Academic literature on the topic 'Award:national book award=fiction'
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Journal articles on the topic "Award:national book award=fiction"
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Walsh, Pete. "What ifs and idle daydreaming: The creative processes of Andrew McGahan." Queensland Review 23, no. 1 (2016): 62–71. http://dx.doi.org/10.1017/qre.2016.7.
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AbstractAndrew McGahan is one of Queensland's most successful novelists. Over the past 23 years, he has published six adult novels and three novels in his Ship Kings series for young adults. McGahan's debut novel, Praise (1992), won the Vogel National Literary Award for an unpublished manuscript, Last Drinks (2000) won the Ned Kelly Award for Crime Writing, and The White Earth went on to win the Miles Franklin Literary Award, The Age Book of the Year Award and the Courier-Mail Book of the Year Award, and was shortlisted for the Queensland Premier's Literary Awards. In 2009, Wonders of a Godless World earned McGahan the Best Science Fiction Novel in the Aurealis Awards for Excellence in Australian Speculative Fiction. McGahan's unashamedly open critiques of Australian, and specifically Queensland, society have imbued his works with a sense of place and space that is a unique trait of his writing. In this interview, McGahan allows us a brief visit into the mind of one of Australia's pre-eminent contemporary authors, shedding light on the ‘what ifs’ and ‘idle daydreaming’ that have pushed his ideas from periphery to page.
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Lv, Xiaotang. "Retrieving the Past—The Historical Theme in Penelope Lively’s Fictions." Theory and Practice in Language Studies 6, no. 10 (2016): 2014. http://dx.doi.org/10.17507/tpls.0610.18.
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Penelope Lively (1933- ), the contemporary British writer, was first known mainly as a children’s writer prior to her winning the 1987 Booker Prize with her widely praised novel Moon Tiger (1987). The Road to Lichfield, published in 1977, is her first adult novel which was shortlisted for the Booker Prize. Treasures of Time (1979), her second adult novel, was the winner of Great Britain’s first National Book Award for fiction in 1980 and the Arts Council National Book Award. In her literary fictions, Lively interweaves the present and the past -- history, the public, collective past, and memory, the private and personal past -- together with the application of various narrative techniques, such as flashback, stream of consciousness, psychological time, etc. A predominant theme running through her literary world is her consistent focus on history. This essay intend to study Penelope Lively’s understanding and interpretation of history, and draw this conclusion: Although a complete understanding of history is impossible, yet as we realize our subjectivity and misunderstanding of history we can try to understand it in a new way and integrate it into the present life.
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Bold, Melanie Ramdarshan, and Corinna Norrick-Rühl. "The Independent Foreign Fiction Prize and Man Booker International Prize Merger." Logos 28, no. 3 (2017): 7–24. http://dx.doi.org/10.1163/1878-4712-11112131.
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There is a dramatic imbalance of cultural output in the global publishing industry. English-language publishers are disinclined to translate and publish foreign language books as a result of the popularity of English-language books and the high costs of translation. Three per cent is the oft-quoted number that indicates that foreign fiction in translation makes up only a minimal part of the UK book trade. This lack of bibliodiversity may have serious cultural consequences. There are thus several national and international initiatives to promote the publication and cultural capital of works in translation in order to reach a wider audience. Book prizes are generally understood to have a positive impact on the discoverability of a title and consequent sales; winning authors, as well as those on the longlist and shortlist of prestigious prizes, can expect a significant boost in sales of the books in question. But in a culture where translated foreign fiction titles represent only a small percentage of books published, does this phenomenon extend to prizes for translated foreign fiction? This paper explores the—audience-building and sales-generating—impact of the UK’s most prestigious award for literature in translation, the Independent Foreign Fiction Prize (IFFP), in particular in light of the prize’s recent merger with the Man Booker International Prize (MBIP), and speculates whether this may help with the ‘three per cent problem’.
