Relevant bibliographies by topics / Nonfiction novels

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Nonfiction novels'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Nonfiction novels"

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Wachsmann, Melanie. "Book Review: Top 250 LGBTQ Books for Teens." Reference & User Services Quarterly 55, no. 1 (September 25, 2015): 70. http://dx.doi.org/10.5860/rusq.55n1.70.

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This book should be required reading for anyone working with teens. Cart and Jenkins have compiled a list of LGBTQ-themed books comprising fiction, nonfiction, graphic novels, and professional resources. Both the fiction and graphic novel sections include codes to indicate whether the book’s themes include “homosexual visibility,” “gay assimilation,” and/or “queer consciousness.” Additional information about the meaning and use of these codes is presented in the appendix.
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Saramago, Victoria. "The Rights of Nature, the Rights of Fiction: Mario Vargas Llosa and the Amazon." Novel 54, no. 1 (May 1, 2021): 19–42. http://dx.doi.org/10.1215/00295132-8868761.

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Abstract The Amazonian region occupies a singular place in the fiction and nonfiction of the Peruvian writer Mario Vargas Llosa. Author of paradigmatic novels on the Peruvian Amazon, Vargas Llosa nevertheless has repeatedly defended extensive exploitation of Amazonian natural resources—at the expense of Indigenous rights and environmental conservation—in his essays and political activities. This article discusses this conflict between Vargas Llosa's fictional and nonfictional work on the Amazon through the lens of a theory of fiction that emerges from his essays across decades and that suggests that the fictional text is independent from the referential reality it represents. By revisiting his novels and writings about fiction, this article argues that Vargas Llosa's belief in the autonomy of fiction from its referential reality explains, to a certain extent, how the fascination with the Amazon present in the author's novels coexists with his defense of drastic changes in the region through environmental exploitation and the acculturation of Indigenous populations. While Vargas Llosa's work enjoyed a positive reception in the 1960s, the nontransitive notion of mimesis he proposed has gradually taken on reactionary undertones in the context of changing expectations since the 1980s and 1990s.
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Griffin, Ross. "Possibly “the Truth, the Whole Truth and Nothing But the Truth”: Attempting to Define Creative Nonfiction." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2012 (January 1, 2012): 29–32. http://dx.doi.org/10.33178/boolean.2012.7.

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Locating such works as Frank McCourt’s Angela’s Ashes or Michael Herr’s Dispatches in any bookshop or library often presents an unexpected challenge for the average reader. As a nonfictional account firmly embedded in the author’s personal experiences, there is strong reason to think that such books would be included in the History section, comfortably situated amongst similarly factual texts of historical discourse. Curiously, however, they are often found sharing shelf space with deliberately fictional novels. This example of inconsistent categorisation is a concern for many readers of such narratives, highlighting the inherent difficulty in establishing the exact status of any written work. However, this issue is acutely relevant to the literary form embodied by texts such as Dispatches, one which combines a distinctly novelistic style of writing with the most meticulous reportage to present a genre known informally as the ‘literature of reality’ or creative nonfiction. There remains a distinct ...
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Clark, J. Spencer, and Steven P. Camicia. "Fostering preservice teachers' sense of historical agency through the use of nonfiction graphic novels." Journal of Social Studies Research 38, no. 1 (January 2014): 1–13. http://dx.doi.org/10.1016/j.jssr.2013.12.001.

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Davis, Christian R. "Protestant Missionaries in Literature." Renascence 72, no. 3 (2020): 125–46. http://dx.doi.org/10.5840/renascence202072310.

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Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Bakhtin’s “carnivalesque”: comic-grotesque imagery, obscenities, and feasts. This postcolonial missionary character represents not oppression but freedom and appears in such novels as Anand’s Untouchable, Achebe’s Things Fall Apart, and Vargas Llosa’s The Storyteller.
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Escandell, Dari. "L’encaix de la narrativa sense ficció de Víctor Labrado en el paradigma de la novel·la històrica valenciana." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 329. http://dx.doi.org/10.7203/scripta.0.16374.

