Journal articles: 'North American fiction'

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GODEANU-KENWORTHY, OANA. "Fictions of Race: American Indian Policies in Nineteenth-Century British North American Fiction." Journal of American Studies 52, no. 1 (December 27, 2016): 91–113. http://dx.doi.org/10.1017/s0021875816001948.

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This article explores the hemispheric and transatlantic uses of race and empire as tropes of settler-colonial otherness in the novelThe Canadian Brothers(1840) by Canadian author John Richardson. In this pre-Confederation historical novel, Richardson contrasts the imperial British discourse of racial tolerance, and the British military alliances with the Natives in the War of 1812, with the brutality of American Indian policies south of the border, in an effort to craft a narrative of Canadian difference from, and incompatibility with, American culture. At the same time, the author's critical attitude towards all European military and commercial interventions in the New World illuminates the rootedness of both American and Canadian settler colonialisms in British imperialism, and exposes the arbitrariness and constructedness of the political boundaries dividing the continent.

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Tyler, Varro E. "NORTH AMERICAN INDIAN DRUGS - FACT AND FICTION." Acta Horticulturae, no. 426 (August 1996): 139–46. http://dx.doi.org/10.17660/actahortic.1996.426.15.

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Sutton, Richard K. "WHERE? PLACE IN RECENT NORTH AMERICAN FICTION." Landscape Journal 12, no. 1 (1993): 80–81. http://dx.doi.org/10.3368/lj.12.1.80.

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Mao, Sophia. "Inscrutable Belongings: Queer Asian North American Fiction." Amerasia Journal 46, no. 2 (May 3, 2020): 255–56. http://dx.doi.org/10.1080/00447471.2020.1867031.

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Pang, Celeste. "Book Review: Queer Aging in North American Fiction." Anthropology & Aging 41, no. 2 (December 14, 2020): 283–85. http://dx.doi.org/10.5195/aa.2020.296.

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Horowitz, Sara R. "Mediating Judaism: Mind, Body, Spirit, and Contemporary North American Jewish Fiction." AJS Review 30, no. 2 (October 27, 2006): 231–53. http://dx.doi.org/10.1017/s0364009406000110.

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That Jewish literature in North America is an altogether secular venue has long been regarded as a truism among many influential literary scholars. Indeed, for much of the twentieth century, the fiction of Jewish immigrants and their progeny wrote its way into American and Canadian culture through narratives that captured the process of acculturation by distancing itself from Jewish traditional practices, construed mockingly or nostalgically as relics of a European life left behind, a wellspring of historical or textual memories that oppress or elevate. The few departures from this trend—fiction that represents Judaic ritual and experience sympathetically, with complexity and depth—are exceptions that prove the rule: Chaim Potok’s novels, for example, beginning in the late 1960s and continuing through the close of the twentieth century, and a handful of women novelists negotiating Jewish feminism in stories and novels of the 1980s and 1990s.

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Wright, Tom F. "Riding/Writing Across Borders: North American Travelogues and Fiction." Studies in Travel Writing 17, no. 3 (September 2013): 323–25. http://dx.doi.org/10.1080/13645145.2013.792645.

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Novaes, Allan Macedo de, and Carlos Augusto Souza Magalhães. "Ficção audiovisual adventista. Um estudo netnográfico sobre as reações de internautas às produções da Igreja Adventista na plataforma de streaming Feliz7play." Revista Eclesiástica Brasileira 80, no. 315 (June 18, 2020): 61. http://dx.doi.org/10.29386/reb.v80i315.2022.

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O presente artigo busca analisar as reações e comentários de seguidores de páginas e canais oficiais da Igreja Adventista do Sétimo Dia nas redes sociais sobre a produção de conteúdos de ficção audiovisual na plataforma de streaming Feliz7play. Para tanto, o artigo elabora um panorama socio-teológico da relação conflituosa entre o adventismo e a ficção audiovisual, seguida de uma breve descrição do uso de ficção audiovisual pelos adventistas no contexto estadunidense e latino-americano e, por fim, propõe uma análise netnográfica da reação dos adventistas às obras de ficção audiovisual na plataforma Feliz7Play através das páginas oficiais da denominação nas redes sociais. Conclui-se que os problemas teológicos que a cultura adventista considera que a ficção audiovisual possui são uma projeção da crítica que o discurso fundador elaborou sobre a ficção na literatura e no teatro que, por sua vez, repercute na produção de conteúdo ficcional adventista na atualidade.Abstract: This article seeks to analyze the reactions and comments of followers of official Seventh-day Adventist Church pages on social networks about the production of audiovisual fiction content on the Feliz7play streaming platform. To this end, the article elaborates a socio-theological overview of the conflicting relationship between Adventism and audiovisual fiction, followed by a brief description of the use of audiovisual fiction by Adventists in the North American and Latin American context and, finally, proposes a Netnographic analysis of Adventists’ reaction to audiovisual fiction productions on the Feliz7Play platform through the Adventist official pages on social networks. It is concluded that the theological problems that Adventist culture considers audiovisual fiction to have are a projection of the criticism that the founding discourse elaborated on fiction in literature and theater, which, in turn, has an strong impact on the production of fictional Adventist content today.

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Luna Sellés, Carmen. "Moronga, by Horacio Castellanos Moya, and the Divergence of Latin American Noir." Forum for Modern Language Studies 56, no. 3 (July 1, 2020): 347–63. http://dx.doi.org/10.1093/fmls/cqaa022.