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Sun, Lu. "Sigrid Nunez on the Writer’s Life." MELUS 46, no. 1 (2021): 194–202. http://dx.doi.org/10.1093/melus/mlaa057.
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Abstract The Friend (2018), the seventh novel of Sigrid Nunez, won the 2018 National Book Award for Fiction. It not only tells a touching story about the human-canine bond between the narrator and a huge Great Dane but also involves much meditation on writing as a profession and the universal concerns of humanity. Looking back at her writing career, Nunez talks about her beliefs as a writer, her observation of the contemporary literary scene, her evaluation of the status of fiction in the current era, her teaching experiences in writing programs, and her personal story as a child of immigrants and a former assistant to Susan Sontag. According to Nunez, a life of solitude is conducive to writing books, and experiences of frustration are normal for a writer. However, she maintains that writing should be seen as a vocation instead of a means of self-advancement. With respect to new trends in literary culture, Nunez believes the house of fiction does have many rooms, and the definition of a novel has become much broader.
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Singh, Richa. "Book Review: Pachinko by Min Jin Lee." SMART MOVES JOURNAL IJELLH 8, no. 10 (2020): 82–90. http://dx.doi.org/10.24113/ijellh.v8i10.10804.
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Pachinko by Min Jin Lee is a saga of the trials and tribulations, joys and sorrows of a Korean family spanning from 1910 to 1989. Lee is a Korean-American author whose work engages with themes of the diasporic Korean identity. Pachinko was published in 2017 to critical acclaim and it was in the running for the National Book Award for Fiction.
 Pachinko is a historical novel and its panoramic gaze encompasses twentieth century Korea giving us a terrifyingly real account of Korean society from the Japanese colonization of Korea to the Second World War. The Financial Times wrote in their review of the book: “We never feel history being spoon-fed to us; it is wholly absorbed into character and story, which is no mean feat for a novel covering almost a century of history.”
 It is the first novel about Korean history and culture written for English language readers.
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Mellis, James. "Continuing Conjure: African-Based Spiritual Traditions in Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing." Religions 10, no. 7 (2019): 403. http://dx.doi.org/10.3390/rel10070403.
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In 2016 and 2017, Colson Whitehead’s The Underground Railroad and Jesmyn Ward’s Sing, Unburied, Sing both won the National Book Award for fiction, the first time that two African-American writers have won the award in consecutive years. This article argues that both novels invoke African-based spirituality in order to create literary sites of resistance both within the narrative of the respective novels, but also within American culture at large. By drawing on a tradition of authors using African-based spiritual practices, particularly Voodoo, hoodoo, conjure and rootwork, Whitehead and Ward enter and engage in a tradition of African American protest literature based on African spiritual traditions, and use these traditions variously, both as a tie to an originary African identity, but also as protection and a locus of resistance to an oppressive society. That the characters within the novels engage in African spiritual traditions as a means of locating a sense of “home” within an oppressive white world, despite the novels being set centuries apart, shows that these traditions provide a possibility for empowerment and protest and can act as a means for contemporary readers to address their own political and social concerns.
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Ru, Wang. "Analysis of Women Characters in Miranda Stories." English Literature and Language Review, no. 511 (November 25, 2019): 180–83. http://dx.doi.org/10.32861/ellr.511.180.183.
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Katherine Anne Porter was awarded Pulitzer Prize for Fiction and National Book Award for her most important works The Collection of Short Stories which include 27 short stories, nine of which are Miranda stories consisting of Old Mortality, The Old Order and Pale Horse,Pale Rider. Miranda stories give an account of the life experience of three generations of females in Miranda family, including Miranda’s grandma, aunt Amy and Eva and Miranda herself. Combined with the background of Potter’s life and feminist movement in the United States, this paper analyzed the existence status and the images of female characters in Miranda family, and explored the process of female consciousness, which will help comprehensively understand Potter’s works and her female’s awakening.