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Resum: L’escriptor valencià Víctor Labrado (Sueca, 1956) s’ha erigit com un dels grans referents contemporanis en el camp de la novel·la de no-ficció en català, subgènere narratiu que conjumina la intenció metanovel·lesca amb fidedignes discursos testimonials. Ara bé, ¿les obres cabdals de Labrado –peculiars, idiosincràtiques i gens usuals– poden ser considerades també, sense subterfugis ni matisos, novel·la històrica? A grans trets: trames guerracivilistes empeltades d’entrevistes, dosis generoses de periodisme documental i absència gairebé absoluta de ficció. La tècnica i l’estil propi no suposen, però, cap impediment perquè molts llibres seus siguen alhora novel·la històrica, si fem cas dels topoi convinguts per la crítica especialitzada. No debades, aquests exemplars esdevenen, al capdavall, testimoni viu d’un temps passat; vivències i peripècies de gent anònima que rescaten de l’oblit, des de la particularitat més universal, la realitat valenciana d’un segle passat vilment estigmatitzat pel conflicte civil de l’any 1936 i la dictadura consegüent. ¿N’hi ha prou amb això, però, perquè aquesta etiqueta o clixé siga atribuïble també a la resta de la seua obra i trajectòria? El present article analitza a nivell tècnic, argumental i conceptual els llibres essencials de Labrado per tal de determinar quina part de la seua novel·lística sense ficció pot o no considerar-se al seu torn novel·la històrica.Paraules clau: Víctor Labrado, novel·la sense ficció, novel·la històrica, literatura catalana, valencià.Abstract: The Valencian writer Víctor Labrado (Sueca, 1956) has emerged as one of the great contemporary references in the field of the non-fiction novel in Catalan, a narrative subgenre that combines the fictional intention with real testimonial speeches. However, can Labrado’s capital books –peculiar, idiosyncratic and unusual– be considered also, without subterfuges or hints, historical novels? Broadly speaking: are his Spanish civil war plots grafted with interviews, generous doses of documentary journalism and almost absolute absence of fiction, historical novels? Its techniques and style are no impediment to say so, if we pay attention to the topoi agreed by the specialized critic. In fact, these novels become, in short, a living testimony of our past time: they rescue from oblivion the experiences and adventures of anonymous people, from the most universal particularity, and the Valencian reality of a past century stigmatized by the civil conflict of 1936 and the consequent dictatorship. Is that enough, however, to attribute this label to the rest of his literary works? This paper analyses the techniques, the plots and the concepts of Labrado’s essential books to determine what part of his nonfiction novels may or may not be considered historical.Keywords: Víctor Labrado, nonfiction novel, historical novel, Catalan literature, Valencian
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Clark, J. Spencer. "“Your Credibility Could Be Shot”: Preservice Teachers’ Thinking about Nonfiction Graphic Novels, Curriculum Decision Making, and Professional Acceptance." Social Studies 104, no. 1 (January 2013): 38–45. http://dx.doi.org/10.1080/00377996.2012.665957.

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De Bruyn, Ben. "The Great Displacement: Reading Migration Fiction at the End of the World." Humanities 9, no. 1 (March 9, 2020): 25. http://dx.doi.org/10.3390/h9010025.

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This paper examines how contemporary works of fiction and nonfiction reflect on anticipated cases of climate dislocation. Building on existing research about migrant agency, climate fiction, and human rights, it traces the contours of climate migration discourse before analyzing how three twenty-first-century novels enable us to reimagine the “great displacement” beyond simplistic militarized and humanitarian frames. Zooming in on stories by Mohsin Hamid, John Lanchester, and Margaret Drabble that envision hypothetical calamities while responding to present-day refugee “crises”, this paper explains how these texts interrogate apocalyptic narratives by demilitarizing borderscapes, exploring survivalist mindsets, and interrogating shallow appeals to empathy.
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Lamb, Connie. "NAWAL EL SAADAWI, The Innocence of the Devil, trans. Sherif Hetata (Berkeley: University of California Press, 1998). Pp. 278." International Journal of Middle East Studies 32, no. 4 (November 2000): 547–49. http://dx.doi.org/10.1017/s0020743800002774.

