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The New Believers identifies a group of today's most important novelists, Margaret Atwood, J. M. Coetzee, Junot Díaz, and George Saunders, who have challenged the trend of depressing and defeatist novelistic endings by turning to spiritual beliefs, powers, and presences. Through spiritual belief, these writers use the novel to imagine more hopeful and caring ways of being in the world, ones that can challenge Christian Nationalism and neoliberal capitalism and empower leftist and liberal causes, such as women's rights, migrant rights, animal rights, and care for the environment. Through a survey of the current state of novel studies, close readings of key works by each writer, and new archival research on Margaret Atwood and J. M. Coetzee, The New Believers shows how these writers transform novelistic realism through spiritual realism and reshape the current debate about religion, secularization, and literature.
Innovative novels by women published in the UK in the 1950s and 1960s have returned with a vengeance in the last decade. They have reappeared in bookshops, they have been the subject of academic work, of newspaper articles and radio programmes. Feminist critical work is likely to see this return through the trope of recovery; those interested in publishing are likely to use Pierre Bourdieu's model of 'restricted production'. This Element argues that both of these temporal models are problematic. That these novelists have not been fully present in literary culture till now is the fault neither of 'forgetting' nor the time lag inherent in restricted production, but of the specific and complex structures, dynamics and assumptions of publishing. By focusing the publishing and republishing of the work of Ann Quin (1936–1973), this Element remakes the feminist critical landscape for work on novelists from the past and on publishing.
Elizabeth Hitchener (1783–1821) is best known to literary history for a brief but intense friendship with Percy Bysshe Shelley, during which he declared her 'the sister of my soul'. When, in 1812, the friendship fell apart, Shelley turned on her. She was, he said, 'an ugly, hermaphroditical beast of a woman'. He labelled her 'The Brown Demon'. This Element is the first biographical and critical study of a schoolmistress, letter-writer, and poet, whose achievements transcend Shelley's denigrating characterisation. Drawing on fresh archival research, it uncovers a wealth of new information about Hitchener's life and shows how she benefitted from and engaged with late-eighteenth century traditions of radical and proto-feminist thought. It offers a revisionary account both of Hitchener's correspondence with Shelley—based on newly-edited manuscripts—and her achievements as a poet, attending in particular to the generic and argumentative complexity of her topographical poem The Weald of Sussex (1822).
Consumed by thoughts of a mysterious flower, Heinrich leaves his cold homeland and travels south until he meets Mathilde, who opens his eyes to the world's mysteries. Then a tragic event reveals the secret power of poetry… Heinrich von Ofterdingen, left unfinished at the time of the author's death, is a masterpiece of philosophical fiction and a classic of German literature. This highly detailed and original interpretation is the most detailed, comprehensive, and systematic study of the novel ever written. Developing fresh insights into the philosophical ideas of the novel while also attending to its symbolic, literary, and creative qualities, Owen Ware explores how Novalis probes the core problem of modern life – fragmentation and our sense of alienation from the world. Ultimately, he shows us, this novel is a timeless expression of the Romantics' idea that only the imagination, guided by love, can bring us back to our spiritual home.
How did writers reimagine self and nation in the postcolonial moment? After the brutalities of partition and the triumph of Independence, decolonization in South Asia unfolded in a dramatic sense of disillusion and alienation. In this transnational study, Toral Gajarawala explores the cultural afterlife of decolonization in India, Pakistan and Bangladesh and its profound moment of existential reckoning. In new genres and forms, artists registered a growing sense of estrangement from nation and nationalism, and crafted a new aesthetic landscape. This book reconsiders modernism in the subcontinent, charting the unlikely affiliations and aesthetic experiments it generated. Each chapter discusses a distinct artistic experiment- Hindi novels set in snow and ice, and a Pakistani painter's Paris moment; the existential novel of Bengal, and absurdist plays on famine and extinction- in light of key philosophical concepts of the moment: askesis, responsibility, commitment. The result is an illuminating microanalysis of the 1960s that reshapes our understanding of postcolonial aesthetics.