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Allington, Daniel. "‘Power to the reader’ or ‘degradation of literary taste’? Professional critics and Amazon customers as reviewers of The Inheritance of Loss." Language and Literature: International Journal of Stylistics 25, no. 3 (2016): 254–78. http://dx.doi.org/10.1177/0963947016652789.
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The Inheritance of Loss by Kiran Desai (2006) was critically lauded, gaining many positive periodical reviews and winning both the Man Booker Prize and the National Book Critics Circle Award for Fiction. However, it has received mixed reviews from customers of the online retail giant, Amazon: an arguable expression of the challenge that digital consumerism presents to literature’s longstanding claim to autonomy from the market. In order to understand the relationship between the book’s professional and customer reviews, a collection comprising both was constructed. Qualitative analysis of these reviews was followed by the use of thematic coding to compare sub-collections divided by means of publication and by geographical location, with social network graphs being used to represent similarities between reviews and graph density being employed as a measure of overall similarity. No distinctions were found between reviews when grouped according to geographical location. However, the novel’s professionally published reviews were found to be a more homogeneous group than its Amazon customer reviews, and to be more likely to recommend the novel and to praise it for its humour and its narrative, while customer reviews were found to be more likely to criticise it for its characters, and less likely to quote it or to discuss its political themes. It is argued that this is because the book was produced to satisfy the expectations of a ‘literary’ rather than a ‘popular’ audience, where professional book reviewers represent the former almost by definition.
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Pransky, Joanne. "The Pransky interview: Professor Robin R. Murphy, Co-founder of the Field of Disaster Robotics and Founder of Roboticists Without Borders." Industrial Robot: An International Journal 45, no. 5 (2018): 591–96. http://dx.doi.org/10.1108/ir-07-2018-0136.
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Purpose This paper is a “Q&A interview” conducted by Joanne Pransky of Industrial Robot Journal as a method to impart the combined technological, business and personal experience of a prominent, robotic industry engineer-turned successful innovator and leader regarding the challenges of bringing technological discoveries to fruition. This paper aims to discuss these issues. Design/methodology/approach The interviewee is Dr Robin R. Murphy, Raytheon Professor of Computer Science and Engineering, Texas A&M University; Co-lead, Emergency Informatics EDGE Innovation Network Center, Texas A&M, Director of the Humanitarian Robotics and AI Laboratory and Vice President of the Center for Robot-Assisted Search and Rescue (CRASAR) http://crasar.org. In this interview, Dr Murphy provides answers to questions regarding her pioneering experiences in rescue robotics. Findings As a child, Dr Murphy knew she wanted to be a mechanical engineer and obtained her BME degree from Georgia Institute of Technology (Georgia Tech). While working in industry after her BME, she fell in love with computer science and received an MS and PhD in Computer Science at Georgia Tech where she was a Rockwell International Doctoral Fellow. In the mid-1990s, while teaching at the Colorado School of Mines, she pioneered rescue robots after one of her graduate students returned from the Oklahoma City bombing and suggested that small rescue robots should be developed for future disasters. The National Science Foundation awarded Murphy and her students the first grant for search-and-rescue robots. She has since assisted in responses at more than 20 worldwide disasters, including Hurricane Katrina, the Crandall Canyon Mine collapse, the Tohoku Tsunami and the Fukushima Daiichi nuclear accident. Originality/value The response to the World Trade Center attacks after September 11, 2001 by Dr Murphy’s team from the University of South Florida (the only academic institution), along with four other teams brought together by CRASAR, marked the first recorded use of a rescue robot at a disaster site. In addition to being a founder in the field of rescue robots, she is also a founder in the field of human–robot interaction and the Roboticists Without Borders. She has written over 100 publications and three books: the best-selling textbook, Introduction to AI Robotics, Disaster Robotics and Robotics-Through-Science-Fiction: Artificial Intelligence Explained Six Classic Robot Short Stories. Dr Murphy has received approximately 20 national awards and honors including: the AUVSI’s Al Aube Outstanding Contributor Award, the Eugene L. Lawler Award for Humanitarian Contributions within Computer Science and Informatics, CMU Field Robotics Institute “Pioneer in Field Robotics” and TIME Magazine, Innovators in Artificial Intelligence. She is an IEEE Fellow.