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Originally published in 1994, The Innocence of the Devil, by the Egyptian feminist Nawal El Saadawi, has been reissued in a paperback edition with a striking cover. Included in this edition is a well-written and well-documented Introduction by Fedwa Malti-Douglas, which provides a review of El Saadawi's life, a summary of the story, and insights into many aspects of the book. Malti-Douglas is a professor of Near Eastern Languages and Cultures at Indiana University, Bloomington, and a commentator on El Saadawi's works and life. El Saadawi, a medical doctor and a writer, has used both her fiction and nonfiction as social commentaries on Egyptian—and more specifically, Muslim—society. She was educated in Cairo and the United States, practiced as a physician in Egypt, was director of health education in the Egyptian Ministry of Health from 1958 to 1972, has served on United Nations commissions, and is a practicing psychiatrist. Over the years, she has written several nonfiction books along with numerous short stories and novels. In this book, she comments on many facets of Egyptian culture, but the main thrust is that religion is the underlying cause of women's oppression. She emphasizes theological patriarchy in terms of monotheism (a single male god), the weakness of Eve as fallen woman, a male Satan (the serpent), and males designated as religious leaders who hold authority over women.
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Greenberg, Robert M. "The Big Picture: Race, Politics, and History in V. S. Naipaul's Caribbean Nonfiction." Prospects 26 (October 2001): 611–38. http://dx.doi.org/10.1017/s0361233300001058.

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In Articulating his artistic objectives for his fiction, V. S. Naipaul speaks in a 1994 interview about “delivering truth” and a “form of reality” (Hussein, 154). While he seems to be speaking about an idea of reality he shares with his readers, he is really only indicating his own subjective confidence about the significance of what he has created. He does not share a frame of reference about his Trinidad or Central Africa settings with many of his readers (especially his American readers), nor does he have any reason to assume that his novels will be accepted as culturally authoritative. Naipaul includes in his recipe for “pinning down reality (Hussein, 155) the search for and invention of the most revealing narrative. But again here he does not seem to be referring to a familiar pattern of events concerning a familiar world – for this he pejoratively designates the term “plot” and applies it to the stories of television dramas and “blockbuster” novelists. His means for exploring new strata of experience, on the other hand, is “narrative,” the formal orchestration of events in order to excavate and dramatize the most significant elements residing in his material (Hussein, 154–55; Schiff, 148).
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Dissertations / Theses on the topic "Nonfiction novels"

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Brereton, Catherine A. "Conversations with Lady Chatterley." UKnowledge, 2016. https://uknowledge.uky.edu/english_etds/41.

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This thesis comprises of a series of personal essays exploring intersections and parallels between my life and D.H. Lawrence’s classic novel, Lady Chatterley’s Lover. The essays discuss, among other things, Lawrence and tuberculosis, gamekeeping, mining in 20th century England, love, education, and youth. Thus, the collection creates a literary memoir.
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Heyne, Eric Fairchild. "Form and truth in literary nonfiction /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487257452615629.

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Carlean, Kevin John. "The functions of narrative : a study of recent novelistic nonfiction." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1001827.