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Abstract Taking Moronga (2018), by Salvadorian author Horacio Castellanos Moya, as a point of departure, this article focuses on the reinterpretation of mainstream crime fiction in Latin American terms. This new approach is made from both formal and thematic perspectives. Moronga is structurally fragmented; the traditional detective figure has disappeared, and the plot does not revolve around a single crime but denounces a society at large which is characterized by paranoid surveillance. The reinterpretation of the crime fiction genre in Latin American terms has opened up two different strands of noir: firstly, the so-called ‘post-neopolicial’ where crime is a mere backdrop to formal experimentation, and secondly, what Ricardo Piglia refers to as ‘ficción paranoica’ [paranoiac fiction]. Moronga is a good example of both these strands, making it an appropriate case study to analyse the ways in which Hispanic literature deviates from classic Anglophone crime fiction (particularly the North American hardboiled tradition).

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Eng, Chris A. "Inscrutable Belongings: Queer Asian North American Fiction by Stephen Hong Sohn." Journal of Asian American Studies 22, no. 3 (2019): 447–49. http://dx.doi.org/10.1353/jaas.2019.0032.

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Kennedy, Victor. "The Relationship Between Doctors, Patients and the Law in North American and British Literature." Medicine, Law & Society 9, no. 1 (April 15, 2016): 1–10. http://dx.doi.org/10.18690/24637955.9.1.1-10(2016).

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In common law jurisdictions today, the relationship between doctors and patients is generally considered to be a private one (Dorr Goold and Lipkin Jr., 1999). Like most professions, doctors are governed to a large extent by professional associations with their own Codes of Ethics. To practice medicine in the United States, Canada, or Britain, doctors must be licensed by their local Board or College1. Government control of doctor-patient relationships is generally limited to funding, but in a few areas, in particular, those that are considered to be matters of public morality or ethics, criminal statutes can apply. Historically, reproductive rights have often fallen under state control. This paper will compare fictional representations of state interference with reproductive rights in three science-fiction dystopias, Margaret Atwood’s The Handmaid’s Tale (Atwood, 1985), P.D. James’s Children of Men (James, 1992), and Harlan Ellison’s “A Boy and His Dog” (Ellison, 1969), and examine the real-world situations and concerns that these stories comment upon.

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Gabriel, Maria Alice Ribeiro. "Edgar Allan Poe: A Source for Miriam Allen Deford." Aletria: Revista de Estudos de Literatura 29, no. 2 (June 28, 2019): 79–99. http://dx.doi.org/10.17851/2317-2096.29.2.79-99.

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The influence of Edgar Allan Poe on North American culture and literature is still a subject of debate in contemporary literary theory. However, Poe’s creative legacy regarding the writings of Miriam Allen Deford remains neglected by the literary critics. Deford’s fiction explored a set of literary genres, such as biography, science fiction, crime and detective short stories. Taking these premises as a point of departure, this article aims to identify similarities between “A Death in the Family” and some of Poe’s works. Drawing on studies by J. T. Irwin, James M. Hutchisson and others, the objective of this paper is to analyze passages from Deford’s tale in comparison with the poetry and fictional prose of Poe. The analysis suggests that Deford’s horror short story “A Death in the Family,” published in 1961, was mostly inspired by Poe’s gothic tales, detective stories, and poems.

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Parker, Joshua. "Formal, geographic and cultural metalepsis: The fiction of Russell Banks." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 285–99. http://dx.doi.org/10.1177/0963947010370257.

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This article investigates how narrative form and thematic content work in conjunction to encourage a reader’s support for specific political, cultural and social views, using examples of metalepsis that mirror and support thematic socio-political stances in Russell Banks’s fiction. Metalepsis (the crossing of a text’s narrative levels) and plot themes of geographic and cultural boundary crossings play together in Banks’s writing, which explores the permeability of divisions between African American and European American, the Caribbean and continental North America, male and female, and parent and child, consistently emphasizing issues surrounding national, cultural, gender and generational borders. Mirroring these more obvious sociological themes and arguments of his plots, Banks’s structural border crossings force us to consider the permeability of conceptual boundaries between author and reader, reader and character, and narrator and narratee. Banks examines these boundaries’ porosity — on both levels — by exploiting an increasingly common technique for shifting focalization in contemporary fiction — episodic use of second-person narration. This metaleptic technique, crossing the borders of narrative levels, not only reflects, but inherently supports Banks’s themes of geographic border crossings as a means of intercultural, interracial and interclass understanding.

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Norbury, Kate. "Representations of Trauma and Recovery in Contemporary North American and Australian Teen Fiction." Bookbird: A Journal of International Children's Literature 50, no. 1 (2012): 31–41. http://dx.doi.org/10.1353/bkb.2012.0001.

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Miley, Mike. "Don DeLillo:Mao II,Underworld,Falling Man(Continuum Studies in Contemporary North American Fiction)." English Studies 95, no. 3 (April 3, 2014): 349–50. http://dx.doi.org/10.1080/0013838x.2014.894751.

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Koval, Marta. "Patterns of Memory in Askold Melnyczuk’s Novels as an Example of Ukrainian-American Émigré Fiction." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 47, no. 2 (July 10, 2020): 125–37. http://dx.doi.org/10.36770/bp.473.