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Frost, Simon. "Readers and Retailed Literature: Findings from a UK public high street survey of purchasers’ expectations from books." Logos 28, no. 2 (2017): 27–43. http://dx.doi.org/10.1163/1878-4712-11112128.
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Critical literature studies tend not to think about readers as customers and consumers or, in economic terms, end-users. From the Frankfurt School to World Literature, those critical studies have little to say about fiction from the viewpoint of readers as commercial actors aware of their participation in and construction of the market. But book retail, both online and off, remains the frame in which book-purchasing choices are made. To understand the hopes and desires of readers, would it not make sense to ask them? Using the high street bookshop as a metonymic site for reading within commodity culture, this article will present findings from a national survey with a corpus of 530 responses about expectations from purchased books. To ask what is expected from a book just purchased is simple, banal even, but collectively the answers to this question may provide the first tentative steps towards a political theory of reading, not from without, but from within our dominant economic frame.
Dissertations / Theses on the topic "Award:national book award=fiction"
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Godinho, Sally. "The portrayal of gender in the Children's Book Council of Australia honour and award books, 1981-1993." Connect to this title online, 1996. http://eprints.unimelb.edu.au/archive/00000337/.
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Morrow, Paul. "Geopolitics of Translation: An Economic Analysis of the National Endowment for the Arts' Literature Translation Fellows Program." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209442470.
Full textBooks on the topic "Award:national book award=fiction"
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Winner of the National Book Award: A novel of fame, honor, and really bad weather. Thomas Dunne Books, 2003.
Find full textBook chapters on the topic "Award:national book award=fiction"
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Dominy, Jordan J. "American Canons, Southern Fiction, and the Institution of Literary Prizes." In Southern Literature, Cold War Culture, and the Making of Modern America. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826404.003.0003.
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This chapter examines Robert Penn Warren’s All the King’s Men and Ralph Ellison’s Invisible Man in the context of their winning of the Pulitzer Prize and the National Book Award, respectively. While considering the authors’ resistance to reading overt political commentary in their work, favoring a moral reading instead, the chapter argues that their insistence dovetails with the purpose of such large, national literary prizes: to reward works that best demonstrate the values important to the nation. Therefore, literary prizes such as the Pulitzer and National Book Award, as well as other cultural prizes (such as the Grammys, Academy Awards, Tonys, and Emmys) reveal themselves in the context of the Cold War to be awards that reinforce and reward correct ideological perspectives in the guise of good, democratic art.
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Eller, Jonathan R. "“Make Haste to Live”." In Bradbury Beyond Apollo. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0037.
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Bradbury’s 1999 induction into the Science Fiction Hall of Fame opens chapter 36. That year he also received the George Pal Memorial Award from the Academy of Science Fiction, Fantasy, and Horror Films, followed in 2000 by a National Book Foundation Medal. His November 1999 stroke and subsequent loss of sight in his left eye did not prevent him from attending this ceremony, or from finally gathering his half-century-old stories of the supernatural Elliot family into a novelized story collection, From the Dust Returned. The chapter closes with Bradbury’s cautions against the loss of freedom of the imagination; these thoughts had resurfaced in his new book’s inter-chapter bridges and in his letter to Leon Uris reflecting on the mid-century climate of fear.
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"2003 National Book Award Acceptance." In We Need Silence to Find Out What We Think. Columbia University Press, 2016. http://dx.doi.org/10.7312/hazz17326-023.
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Ramadan, Yasmine. "Beyond the Sixties." In Space in Modern Egyptian Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427647.003.0006.