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Since Truman Capote's In Cold Blood: A True Account of a Multiple Murder and its Consequences was published in 1965, there have been many attempts to define and explain the phenomenon of the "non-fiction novel" as a unified narrative genre. Some of these attempts have been highly theoretical and scholarly, but most have been rather loose definitions referring to an extremely wide range of diverse factual narratives. Over the years, so many different works have been called "non-fiction novels" that it now seems as if the notion of such a unified genre is questionable. Surely it is not generically useful to say that such functionally distinct works as Oscar Lewis's La Vida: A Puerto Rican Family in the Culture of Poverty (1967) and Hunter S. Thompson's Fear and Loathing in Las Vegas: A Savage Journey to the Heart ot the American Dream (1971) belong in the same narrative category. The purpose of this study is to show that many of the works routinely referred to as "non-fiction novels" perform fundamentally different narrative functions and do not belong together in a unified genre. Roman Jakobson's model of communication and his notion of the "dominant function" are used to identify three functional categories into which the narratives discussed in the study logically fall: first, there are predominantly sociological works in which the referential function is the most important element of the communication; second, there are predominantly journalistic works in which the opinions of the writer or emotive function constitute the central narrative concern; and thirdly, we have works performing a dominant novelistic or aesthetic function in the sense that the secondary meanings and themes implied are the most important elements communicated. The thesis follows the following structure. In the introductory chapter, a critique of some of the major generic theories of the "non-fiction novel" as unified genre is offered. The purpose here is not to caricature what are sometimes extremely sophisticated studies. (Indeed, in my own analysis of texts, I am often indebted to the critical insights of the scholars whose theories I question in the introduction.) My purpose is merely to show that the corpus of works each writer refers to can be divided more logically between different dominant narrative functions. The introduction ends with a more detailed explanation of the adaptation of Jakobson's notion of "the dominant" and how it relates to the functional categories identified. Chapter 2 offers analyses of a group of documentary narratives that perform a dominant sociological function but have often been referred to as "non-fiction novels." The chapter starts with an analysis of James Agee's Let Us Now Praise Famous Men (1941), a text widely regarded as the first real American example of the "genre." This is followed by an examination of the anthropological works of Oscar Lewis: Five Families: Mexican Case Studles in the Culture of Poverty (1959), The Children of Sanchez: Autobiography of a Mexican Family (1964), Pedro Martinez: A Mexican Peasant and his Family (1964) and La Vida: A Puerto Rican Family in the Culture of Poverty. I conclude the chapter with an analysis of the recent sociological works of Studs Terkel: Division Street: America (1968), Hard Times: An oral History of the Great Depression (1970) and Working: People talk about what they do all day and how they feel about what they do (1974). In Chapter 3, the notion of subjective participation journalism is explained. This is followed by an analysis of three of the most famous and creative of the works that fall into this functional category: Hunter S. Thompson's Hell's Angels: The Strange and Terrible Saga of an Outlaw Motorcycle Gang (1966), Michael Herr's Vietnam classic, Dispatches (1977), and Norman Mailer's account of a famous protest march, The Armies of the Night: History as a Novel, The Novel as History (1968). Chapter 4 offers a discussion of three works that perform a dominant novelistic function in the realistic tradition of Dostoevski's Crime and Punishment. All three are based on actual murder cases, but the facts of the stories are subordinated to the novelistic themes the author wishes to abstract. They are: Meyer Levin's Compulsion (1957), Mailer's The Executioner's Song (1979) and Capote's In Cold Blood. From this outline, it may appear as if the study is loaded in favour of the sociological works discussed in Chapter 2. This is intentional because, although many critics have referred to them as "non-fiction novels", very little systematic and detailed analysis of these works as a corpus has been forthcoming. This long chapter is an attempt to redress the balance.
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Boehm, Beth Ann. "A rhetoric of metafiction." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258655494.

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Gapsch, Andrea. "Narrative Techniques in Twenty-First Century Popular Holocaust Fiction." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1618244388233822.

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Garza, Antonio. "Your place is my home nonfictions and a novel excerpt /." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014391.

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Townsend, Rebecca Marie Hudson Fraser Berkley. "Webs of intimacy and influence unraveling writing culture at Harper's magazine during the Willie Morris years (1967-1971) /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/5356.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 19, 2010). Thesis advisor: Dr. Berkley Hudson. Includes bibliographical references.
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Herrmann, Sebastian M. "Foggy realisms? Fiction, nonfiction, and political affect in Larry Beinhart’s Fog facts and The librarian." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-206587.