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Although Ukrainian emigration to North America is not a new phenomenon, the dilemmas of memory and amnesia remain crucial in Ukrainian-American émigré fiction. The paper focuses on selected novels by Askold Melnyczuk (What is Told and Ambassador of the Dead) and analyzes how traumatic memories and family stories of the past shape the American lives of Ukrainian emigrants. The discussion of the selected Ukrainian-American émigré novels focuses on the dilemmas of remembering and forgetting in the construction of both Ukrainian and American narratives of the past. The voluntary amnesia of the Ame- rican-born Ukrainians in Melnyczuk’s novels confronts their parents’ dependence on the past and their inability to abandon it emotionally. Memories of ‘the old country’ make them, similarly to Ada Kruk, ambassadors of the dead. The expression becomes a metaphoric definition of those wrapped by their repressed, fragmentary and sometimes inaccessible memories. Crucial events of European history of the 20th century are inscribed and personalized in the older generation’s stories which their children are reluctant to hear. For them, their parents’ memories became a burden and a shame. Using the concept of transgenerational memory, the paper explores the challenges of postmemory, and eventually its failure.

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Bialyk, V. D. "CIVILIZATION MISSION OF TRANSLATION: NORTH-AMERICAN CONTEXT." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 350–62. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-350-362.

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The article focuses on the problems of social and cultural aspects of the translation process, It has been emphasized that not only linguistic characteristics but social and cultural constituents of the translated text influence its quality. While translating, it is of paramount importance to take into account the extent the culture is involved into the text, and the text is involved into the culture. Language, being a semiotic system, is projecting onto sociocultural and semiotic aspects of translation. The translator should be aware of the culture, customs, traditions, social background expressed both in the source language and the target language as he is presenting to the foreign language audience not only a literary work but also the country of its origin, constructing its image, and the image of its culture In this respect it is important to analyze the role of individuality in translation process. It has been offered to disclose the major stages of a translator’s individuality development process in the creative activity of translating fiction. An American scholar and translator Dr. Michael M. Naydan and f Canadian scholar, translator, and editor Roma Franko have been chosen as a model of a translator in a contemporary translation industry. The choice has been stipulated by a number of reasons: the wide-world recognition of their achievements and their constant striving to popularize the Ukrainian culture in the Anglophone world. The major stages of Michael M. Naydan’s personality as a scholar and as a translator as well as Roma Franko have been considered in the article. Major emphasis is laid on their Ukrainian-English translations which includes prose and poetical works. An attempt has been made to reveal the basic translation tools which they employ to achieve an adequate translation. The article contains the information about the creative activities of Michael Naydan and Roma Franko, offers further perspectives of their study.

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Corporaal, Marguérite. "Moving towards Multidirectionality: Famine Memory, Migration and the Slavery Past in Fiction, 1860–1890." Irish University Review 47, no. 1 (May 2017): 48–61. http://dx.doi.org/10.3366/iur.2017.0256.

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What happens to memories when migrants carry their pasts with them to their receiving countries? How do these migrated memories of a past originally connected to the native country develop when they intersect with the cultural legacies of other communities? Fiction which remembers Ireland's Great Famine and which was written between 1854 and 1890 provides an interesting case study to explore these questions: many novels and short stories which recollected the bleak years of mass starvation were written and published in North-America, the continent where the largest percentage of emigrants of the Famine generation settled. As this article will demonstrate, these early works of Famine fiction frequently testify to the ‘multidirectional’ (Rothberg 2009) nature of memory in cultural transfer, in that reconfigurations of the Famine past interact with memories of the Middle Passage and current as well as past debates on slavery in the American South.

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Broyld, Dann J. "The Underground Railroad As Afrofuturism: Enslaved Blacks Who Imagined A Future And Used Technology To Reach The “Outer Spaces of Slavery”." Journal of Ethnic and Cultural Studies 6, no. 3 (December 18, 2019): 171. http://dx.doi.org/10.29333/ejecs/301.

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This article employs the lens of Afrofuturism to address the Underground Railroad, detailing what imagination, tact, and technology, it took for fugitive Blacks to flee to the “outer spaces of slavery.” Black enslavement was as terrifying as any exotic fictional tale, but it happened to real humans alienated in the “peculiar institution.” Escaping slavery brought dreams to life, and at times must have felt like “magical realism,” or an out-of-body experience, and the American North, Canada, Mexico, Africa, Europe, and free Caribbean islands were otherworldly and science fiction-like, in contrast to where Black fugitives ascended. This article will address the intersections of race, technology, and liberation, by retroactively applying a modern concept to historical moments.

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Pollack, Sarah. "After Bolaño: Rethinking the Politics of Latin American Literature in Translation." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 660–67. http://dx.doi.org/10.1632/pmla.2013.128.3.660.

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On 25 november 2012, when the united states novelist jonathan franzen opened mexico's feria internacional del libro de guadalajara, he spoke of his experience of reading Latin American fiction. Asked about the region's representation through literature in English translation, Franzen stated that, magic realism having now “run its course,” Roberto Bolaño had become the “new face of Latin America.” Franzen's words echo what has almost become a commonplace in the United States over the last five years: naming Bolaño “the Gabriel García Márquez of our time” (Moore), after the publication by Farrar, Straus and Giroux of the translations of Los detectives salvajes (1998; The Savage Detectives [2007]) and his posthumous 2666 (2004; 2666 [2008]). Bolaño is also considered by many writers, critics, and readers in Latin America to be “reigning as the new paradigm” (Volpi, sec. 3). If in the United States market, through the synecdoche of literary commodification, García Márquez's revolutionary Cien años de soledad (1967; One Hundred Years of Solitude [1970]) and, specifically, the magic realism of his fictional Macondo came to stand in for the diverse literary projects of Latin American authors in the 1960s, one must ask if a similar operation is taking place with Bolaño. While the number of translated Latin American literary works continues to be limited and most “go virtually unnoticed” (“Translation Database”), the significance of Bolaño's place at the center of a new canon in translation is magnified and necessitates inquiring into how his critical success in the United States market may be shifting the politics of translation of other texts. As a critic announced in 2011, “a second Latin American literature Boom is happening … [that] probably owes its existence to the explosion of the late-Chilean author Roberto Bolaño, whose popularity re-opened the door to North American publishing houses for Latin American authors” (Rosenthal).

