch objects, stop-motion animation films to book design, she considers the multivalent meanings of books in contemporary culture.

Heather Houser explores the ways contemporary art manages environmental knowledge in the age of climate crisis and informational overload. She argues that the infowhelm-a state of abundant yet contested scientific information-is an unexpectedly resonant resource for environmental artists seeking to go beyond communicating stories about crises.

Examining key novels by Michel Houellebecq, Frederic Beigbeder, Aurelien Bellanger, Yann Moix, and other French writers, Christy Wampole identifies and critiques an emergent tendency toward "degenerative realism."

In The Ferrante Letters, four critics create a series of epistolary readings of the Neapolitan Quartet that also develops new ways of reading and thinking together. In a series of intertwined, original, and daring readings of Elena Ferrante's work and her fictional world, they strike a tone that falls between the seminar and the book club.

Islamophobia and the Novel analyzes how recent works of fiction have framed and responded to the rise of anti-Muslim prejudice alongside changing concepts of cultural difference. Peter Morey offers readings of novels that show how their portrayal of difference both reflects and refutes the ideological preoccupations of the post-9/11 West.

Gloria Fisk traces the terms of Orhan Pamuk's engagement with a literary market dominated by the tastes of its Anglophone publics and the instrumental use of literature as a source of crosscultural understanding. She proposes a new way to think about the uneven processes of translation that carry contemporary literature to its readers.

Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film.

How do genres develop? In what ways do they reflect changing political and cultural trends? What do they tell us about the motivations of publishers and readers? Combining close readings and formal analysis with a sociology of literary institutions and markets, Minor Characters Have Their Day offers a compelling new approach to genre study and contemporary fiction. Focusing on the booming genre of books that transform minor characters from canonical literary texts into the protagonists of new works, Jeremy Rosen makes broader claims about the state of contemporary fiction, the strategies of the publishing industry over recent decades, and the function of literary characters.Rosen traces the recent surge in "e;minor-character elaboration"e; to the late 1960s and works such as Jean Rhys's Wide Sargasso Sea and Tom Stoppard's Rosencrantz and Guildenstern Are Dead. These early examples often recover the voices of marginalized individuals and groups. As the genre has exploded between the 1980s and the present, with novels about Ahab's wife, Huck Finn's father, and Mr. Dalloway, it has begun to embody the neoliberal commitments of subjective experience, individual expression, and agency. Eventually, large-scale publishers capitalized on the genre as a way to appeal to educated audiences aware of the prestige of the classics and to draw in identity-based niche markets. Rosen's conclusion ties the understudied evolution of minor-character elaboration to the theory of literary character.

Impressionism captured the world's imagination in the late nineteenth century and remains with us today. Portraying the dynamic effects of modernity, impressionist artists revolutionized the arts and the wider culture. Impressionism transformed the very pattern of reality, introducing new ways to look at and think about the world and our experience of it. Its legacy has been felt in many major contributions to popular and high culture, from cubism and early cinema to the works of Zadie Smith and W. G. Sebald, from advertisements for Pepsi to the observations of Oliver Sacks and Malcolm Gladwell. Yet impressionism's persistence has also been a problem, a matter of inauthenticity, superficiality, and complicity in what is merely "e;impressionistic"e; about culture today. Jesse Matz considers these two legacies-the positive and the negative-to explain impressionism's true contemporary significance. As Lasting Impressions moves through contemporary literature, painting, and popular culture, Matz explains how the perceptual role, cultural effects, and social implications of impressionism continue to generate meaning and foster new forms of creativity, understanding, and public engagement.

The contemporary novel does more than revise our conception of love-it explodes it, queers it, and makes it unrecognizable. Rather than providing union, connection, and completion, love in contemporary fiction destroys the possibility of unity, harbors negativity, and foregrounds difference. Comparing contemporary and modernist depictions of love to delineate critical continuities and innovations, Unmaking Love locates queerness in the novelistic strategies of Ian McEwan, Zadie Smith, Hanif Kureshi, Alan Hollinghurst, and Hari Kunzru. In their work, "e;queer love"e; becomes more than shorthand for sexual identity. It comes to embody thwarted expectations, disarticulated organization, and unnerving multiplicity. In queer love, social forms are deformed, affective bonds do not bind, and social structures threaten to come undone. Unmaking Love draws on psychoanalysis and gender and sexuality studies to read love's role in contemporary literature and its relation to queer negativity.

In original and insightful ways, Caribbean writers have turned to Jewish experiences of exodus and reinvention, from the Sephardim expelled from Iberia in the 1490s to the "e;Calypso Jews"e; who fled Europe for Trinidad in the 1930s. Examining these historical migrations through the lens of postwar Caribbean fiction and poetry, Sarah Phillips Casteel presents the first major study of representations of Jewishness in Caribbean literature. Bridging the gap between postcolonial and Jewish studies, Calypso Jews enriches cross-cultural investigations of Caribbean creolization.Caribbean writers invoke both the 1492 expulsion and the Holocaust as part of their literary archaeology of slavery and its legacies. Despite the unequal and sometimes fraught relations between Blacks and Jews in the Caribbean before and after emancipation, Black-Jewish literary encounters reflect sympathy and identification more than antagonism and competition. Providing an alternative to U.S.-based critical narratives of Black-Jewish relations, Casteel reads Derek Walcott, Maryse Conde, Michelle Cliff, Jamaica Kincaid, Caryl Phillips, David Dabydeen, and Paul Gilroy, among others, to reveal a distinctive interdiasporic literature.