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The book concludes with a discussion of the continued importance of this generation beyond the decade of the sixties. It traces the transformation of the sixties generation from an emerging group of writers to established members of the literary and cultural sphere in Egypt, who came to occupy positions of prominence in the field. It presents the career trajectories of the figures at the heart of this book including; the reception of their fiction; the conferral of awards; and the translation of their works. In doing so it also explores the impact of the sixties generation upon contemporary writers, particularly the nineties generation in Egypt. Despite the differences in political and ideological positions, the struggles of the writers of the sixties generation are not wholly divorced from those of their successors. Both were generations contending with the aftermath of revolutionary change, the realities of the failings of democratic projects, and the role of artists and intellectuals in confronting the injustices of the state. As the chapters of this book show, with the sixties generation came the disappearance of the idealised Egyptian nation in the novel. The works of their successors continue to grapple with its aftermath.
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Reid, Peter H. "The Peace Corps Book Locker." In Every Hill a Burial Place. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179988.003.0025.
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Each Peace Corps volunteer received a large, hinged box made of strong cardboard. This Book Locker was filled with paperback books for the volunteer to read and to pass along to students, villagers, and others. When the box was open, it had shelves and became a bookcase. The lockers contained novels, nonfiction books, reference books, maps, materials to learn English, and books about the region. Bill’s “diary,” which the prosecution argues demonstrated a motive for the alleged murder, is revealed to contain only quotations from Ceremony in Lone Tree, a book included in the Book Locker. The book was written by Wright Morris, a popular author of spare, midwestern stories, one of which brought him the National Book Award.
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Lee, Regina Yung, and Una McCormack. "The Emergence of Bujold Studies." In Biology and Manners. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621730.003.0001.
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This introductory essay provides the context for the present volume, establishing Lois McMaster Bujold as a multiple award-winning writer of science fiction and fantasy worthy of scholarly attention; providing an overview of extant scholarship; and identifying the twin aims of the book, to extend scholarship on Bujold’s fantasy novels, and to account for the wealth of cultural production inspired by Bujold’s corpus (e.g. fan fiction, fan discussion or meta, and the GURPS: Vorkosigan role-playing game in depth). The essay concludes by identifying gaps that might be fruitfully explored in ‘Bujold Studies’: perspectives from Indigenous science fiction studies on The Sharing Knife series; critical engagement with wider scholarship on race in sf; analysis of artworks inspired by Bujold’s writing, both ‘official’ cover art and fan art; and comparative analysis of her reception beyond Anglophone countries, particularly the immense fannish engagement from Eastern Europe.
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Tilmann, Winfried. "Parties." In Unified Patent Protection in Europe: A Commentary. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198755463.003.0092.
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Art 47 UPCA provides for the entitlement to bring actions in respect of claims for which Art 32 UPCA confers exclusive competence on the Court. It is premised on party capacity pursuant to Art 46 UPCA and limits the group of persons having capacity entitled to bring actions for the claims specified. Since Art 46 UPCA has the same wording as Art 58 EPC, the patent proprietor authorized by the EPO may generally be recognized by Art 47(1) as having capacity as a party. However, this does not apply if the Court does not concur with the award of legal and party capacity to the person concerned by the EPO on application of Art 46 UPCA. Art 47(1) does not provide for a fiction of party capacity (and legal capacity, to the extent required for party capacity), but rather assumes it (Art 46 UPCA). The provision is also to be applied if, pursuant to Art 83(1) or (3) UPCA, a national court is seized.
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Shippey, Tom. "Literary Gatekeepers and the Fabril Tradition." In Hard Reading. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382615.003.0004.
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All of us who work with science fiction, I am sure, have a store of insults to record from those in authority. Perhaps the award for the crassest example recorded at this conference should go to Sheila Finch’s senior colleague, who said to her after she had published her first science fiction work, ‘I hope your next book is a real novel’. But though that was remarkable both for its brevity and its dismissiveness, it also remains in a sense typical. I repeat that I am sure that all of us past a certain age have not only heard but have got used to hearing similar statements. In spite of their frequency, I would suggest that, if they were mere random and individual examples of thoughtlessness, or rudeness, the right tactic would be to tolerate and as far as possible ignore them. However, I do not think that is the case. It seems to me that the open hostility to science fiction so often seen within academic departments of literature has a common and even a compulsive root. By facing this, I think we put ourselves in a position to learn something about ‘contests for authority’, both within our field and over our field....