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Sheldon, Rebekah. "Reproductive Acts: Sexual Politics in North American Fiction and Film by Heather LatimerHeather Latimer. Reproductive Acts: Sexual Politics in North American Fiction and Film. McGill-Queen's University Press. x, 286. US $39.50." University of Toronto Quarterly 85, no. 3 (August 2016): 365–67. http://dx.doi.org/10.3138/utq.85.3.365.

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TERRY, JENNIFER. "“Breathing the Air of a World So New”: Rewriting the Landscape of America in Toni Morrison's A Mercy." Journal of American Studies 48, no. 1 (April 10, 2013): 127–45. http://dx.doi.org/10.1017/s0021875813000686.

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This article explores Toni Morrison's preoccupation with, and reimagining of, the landscape of the so-called New World. Drawing on scholarship that has investigated dominant discourses about freedom, bounty, and possibility located within the Americas, it identifies various counternarratives in Morrison's fiction, tracing these through the earlier Song of Solomon (1977), Tar Baby (1981), and Beloved (1987), but primarily arguing for their centrality to A Mercy (2008). The mapping of seventeenth-century North America in the author's ninth novel both exposes colonial relations to place and probes African American experiences of the natural world. In particular, A Mercy is found to recalibrate definitions of “wilderness” with a sharpened sensitivity to the position of women and the racially othered within them. The dynamic between the perspectives towards the environment of Anglo-Dutch farmer and trader Jacob Vaark and Native American orphan and servant Lina, is examined, as well as the slave girl Florens's formative encounters in American space. Bringing together diverse narrative views, A Mercy is shown to trouble hegemonic settler and masculinist notions of the New World and, especially through Florens's voicing, shape an alternative engagement with landscape. The article goes some way towards meeting recent calls for attention to the intersections between postcolonial approaches and ecocriticism.

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Beard, David. "How Can You Not Shout, Now That the Whispering Is Done? Accounts of the Enemy in US, Hmong, and Vietnamese Soldiers’ Literary Reflections on the War." Humanities 8, no. 4 (November 1, 2019): 172. http://dx.doi.org/10.3390/h8040172.

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As typified in the Christmas Truce, soldiers commiserate as they see themselves in the enemy and experience empathy. Commiseration is the first step in breaking down the rhetorical construction of enemyship that acts upon soldiers and which prevents reconciliation and healing. This essay proceeds in three steps. We will identify first the diverse forms of enemyship held by the American, by the North Vietnamese, and by the Hmong soldiers, reading political discourse, poetry, and fiction to uncover the rhetorical constructions of the enemy. We will talk about both an American account and a North Vietnamese account of commiseration, when a soldier looks at the enemy with compassion rooted in identification. Commiseration is fleeting; reconciliation and healing must follow, and so finally, we will look at some of the moments of reconciliation, after the war, in which Vietnamese, Hmong and American soldiers (and their children and grandchildren) find healing.

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Taylor, Hannah, and Jeannine A. Gailey. "Fiction Meets Reality: A Comparison of Dietland and the Experiences of North American Fat Women." Fat Studies 10, no. 1 (August 2, 2019): 34–49. http://dx.doi.org/10.1080/21604851.2019.1644984.

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Cusack, Christopher, Marguérite Corporaal, and Lindsay Janssen. "“In Ireland I’d Have Starved”: North American Fiction about the Great Irish Famine, 1850–1918." New Hibernia Review 25, no. 2 (2021): 129–54. http://dx.doi.org/10.1353/nhr.2021.0019.

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Branach-Kallas, Anna. "World Travellers: Colonial Loyalties, Border Crossing and Cosmopolitanism in Recent Postcolonial First World War Novels." Anglica. An International Journal of English Studies, no. 27/3 (September 17, 2018): 183–200. http://dx.doi.org/10.7311/0860-5734.27.3.09.

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This article offers a comparative analysis of the representation of travelling men and women in The Sojourn (2003) by Canadian writer Alan Cumyn, The Daughters of Mars (2012) by Australian novelist Thomas Kenneally and Blue Ravens: Historical Novel (2014) by North American indigenous author Gerald Vizenor. These three novels explore the cliché of colonial loyalties, illustrating the diverse motivations that led individuals from North America and Australia to volunteer for the war. Cumyn, Kenneally and Vizenor undermine the stereotypical location of the colonial traveller in an uncultured space; in their fiction the war provides a pretext to expose imperial ideologies, to redefi ne collective identities, as well as to rethink the relationship between the local and the cosmopolitan. As a result, the First World War is reconfi gured in terms of border crossing, contact and/or transcultural exchange, which result in radical shifts in consciousness, a critique of imperialism, as well as aspirations for cultural/political autonomy.

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Murray, Stuart. "Disability Embodiment, Speculative Fiction, and the Testbed of Futurity." Journal of Literary & Cultural Disability Studies: Volume ahead-of-print ahead-of-print (May 1, 2021): 1–17. http://dx.doi.org/10.3828/jlcds.2021.21.