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This paper reads Larry Beinhart’s novel The Librarian (2004) and its nonfiction companion Fog Facts (2005) as a double attempt at writing that is politically invested in representing reality but that nevertheless is openly aware of the postmodern crisis of representation. In this sense, I read both books as indicative of a broad cultural search for forms of writing that engage their readers’ reality without simply attempting to return to a less complicated moment before postmodernism. The paper situates both books within crucial textual contexts: a broad ‘epistemic panic’ about the facts and reality at the time, a surge of political nonfiction published in response to George W. Bush’s Presidency, and a longer tradition of political fiction. Tracing how the novel struggles with its nonfiction aspects and how the nonfiction book relies on fiction to make its point, I then look at how the two books evoke political affect to have a realist appeal of sorts despite their insistence on the precarious nature of all realist representation. Reading both books as distinctly popular, mass-market products and thus bringing together the debate around post-postmodernism from literary studies with an interest in reading pleasures informed by popular culture studies, I argue that the two books constitute decidedly popular attempts at a new, meta-aware yet politically engaged textuality.
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Herrmann, Sebastian M. "Foggy realisms? Fiction, nonfiction, and political affect in Larry Beinhart’s Fog facts and The librarian." Poetics of politics : textuality and social relevance in contemporary American literature and culture / Sebastian M. Herrmann [Hrsg.] ... Heidelberg : Winter, 2015. S. 133-151. ISBN 978-3-8253-6447-2, 2015. https://ul.qucosa.de/id/qucosa%3A14846.

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This paper reads Larry Beinhart’s novel The Librarian (2004) and its nonfiction companion Fog Facts (2005) as a double attempt at writing that is politically invested in representing reality but that nevertheless is openly aware of the postmodern crisis of representation. In this sense, I read both books as indicative of a broad cultural search for forms of writing that engage their readers’ reality without simply attempting to return to a less complicated moment before postmodernism. The paper situates both books within crucial textual contexts: a broad ‘epistemic panic’ about the facts and reality at the time, a surge of political nonfiction published in response to George W. Bush’s Presidency, and a longer tradition of political fiction. Tracing how the novel struggles with its nonfiction aspects and how the nonfiction book relies on fiction to make its point, I then look at how the two books evoke political affect to have a realist appeal of sorts despite their insistence on the precarious nature of all realist representation. Reading both books as distinctly popular, mass-market products and thus bringing together the debate around post-postmodernism from literary studies with an interest in reading pleasures informed by popular culture studies, I argue that the two books constitute decidedly popular attempts at a new, meta-aware yet politically engaged textuality.
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Pettypiece, Suzanne M. "A literary journalistic account of a life of abuse and neglect." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221312.

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This creative project is a representation of the genre of journalism that delves deeper into the lives of ordinary people. The story contained in this creative project represents a literary journalistic account of a woman's life of abuse and neglect. Narrative techniques such as scenes, digression, characterization, and vivid description are utilized to vividly chronicle a tale that strives to be both entertaining and enlightening.
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Books on the topic "Nonfiction novels"

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Galens, Judy. Experiencing the Holocaust: Novels, nonfiction books, short stories, poems, plays, films & music. Edited by Hermsen Sarah. Detroit: UXL, 2003.

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Alberta. Learning and Teaching Resources Branch. Novels and nonfiction grades 8-12: Alberta authorized resource list and annotated bibliography. Edmonton, AB: Alberta Education, 2006.

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Alberta. Learning and Teaching Resources Branch. English language arts, grades 4 to 12: Authorized novels and nonfiction annotated list. Edmonton: Alberta Education, 2005.

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Alberta. Learning and Teaching Resources Branch. English language arts novels and nonfiction grades 4 to 12: Alberta authorized resource list. Edmonton, AB: Alberta Learning, 2004.