W. G. Sebald's writing has been widely recognized for its intense, nuanced engagement with the Holocaust, the Allied bombing of Germany in WWII, and other episodes of violence throughout history. Through his inventive use of narrative form and juxtaposition of image and text, Sebald's work has offered readers new ways to think about remembering and representing trauma.In Sebald's Vision, Carol Jacobs examines the author's prose, novels, and poems, illuminating the ethical and aesthetic questions that shaped his remarkable oeuvre. Through the trope of "e;vision,"e; Jacobs explores aspects of Sebald's writing and the way the author's indirect depiction of events highlights the ethical imperative of representing history while at the same time calling into question the possibility of such representation. Jacobs's lucid readings of Sebald's work also consider his famous juxtaposition of images and use of citations to explain his interest in the vagaries of perception. Isolating different ideas of vision in some of his most noted works, including Rings of Saturn, Austerlitz, and After Nature, as well as in Sebald's interviews, poetry, art criticism, and his lecture Air War and Literature, Jacobs introduces new perspectives for understanding the distinctiveness of Sebald's work and its profound moral implications.

As a growing number of contemporary novelists write for publication in multiple languages, the genre's form and aims are shifting. Born-translated novels include passages that appear to be written in different tongues, narrators who speak to foreign audiences, and other visual and formal techniques that treat translation as a medium rather than as an afterthought. These strategies challenge the global dominance of English, complicate "e;native"e; readership, and protect creative works against misinterpretation as they circulate. They have also given rise to a new form of writing that confounds traditional models of literary history and political community.Born Translated builds a much-needed framework for understanding translation's effect on fictional works, as well as digital art, avant-garde magazines, literary anthologies, and visual media. Artists and novelists discussed include J. M. Coetzee, Junot Diaz, Jonathan Safran Foer, Mohsin Hamid, Kazuo Ishiguro, Jamaica Kincaid, Ben Lerner, China Mieville, David Mitchell, Walter Mosley, Caryl Phillips, Adam Thirlwell, Amy Waldman, and Young-hae Chang Heavy Industries. The book understands that contemporary literature begins at once in many places, engaging in a new type of social embeddedness and political solidarity. It recasts literary history as a series of convergences and departures and, by elevating the status of "e;born-translated"e; works, redefines common conceptions of author, reader, and nation.

Through a comparative analysis of the novels of Roberto Bolano and the fictional work of Cesar Aira, Mario Bellatin, Diamela Eltit, Chico Buarque, Alberto Fuguet, and Fernando Vallejo, among other leading authors, Hector Hoyos defines and explores new trends in how we read and write in a globalized era. Calling attention to fresh innovations in form, voice, perspective, and representation, he also affirms the lead role of Latin American authors in reshaping world literature. Focusing on post-1989 Latin American novels and their representation of globalization, Hoyos considers the narrative techniques and aesthetic choices Latin American authors make to assimilate the conflicting forces at work in our increasingly interconnected world. Challenging the assumption that globalization leads to cultural homogenization, he identifies the rich textual strategies that estrange and re-mediate power relations both within literary canons and across global cultural hegemonies. Hoyos shines a light on the unique, avant-garde phenomena that animate these works, such as modeling literary circuits after the dynamics of the art world, imagining counterfactual "e;Nazi"e; histories, exposing the limits of escapist narratives, and formulating textual forms that resist worldwide literary consumerism. These experiments help reconfigure received ideas about global culture and advance new, creative articulations of world consciousness.

In Stereotype confronts the importance of cultural stereotypes in shaping the ethics and reach of global literature. Mrinalini Chakravorty focuses on the seductive force and explanatory power of stereotypes in multiple South Asian contexts, whether depicting hunger, crowdedness, filth, slums, death, migrant flight, terror, or outsourcing. She argues that such commonplaces are crucial to defining cultural identity in contemporary literature and shows how the stereotype's ambivalent nature exposes the crises of liberal development in South Asia.In Stereotype considers the influential work of Salman Rushdie, Aravind Adiga, Michael Ondaatje, Monica Ali, Mohsin Hamid, and Chetan Bhagat, among others, to illustrate how stereotypes about South Asia provide insight into the material and psychic investments of contemporary imaginative texts: the colonial novel, the transnational film, and the international best-seller. Probing circumstances that range from the independence of the Indian subcontinent to poverty tourism, civil war, migration, domestic labor, and terrorist radicalism, Chakravorty builds an interpretive lens for reading literary representations of cultural and global difference. In the process, she also reevaluates the fascination with transnational novels and films that manufacture global differences by staging intersubjective encounters between cultures through stereotypes.

The 1970s brought a new understanding of the biological and intellectual impact of environmental crises on human beings. As efforts to prevent ecological and bodily injury aligned, a new literature of sickness emerged. "e;Ecosickness fiction"e; imaginatively rethinks the link between these forms of threat and the sick body to bring readers to environmental consciousness. Tracing the development of ecosickness through a compelling archive of contemporary U.S. novels and memoirs, Ecosickness in Contemporary U.S. Fiction establishes that we cannot comprehend environmental and medical dilemmas through data alone and must call on the sometimes surprising emotions that literary metaphors, tropes, and narratives deploy. In chapters on David Foster Wallace, Richard Powers, Leslie Marmon Silko, Marge Piercy, Jan Zita Grover, and David Wojnarowicz, Heather Houser shows how narrative affects such as wonder and disgust organize perception of an endangered world and orient us ethically toward it. The study builds the connective tissue between contemporary literature, ecocriticism, affect studies, and the medical humanities. It also positions ecosickness fiction relative to emergent forms of environmentalism and technoscientific innovations such as regenerative medicine and alternative ecosystems. Houser models an approach to contemporary fiction as a laboratory for affective changes that spark or squelch ethical projects.