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The article analyses depictions of disability embodiment in a range of contemporary North American speculative fiction that depicts post-crisis worlds of social and environmental breakdown. It argues that in each novel bodies are threatened and placed under pressure, particularly in terms of capacity and function. While some resolve this through recourse to humanist narratives of restitution, others imagine futures in which both bodies and societies become reformatted. Bodies remain material, but they also become metamorphized and messy; they hold charged manifestations of personhood, but also leak these conceptions of “person;” they are recognizably human, but also patterned as posthuman. The results are depictions of disability-led embodiment that, precisely because they are formed in imagined possibilities of the future, offer productive possibilities for re-visioning the present.

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Bhatti, Shaheena Ayub, Ghulam Murtaza, and Aamir Shehzad. "Revisiting Paul Kanes Wanderings of an Artist Among the Indians of North America." Global Language Review IV, no. II (December 31, 2019): 89–94. http://dx.doi.org/10.31703/glr.2019(iv-ii).13.

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Paul Kanes paintings and sketches which form the basis of Wanderings of an Artist, were made with the aim of presenting an “extensive series of illustrations of the characteristics, habits and scenery of the country and its inhabitants.” However, a careful and detailed reading of his paintings and writings show that he actually violated the trust that the American Indians placed in him by depicting false images. Working in the background of Lasswells theory of propaganda this study seeks to demonstrate how the images and writings that he created, fulfilled no purpose, other than that of propaganda. The essay takes as its base the short fiction of Sherman Alexies Scalp Dance by Spokane Indians and attempts to show through the text how Kane, in reality, violated the trust that the American Indian tribes placed in him, by allowing him to photograph them in various poses and at various times of the day and year.

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Terry, Jennifer. "Buried perspectives." Power and Narrative 17, no. 1 (October 30, 2007): 93–118. http://dx.doi.org/10.1075/ni.17.1.08ter.

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In examining representations of engagements with the North American landscape in the fiction of Toni Morrison, this article seeks to explore the author’s revision of dominant discourses about the topography and symbolic spaces of the continent and her exposure thereby of historical structures of power. Focusing on her fourth novel, Song of Solomon (1977), it traces how Morrison attempts to give voice to African American experience and identity and to revisit and contest familiar stories of national belonging and being in the land. In crafting tales of black displacement, dispossession, estrangement, travel, discovery, connection and home, the author is found to excavate buried perspectives and shape her own potent narrative act.

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Kriebernegg, Ulla. "Putting Age in Its Place. Representations of Institutional Eldercare in Contemporary North American Film and Fiction." VIRUS - Beiträge zur Sozialgeschichte der Medizin 1 (2020): 251–71. http://dx.doi.org/10.1553/virus16s251.

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Knudson, Sarah. "Crash courses and lifelong journeys: Modes of reading non-fiction advice in a North American audience." Poetics 41, no. 3 (June 2013): 211–35. http://dx.doi.org/10.1016/j.poetic.2013.03.002.

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Elliott, J. "The Return of the Referent in Recent North American Fiction: Neoliberalism and Narratives of Extreme Oppression." Novel: A Forum on Fiction 42, no. 2 (June 1, 2009): 349–54. http://dx.doi.org/10.1215/00295132-2009-026.

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DuRose, Lisa. "How to Seduce a Working Girl: Vaudevillian Entertainment in American Working–Class Fiction 1890–1925." Prospects 24 (October 1999): 377–91. http://dx.doi.org/10.1017/s0361233300000429.

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“The city,” Theodore Dreiser explains at the beginning of Sister Carrie, “has its cunning wiles, no less than the infinitely smaller and more human tempter. There are larger forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the pervasive light in a wooing and fascinating eye” (1). Dreiser's description here echoes many early 20th-century writers' anxieties about the rise of the modern city — from social reformers like Jane Addams and Jacob Riis to journalists and novelists as varied as Stephen Crane and Jean Toomer. But it is Dreiser's depiction of the city as a seducer, as an irresistible wooer, which finally arrives at the heart of the controversy. In the age that saw an increase in the most socially diverse wage seekers — newly arrived immigrants, Southern blacks who migrated North, and single, young women from the country — the city promises, only in the heat of passion, economic and social possibilities, a chance to live out the full contract of American democracy. And the city finds no better stage for its wooing of these new generations of Americans than that of the vaudeville theater.

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Kiczkowski, Adriana. "'Glocalization' in post-9/11 literature. "Burnt shadows" by Kamila Shamsie." Journal of English Studies 14 (December 16, 2016): 125. http://dx.doi.org/10.18172/jes.2813.

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Global terrorism is a complex phenomenon, its roots going back to long before the terrorist attacks of 9/11, while its sequels are opening new paths in the fields of both fiction and literary and cultural studies. To better understand some of the global processes, and how they are represented in contemporary literature, I proposed the expression glocalization novels as a theoretical construct that permits the incorporation of the narrative’s differential characteristics about terrorism in a globalized society. In Burnt Shadows by Kamila Shamsie, the notion of glocalization appears articulating general tendencies with global impact (the Nuclear Bomb, the Cold War, North American neo-colonialism in Southeast Asia, global terrorism, etc.) join with a direct impact on local lives that restructures and transmutes the meanings of individual or social actions. Fictions by intertwining the specific with the global help us to gain a more indepth understanding of the global and its local complexity.

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Hassan, Salah D. "Unstated: Narrating War in Lebanon." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1621–29. http://dx.doi.org/10.1632/pmla.2008.123.5.1621.