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Hillstrom, Kevin. Experiencing the American Civil War: Novels, nonfiction books, short stories, poems, plays, films & songs. Edited by Hillstrom Laurie Collier 1965- and Baker Lawrence W. Detroit: UXL, 2002.

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R, Hammond J. A James Hilton companion: A guide to the novels, short stories, nonfiction writings and films. Jefferson, N.C: McFarland & Co., 2010.

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R, Hammond J. A James Hilton companion: A guide to the novels, short stories, nonfiction writings and films. Jefferson, N.C: McFarland & Co., 2010.

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Gertler, Nat. The Complete Idiot's Guide to Creating a Graphic Novel. New York: Penguin USA, Inc., 2009.

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Steve, Lieber, ed. The complete idiot's guide to creating a graphic novel. 2nd ed. Indianapolis, IN: Alpha Books, 2009.

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Gertler, Nat. The complete idiot's guide to creating a graphic novel. 2nd ed. Indianapolis, IN: Alpha Books, 2009.

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Book chapters on the topic "Nonfiction novels"

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"Teaching Literary Nonfiction or Informational Text Reading with Graphic Novels." In Using Graphic Novels in the English Language Arts Classroom. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350112728.0016.

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Head, Dominic. "Celebrating England: ‘Heritage’ Writing and the Rural Novelist." In Rural Modernity in Britain, 207–22. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420952.003.0013.

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In this chapter, Dominic Head focusses on the relationship between nonfiction English heritage writing by popular rural novelists and the same writers’ rural/regional visions explored through their novels of the 1930s and Second World War. Rather than discovering a uniform and distasteful indulgence in easy sentiment or idealizing fantasy, Head’s careful analysis of rural novelists’ nonfiction about rural places and people reveals a richness of approach, from the unexpectedly radical (Henry Williamson’s The Village Book (1930)) to predictably conservative (Francis Brett Young’s Portrait of a Village (1938)), to something in between (Doreen Wallace’s novels, ‘Face of Britain’ books, and ‘Batsford Home Front Handbook’, How to Grow Food (1940)). The chapter summarizes and periodizes the heritage writing of the 1930s-1940s, arguing that it is a genre that may generate a self-consciousness about nation and identity that is inseparable from a pervasive anxiety about modernity.
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Donahoo, Robert. "A Country for Old Men: The South of Clyde Edgerton’s Early Novels." In Rough South, Rural South. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496802330.003.0016.

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This chapter discusses Clyde Edgerton's early novels, whose characters define themselves and the essential nature of contemporary life in the South. If we accept Erik Bledsoe's description of the Rough South as “a world of excess—excessive alcohol, excessive sex, excessive violence,” the works of Edgerton hardly seem to qualify. Indeed, Yvonne Mason, in Reading, Learning, Teaching Clyde Edgerton, declares his work “infinitely suitable” for “young readers in the English Language Arts classroom”—an appraisal difficult to imagine for the fiction of Harry Crews or Larry Brown. Edgerton's first three novels—Raney (1985), Walking Across Egypt (1987), and The Floatplane Notebooks (1988)—offer a way to understand his South, a world that increasingly belongs to and is defined by aging and death. This chapter considers Edgerton's other works, including the novel The Night Train (2011), the memoir Solo: My Adventure in the Air (2005), and the nonfiction Papadaddy's Book for New Fathers: Advice to Dads of All Ages (2013).
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Field, Robin E. "Rape Consciousness." In Writing the Survivor, 31–68. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954835.003.0002.

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The new understanding of the victim’s psyche in rape fiction is derived from the literature of the anti-rape movement and autobiographical accounts of sexual assault. The rhetoric of this 1970s social movement, particularly the persuasive language of polemical nonfiction and the first-person narration in testimonies and autobiographies, inspired rape fiction. The use of sociopolitical theories and newly discovered facts about sexual assault informed the themes and plots of the first rape novels, and autobiographies and testimonies provided a bridge between the galvanizing rhetoric of social activism and subsequent fiction. The diverse texts that contributed to the emergence of the rape novel—from the transcripts of the consciousness-raising sessions of radical feminists to the memoirs of Maya Angelou and Billie Holiday—highlight the primacy of social movements to this new genre.
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"Neo-Passing Narratives." In Neo-Passing, edited by Mollie Godfrey and Vershawn Ashanti Young. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041587.003.0002.