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Pinchevski, Amit. "Introduction:The Mediation of Failed Mediation." In Transmitted Wounds. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190625580.003.0003.
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In 1995 Binjamin Wilkomirski published a book that was to become a source of fierce controversy. Fragments: Memories of a Wartime Childhood recounts Wilkomirski’s experiences of surviving alone two concentration camps as a small Jewish child from Poland. Having lived most of his life as Bruno Dössekker, the adopted son of a Swiss couple, Wilkomirski claimed to have discovered his true identity through a long psychoanalytic process, which led to writing his story. The book quickly received popular and critical acclaim and won a number of literary prizes, including the National Jewish Book Award. What happened next is fairly well known: a 1998 newspaper article cast doubt as to the authenticity of Wilkomirski’s account, revealing instead the story of a Bruno Grosjean, the illegitimate son of an unmarried woman who had given him away for adoption in Switzerland. The book’s publisher then commissioned a historian to look into the allegations, which were consequently found to be correct. The book previously described as “achingly beautiful” and “morally important” was now declared as fake and its author a fraud. The Wilkomirski case has since figured in debates on Holocaust memory as a cautionary tale about the facility with which one can pass as a survivor— and convince a worldwide audience. The book was discontinued as memoir only later to be released in tandem with the historical study finding it false. While Wilkomirski’s memories may have been fabricated, the way they were depicted in the book is a fairly accurate description of traumatic memory. Even if the content of these memories is made- up their structure very much conforms to a psychology textbook entry on post- trauma. Evidently Wilkomirski was aware of this fact, as in the afterword to the book, he urges others in a similar situation to “cry out their own traumatic childhood memories.”
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Sklair, Leslie. "The Politics of Iconic Architecture." In The Icon Project. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190464189.003.0010.
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The political fraction of the transnational capitalist class (TCC) in architecture and urban design is made up of national, international, and transnational politicians and officials at all levels of administrative power and responsibility. They operate in communities, cities, states, and international and global institutions. They make decisions on what gets built where, how changes to the built environment are regulated, and on issues of urban preservation. The TCC facilitates the production of iconic architecture in the same way and for the same purposes as it does all cultural icons, by incorporating creative artists to construct meanings and aesthetics that effectively represent its power in order to maximize profits for the capitalist class. In his very widely reviewed book on megaprojects and risk, Bent Flyvbjerg (2003: 16) states, ‘Cost underestimation and overrun cannot be explained by error and seem to be best explained by strategic misrepresentation, namely lying, with a view to getting projects started.’ It seems to me sensible to bear this apparently extreme statement in mind when thinking about the relations between politicians and professionals in this field. The political fraction of the TCC in architecture divides into two overlapping groups and two sets of institutions. First, there are globalizing state officials and politicians and their nominees in public agencies who promote, award, permit, or refuse contracts for important national or subnational (usually urban) projects. Governments and local authorities organize competitions, sometimes inviting entries from domestic or foreign architects. The selection of iconic foreign architects for prestigious national and urban projects has become a feature of the era of capitalist globalization. The second group comprises inter-state and transnational officials and politicians who are influential for architectural projects promoted as sites or buildings with global significance. Others confer a sort of transnational political iconicity on existing buildings and places, notably through the World Heritage Site system of UNESCO (Edensor 1998: 184–7). The work of private transnational non-governmental organizations is also important. For example, the title and mission statement of the World Monuments Fund, ‘Saving the world’s architectural masterpieces and important cultural heritage sites from damage and destruction’, have a deliberately official ring.