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This essay consists of three beginnings, then a deferred reading of a novel. One beginning, a theoretical beginning, reflects on the question implicit in my title: What is unstated in the state of Lebanon? Another beginning, a literary critical beginning, returns to the work of Kahlil Gibran, the most famous early-twentieth-century Arab North American writer. Gibran links modernist and postmodernist Arab North American writing and, in a historical parallel, connects the foundations of the Lebanese state under French colonial rule to its disintegration in the context of the civil war. A third beginning, a contextual beginning, evokes more recent events in Lebanon through a discussion of the July War of 2006, during which Israel bombed the country for over a month. These three points of departure, I suggest, are crucial to readings of contemporary Arab North American fiction, which is always conditioned by theories of the state, a post-Gibran literary sensibility, and the politics of the present. More specifically, I argue that Rawi Hage's representation of the civil war in Lebanon in DeNiro's Game negotiates the destruction of the Lebanese state through figures of the unstated, whose very existence questions more generally the state form as the preeminent site of political authority and contributes to unstating the state.

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WILSON, ANDREW. "Pentagon Pictures: The Civil Divide in Norman Mailer's The Armies of the Night." Journal of American Studies 44, no. 4 (March 30, 2010): 725–40. http://dx.doi.org/10.1017/s0021875809991319.

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This paper focusses on Norman Mailer's treatment of the 1967 March on the Pentagon in his Pulitzer Prize-winning work of non-fiction The Armies of the Night. The visual and linguistic properties developed by the author throughout the first book of The Armies of the Night are identified and assessed in relation to the anti-war movements and counterculture temperament of the 1960s. Comparisons are made with post-war writers and earlier North American authors as a means of clarifying “American” aspects of Mailer's handling of his material. Mailer's journalistic techniques, his often spontaneous and engaged responses, are also defined within the context of the social conflicts of the late 1960s.

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Thakkar, Upasana. "Transnationalism and Testimonio in Contemporary Central American Migrant Literature." Revista Canadiense de Estudios Hispánicos 44, no. 1 (May 23, 2021): 127–47. http://dx.doi.org/10.18192/rceh.v44i1.5905.

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This article explores contemporary Central American literature dealing with transnationalism in migrant narratives from the region within the framework of testimonio. The transnational elements in literary texts read as testimonio were also present in previous Latin American narratives but were ignored in critical writing about this genre. These elements often included two countries, and involved transmission of, as well as continuous negotiation between, different languages. Moreover, the immediate translation of these texts into English made them available more to an international audience than to the citizens of the countries in which they were mostly set. Taking Odyssey to the North by Mario Bencastro, and The Tattooed Soldier by Hector Tobar as my point of reference, I will argue that these and several other contemporary Central American works of fiction can be read as testimonio. These works, by focusing attention on the repercussions of the civil war in a new context, depict migration to the United States

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Sokoloff, Naomi. "Introduction: American Jewish Writing Today." AJS Review 30, no. 2 (October 27, 2006): 227–30. http://dx.doi.org/10.1017/s0364009406000109.

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This is an exciting time for North American Jewish literature. In the past ten years, there has been an explosion of writing by new and established authors. In the field of fiction alone, the shelves have filled with titles by such fine talent as Pearl Abraham, Melvin Jules Bukiet, Michael Chabon, Nathan Englander, Myla Goldberg, Ehud Havatzelet, Dara Horn, Jonathan Safran Foer, Joan Leegant, Tova Mirvis, Jon Papernick, Jonathan Rosen, Aryeh Lev Stollman, and many others, as well as new works by veteran writers such as Allegra Goodman, Thane Rosenbaum, and Steve Stern. Add to these names the preeminent Cynthia Ozick, and don’t forget Philip Roth, whose productivity continues unabated and whose latest novels include some of his strongest work ever. A variety of striking themes has come to the fore in this new wave of literary creativity. Notable trends include an unprecedented attention to religion (especially Orthodox Jewish life); a fascination with women’s lives and with questions of gender and sexual orientation; a concern with the experiences of the second and succeeding generations of the Holocaust; a nostalgia for and rediscovery of the old country; a consideration of new Americans in the 1980s and 1990s; and a rethinking of what it means to be a Jew in Israel and in the Diaspora.

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Janssen, Lindsay. "Diasporic identifications: exile, nostalgia and the Famine past in Irish and Irish North-American popular fiction, 1871–1891." Irish Studies Review 26, no. 2 (March 15, 2018): 199–216. http://dx.doi.org/10.1080/09670882.2018.1446401.

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Gikandi, Simon. "Paule Marshall and the search for the African diaspora." New West Indian Guide / Nieuwe West-Indische Gids 73, no. 1-2 (January 1, 1999): 83–88. http://dx.doi.org/10.1163/13822373-90002586.