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We include here a working bibliography of neo-passing narratives, including related scholarship, that has appeared to date. The entries are divided into Comics and Graphic Novels, Creative Nonfiction, Drama, Fiction, Film, Music, Poetry, Television and Radio, Visual and Performance Art, and Scholarship. Of course, such a list can never be comprehensive, but we offer it as evidence of the neo-passing narrative’s proliferation and diversification in the post–Jim Crow period and as a resource for teachers, students, and scholars working on this topic. This resource was developed in consultation with contributors to this volume and has benefited from suggestions made by our colleagues and students....
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Wilson, D. Harlan. "This Way to Inner Space." In J. G. Ballard. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041433.003.0003.

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This chapter provides a concerted overview of Ballard’s short story production and publication, foregrounding key collections, among them The Voices of Time,The Terminal Beach, Vermillion Sands, Myths of the Near Future andWar Fever. It also accounts for articles, essays, reviews, introductions and other nonfiction texts written throughout his life to subsidize his income from fiction. While Ballard’s novels contain the real meat of his legacy, his stories are crucial building blocks, test sites for his craft and the emergent flows of inner space as well as seedlings for book-length works. Before appearing in the aforementioned iconic collections, they were printed mainly in British SF magazines such as New Worlds, Science Fantasy, Ambit andInterzone.
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7

Reid, Peter H. "The Peace Corps Book Locker." In Every Hill a Burial Place, 165–67. 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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James, Alison. "Introduction." In The Documentary Imagination in Twentieth-Century French Literature, 1–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859680.003.0001.

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The introduction challenges prevalent accounts that see French literature turning away from realist concerns in the twentieth century. While the realist and naturalist novels of the nineteenth century give an increasingly central place to documentary materials, they integrate these documents into autonomous fictional worlds. Both continuing and breaking with this tradition, many twentieth-century writers make the document into the nexus of their experiments in nonfiction form. Also shaped by developments in photography and cinema, literature reflects on the referential status of images versus text, as well as questioning the ontological status of facts. The twentieth century sees the emergence in French literature of a documentary imagination that simultaneously idealizes documents as fragments of reality that speak for themselves (the “speaking fact”) and reveals their mediated and constructed nature (facts must be spoken).
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Schmid, David. "The nonfiction novel." In The Cambridge History of the American Novel, 986–1001. Cambridge University Press, 2011. http://dx.doi.org/10.1017/chol9780521899079.065.

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10

BOTEZAT, Onorina. "MARTHA BIBESCU, A „FLOWER” AMONG ROMANIAN FRANCOPHONE WRITERS." In Scriitori români de expresie străină. Écrivains roumains d’expression étrangère. Romanian Authors Writing in Foreign Tongues, 69–80. Pro Universitaria, 2021. http://dx.doi.org/10.52744/9786062613242.06.

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Princess Martha Bibescu plays an important role in Romanian Francophone culture. A Romanian aristocrat, she conducted a successful literary career writing both nonfiction and novels during the first half of the twentieth century. She was also a laureate of the French Academy and a member of the Royal Belgian Academy of French Language and Literature. Known for her charming personality, intelligence and beauty, she proudly shared her dual cultural identity: French and Romanian. During the first part of her life, Princess Bibescu was admired for her wealth and grace, and her relations with the last kings of Europe as well as with an impressive number of chiefs of state. In the second part of her life, a period marked by hardship and the loss of a huge fortune, Martha Bibescu travelled, wrote, experienced personally the disruptive events in European history, assumed with dignity her social role of confident and supporting relative, turned writing into a livelihood, overrode personal loss and cherished the only single passion in her life: writing.
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