This Element traces the evolution of honkaku (orthodox) detective fiction in Japan, examining how a Western-derived puzzle genre was adapted, contested, and transformed within Japan's twentieth-century cultural climate. It begins with the genre's prewar formation, focusing on Edogawa Rampo's shift from a faithful practitioner of honkaku to a representative figure of Japan's henkaku (unorthodox) mode. The second section analyzes the postwar honkaku movement, demonstrating how Seishi Yokomizo and Seichō Matsumoto revitalized the genre while revealing the limits of the classical puzzle model. The final section turns to the New Orthodox School of the 1990s, whose writers pushed honkaku to its limits by reworking narrative structures and subverting genre conventions. By foregrounding debates surrounding honkaku, this Element theorizes detective fiction as a historically contingent system of formal constraints and cultural negotiations, positioning modern Japanese literature as a crucial site for rethinking genre, narrative logic, and the global circulation of literary forms.
1940s African American literature sits between two of the best-known periods in Black writing. Adding more intricacy to its framing, this decade's literary output commences and ends with watershed creative accomplishments by canonical mainstays in the waiting like Zora Neale Hurston, Richard Wright, Gwendolyn Brooks, James Baldwin, and Ralph Ellison. However, this book shows that mid-century Black literary productivity is not a matter of a handful of canonical figures and instead, it illuminates overt and implicit collaboration as a hallmark of the age. It identifies perforation, aesthetic plurality, multi-generic virtuosity, and writerly professionalism as signposts for understanding mid-twentieth century Black literary productivity. It engages prior assessments that cast African American literature in the 1940s based on stylistic clashes and technical stasis. It restores Black writing's role as feature of American social progress in the space between the Great Depression and the mature Civil Rights Movement.
This chapter looks at Thomas Moore’s attempts to maintain a midway point between post-Napoleonic conservatism and emerging radical reform movements. It looks at his biography of Richard Brinsley Sheridan in the context of wider debates about the nature of Whiggism and its suitability to the political moment. Moore’s attempts at moderation ran aground on the shores of Irish history, as his work increasingly moved to prose in order to make explicit political tensions that had been implicit in his poetry.
This chapter recovers the work of Charles Phillips, a barrister known for his florid rhetorical style. It looks at his argument with the Edinburgh Review about the proper nature of ‘legitimate eloquence’ within the context of wider tensions in post-Napoleonic Britain around the democratisation of public speech. Oratory was now considered potentially radical, even anarchic, which gave a greater urgency to defining and policing Irish speech.
This conclusion looks at cultural debate in the 1830s to consider the way in which the earlier decades of the nineteenth century were already being historicised by writers and intellectuals aware that they were entering a new literary age.
This chapter looks at Maria Edgeworth’s writings on Edmund Burke from 1805 to 1814, culminating in her novel Patronage published in that year. It looks at the reputation of Burke and the charges against his style by the Irish writer George Ensor as a way of thinking about how Burke’s mixed style of rhetoric may have influenced Edgeworth’s fictional practice. The relationship between rhetoric and realism is considered, as well as reasons for Edgeworth’s fall from literary favour in later years.
Over a career spanning fifteen novels, two short story collections, and eight volumes of nonfiction, Sir Martin Amis helped to define his era. Through his published work and public commentaries, his voice featured prominently in the important socio-literary debates of his time. His work contributes to literary discussions about realism, postmodernism, satire, and comedy, and his core themes range across the Holocaust, nuclear anxiety, apocalyptic millennialism and, more recently, the war on terror. His words were rarely without controversy. This Companion identifies the essential elements of Amis's work and then evaluates their potential for longevity. From his earliest publications in the 1970's to his death as one of England's most well-known writers in 2023, Amis was an outspoken critic of social myopia: how societies – and their citizens – continually choose selfishness over altruism, fatalism over improvement, and blindness over enlightenment.
This chapter looks at the work of John and Michael Banim, who emerged as important Catholic novelists in the late 1820s. Their work attempted to capture the energy of O’Connellite politics in fiction, blending rhetorical set pieces with melodramatic incident. Public speech and oratory become centrally important to their work, and the influence of Richard Lalor Shiel on John Banim in particular becomes clear on reading his work.
This chapter looks at a minor controversy in the life of Charles Robert Maturin to consider his work in the light of sectarian tensions during the ‘Second Reformation’: the energised push by the Church of Ireland to convert the Catholic population in the 1820s. The role eloquence plays in Maturin’s work will be looked at and considered in relation to wider issues surrounding religious rhetoric and Gothic writing.