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[First paragraph]The Fiction of Paule Marshall: Reconstructions of History, Culture, and Gender. DOROTHY HAMER DENNISTON. Knoxville: University of Tennesee Press, 1995. xxii + 187 pp. (Paper US$ 15.00)Toward Wholeness in Paule Marshall's Fiction. JOYCE PETTIS.Charlottesville: University of Virginia Press, 1995. xi + 173 pp. (Cloth US$ 29.50)Black and Female: Essays on Writings by Black Women in the Diaspora. BRITA LINDBERG-SEYERSTED. Oslo: Scandinavian University Press, 1994. 164 pp. (Paper n.p.)Literary history has not been very kind to Paule Marshall. Even in the early 1980s when literature produced by African-American women was gaining prominence among general readers and drawing the attention of critics, Marshall was still considered to be an enigmatic literary figure, somehow important in the canon but not one of its trend setters. As Mary Helen Washington observed in an influential afterword to Brown Girl, Brownstones, although Marshall had been publishing novels and short stories since the early 1950s, and was indeed the key link between African-American writers of the 1940s and those of the 1960s, she was just being "discovered" in the 1980s. While there has always been a small group of scholars, most notably Kamau Brathwaite, who have called attention to the indispensable role Marshall has played in the shaping of the literary canon of the African Diaspora, and of her profound understanding of the issues that have affected the complex formation and survival of African-derived cultures in the New World, many critics have found it difficult to locate her within the American, African-American, and Caribbean traditions that are the sources of her imagination and the subject of her major works. Marshall has embraced all these cultures in more profound ways than her more famous contemporaries have, but she has not gotten the accolades that have gone to lesser writers like Alice Walker. It is indeed one of the greatest injustices of our time that Walker's limited understanding of the cultures and peoples of the African Diaspora has become the point of reference for North American scholars of Africa, the Caribbean, and South America while Marshall's scholastic engagement with questions of Diaspora has not drawn the same kind of interest.

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Parra Sánchez, Diego Ernesto. "La Transición a juicio en la trilogía negra de Juan Madrid: el hard boiled como vehículo para la crítica y la expresión del desencanto en la España postransicional." Acta Hispanica 21 (January 1, 2016): 117–29. http://dx.doi.org/10.14232/actahisp.2016.21.117-129.

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Unlike countries like United Kingdom, France or The United States, Spain never had a remarkable tradition in the field of Crime Fiction. This lack of solid tradition was the consequence of different causes like censorship, a bad consideration at editorial level and the lack of a deep industrial revolution which brings the urban conflicts which make this type of literature emerge. With the arrival of the democratic Transition, these transformations took place and, as a consequence of this, Spanish Crime Fiction experiments and amazing development born, precisely, with the aim of building up a critical portrait over this political phenomenon and its most relevant milestones taking the hard boiled literary trend from the North American authors as model. Being this one the context reflected by the Juan Madrid´s noir trilogy on Transition, this article intends to display an approach to it and its role as an unbeatable platform to rise up a critical review of this period from three perspectives: the political, the social and economical and that in relation to the media.

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Siepak, Julia. "Dimensions of Decolonial Future in Contemporary Indigenous Speculative Fiction: Louise Erdrich’s Future Home of the Living God and Rebecca Roanhorse’s Trail of Lightning." Anglica. An International Journal of English Studies, no. 29/1 (2020): 57–74. http://dx.doi.org/10.7311/0860-5734.29.1.04.

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Departing from the traditional representations of the colonial past and its aftermath, speculative fiction emerges as a new important trend in the North American Indigenous literary landscape, allowing Native writers to represent decolonial futures. This article focuses on the representations of the future offered by two recent Indigenous speculative novels: Louise Erdrich’s Future Home of the Living God (2017) and Rebecca Roanhorse’s Trail of Lightning (2018), in the context of their decolonial potential. The analysis of the selected literary texts pays special attention to the status of women and its revision, as well as to the re-narrativization of space in the face of the anthropogenic climate change, and their significance to Indigenous decolonial project. In order to facilitate the discussion of the Indigenous speculative novels, the article refers to recent theories in Native American studies concerning Indigenous futurism, Native dystopia, and definitions of decolonization.

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Taillandier, Denis. "New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk." Arts 7, no. 4 (October 5, 2018): 60. http://dx.doi.org/10.3390/arts7040060.

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North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on the intertextual dynamics that underlie the shaping of those texts to shed light on Japanese cyberpunk’s (dis)connections to techno-Orientalism as well as on the relationships between literary works, virtual worlds and reality.

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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey." Journal of Scandinavian Cinema 9, no. 3 (September 1, 2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.

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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.

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Collado Rodríguez, Francisco. "Trauma, Ethics and Myth-Oriented Literary Tradition in Jonathan Safran Foer's "Extremely Loud and Incredibly Close"." Journal of English Studies 5 (May 29, 2008): 47. http://dx.doi.org/10.18172/jes.120.

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This essay proposes a reading of Jonathan Safran Foer’s second novel as a literary artifact that the author has consciously elaborated following the strategies of a myth-oriented tradition that had its first literary outbreak in times of High Modernism, being subsequently pursued by magical-realist and postmodern writers. The novelist associates strategies and motifs belonging to such tradition to a context that fulfills the premises of contemporary trauma fiction but that also aims at establishing comparisons between the 9/11 terrorist attacks and WW2 events that North American readers are here forced to remember from the perspective and opinions of a nine-year-old traumatized narrator. Modernist and magical-realist elements combine in a novel that openly demands the ethical positioning of its readers.

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Burns, Tom. "Ernest Hemingway e a Guerra Civil Espanhola." Aletria: Revista de Estudos de Literatura 19, no. 2 (June 30, 2009): 225–36. http://dx.doi.org/10.17851/2317-2096.19.2.225-236.

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Resumo: Este artigo discute o romance For Whom the Bell Tolls, 1940 [Por quem os sinos dobram], do escritor e jornalista americano Ernest Hemingway, uma ficção sobre a Guerra Civil Espanhola que o autor escreveu na Espanha enquanto servia como correspondente de guerra. O romance, favorável à causa legalista, parece assumir uma posição mais política que os romances e histórias anteriores de Hemingway, mas, na verdade, desenvolve mais uma variação do típico “herói de Hemingway”, celebrado em quase toda a obra do autor: o indivíduo solitário, corajoso, destinado ao fracasso, mas determinado a extrair algum significado da vida em um mundo absurdo.Palavras-chave: Guerra Civil Espanhola; herói de Hemingway; literatura de guerra.Abstract: This article discusses the American writer-journalist Ernest Hemingway’s novel For Whom the Bell Tolls (1940), his fiction of the Spanish Civil War, which the author wrote in Spain while serving as a war correspondent for the North American Newspaper Alliance. The novel, sympathetic to the Loyalist cause, seemed to take a more political turn than his previous novels and stories, but in fact turned out to work yet another variation of the typical “Hemingway hero” celebrated in nearly all of the author’s work – the isolated individual, courageous, doomed, but determined to elicit some meaning from life in an absurd world.Keywords: Spanish Civil War; Hemingway hero; Literature of War.

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King, Andrew. "THE SYMPATHETIC INDIVIDUALIST: OUIDA'S LATE WORK AND POLITICS." Victorian Literature and Culture 39, no. 2 (May 18, 2011): 563–79. http://dx.doi.org/10.1017/s1060150311000143.

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For many years, the novels of Ouida (Maria Louise Ramé, 1839–1908), were rejected as offering nothing but commercially valuable “voluptuous daydreams” (Leavis 164) that catered to “the degenerate taste of the new reading public of the commercial middle class” (Elwin 282). Since the late 1980s, however, they have been read with renewed interest. Ouida has come to be recognised as a “forgotten mother” of the 1890s aesthetic movement (Schaffer, Female Aesthetes and “Origins”); as a significant player on the anti–feminist side in the New Woman debates of the 1890s (Gilbert); and, with seeming paradox, as a writer keen to explore sexual transgression (Jordan “Writings” and “Enigma”; Schroeder “Feminine”). While there has been a recent monograph on Ouida's fiction (Schroeder and Holt), her journalism remains largely ignored. In 1882, Ouida began to write literary criticism together with analyses and commentaries on the politics of the state and the organisation of society for several journals, including the Gentleman's Magazine, the Fortnightly Review, the Westminster Review, the North American Review and the Italian Nuova Antologia. This article examines Ouida's late journalism, with some adversion to her late fiction, in an attempt to establish her core set of political values at this time.

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DHARWADKER, APARNA. "Diaspora and the Theatre of the Nation." Theatre Research International 28, no. 3 (October 2003): 303–25. http://dx.doi.org/10.1017/s0307883303001159.

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Among the cultural forms of the Indian diaspora in the West, the radical obscurity of drama and theatre in comparison with fiction, non-fiction, and poetry suggests a complicated relation between genre, location, language, and experience. As a collaborative public medium theatre depends on material resources, institutional networks, and specific cultural contexts which place it at several removes from the privacy and relative self-sufficiency of print genres. Moreover, while novelists often employ diaspora as the enabling condition but not the subject of narrative, immigrant playwrights can create original theatre only when they distance themselves from their cultures of origin and embrace the experience of residence in the host culture, with all its attendant problems of acculturation and identity. In Canada, where the Indian immigrant communities are older, often visibly underprivileged, and entangled in post/colonial histories, an emergent culture of original playwriting and performance has offered a critique of the home-nation as well as of conditions in the diaspora. In the United States, in contrast, where large-scale immigration from India is relatively recent, socially privileged, and unencumbered by colonial baggage, original drama is virtually absent, and various forms of ‘travelling’ theatre dominate the culture of performance, reinforcing a powerful synonymy between ‘diaspora’ and ‘nation’. These two North American locations are paradigmatic examples, therefore, of the historically grounded interconnections between diaspora, nation, and theatre in the modern Indian context.

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Murphy, G. "Mavericks on the Border: The Early Southwest in Historical Fiction and Film; The Medicine Line: Life and Death on a North American Borderland." American Literature 74, no. 1 (March 1, 2002): 187–90. http://dx.doi.org/10.1215/00029831-74-1-187.

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MacDonald, Ian P. "“Let Us All Mutate Together”: Cracking the Code in Laing’sBig Bishop Roko and the Altar Gangsters." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 3 (September 2016): 313–28. http://dx.doi.org/10.1017/pli.2016.15.

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Both Derek Wright and Francis Ngaboh-Smart have interpreted Laing’sMajor Gentl and the Achimota Wars(1992) as an allegory for the emergence of the Internet. In that novel, a future Africa has been digitally erased from the Web archive, and the story follows a civil war aimed at reintegrating the continent into the global scene. Beginning from this reading, I approach Laing’s next work,Big Bishop Roko and the Altar Gangsters(2006), as a formal sequel toMajor Gentl, investigating the changing landscape of global digital access and its potential as a site of resistance over the decade that separates their publication. If, inMajor Gentl, West Africans have been exiled from the Web, the eponymous protagonist inRokouses networked access to interrupt neoliberal economic and social engineering underway in the global North. Through experiments in “genetic mutation”—a metaphor for cyborgian transformation from biological to networked existence—Roko hacks the evolutionary process and forces Africa’s voice into the digital sphere in an attempt to remedy that technology’s unequal distribution. In both novels, Laing indigenizes science fiction using a technique I refer to asjujutech—a hybrid of science fiction and African folk traditions. The resulting style identifies the ways the genre itself mutates and evolves as it escapes the gravity of its Euro-American roots. Laing’s decision to publishRokoelectronically further points to form following function, highlighting new avenues for the dissemination of experimental African works in underrepresented genres.

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Journal articles on the topic 'North American fiction'

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