It has been explained as a combination of romance, science and prophecy; as a genre based on an imagined alternative to the reader's environment; and as a form of fantastic fiction and historical literature. It has also been argued that science fiction narratives are the most engaged, socially relevant, and responsive to the modern technological environment. This Very Short Introduction doesn't offer a history of science fiction, but instead ties examples of science fiction to different historical moments, in order to demonstrate how science fiction has evolved over time. David Seed looks not only at literature, but also at drama and poetry, as well as film. Examining recurrent themes in science fiction he looks at voyages into space, the concept of the alien and alternative social identities, the role of technology in science fiction, and its relation to time - in the past, present, and future.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    Now, in an equally groundbreaking work, Benson takes on the late Wallace Stegner--conservationist, teacher, and author of more than two dozen works of history, biography, essays, and fiction, including the Pulitzer Prize-winning Angle of Repose (1971), the National Book Award-winning Spectator Bird (1976), and the bestselling Crossing to Safety (1987). Drawing on nearly ten years of research and hundreds of hours of interviews, this authorized biography traces the trajectory of Stegner's life from his prairie childhood in Saskatchewan and teenage years in Salt Lake City to his prominence in the environmental movement and the impact of his Stanford University creative writing program--whose students included Larry McMurtry, Robert Stone, Ken Kesey, and Ivan Doig. Wallace Stegner is a close encounter with one of the greatest American writers of our time.

    Geared toward students, teachers, readers, and writers alike, The Penguin Dictionary of Literary Terms and Literary Theory explains critical jargon (intertextuality, aporia), schools of literary theory (structuralism, feminist criticism), literary forms (sonnet, ottava rima), and genres (elegy, pastoral) and examines artifacts, historic locales, archetypes, origins of well-known phrases, and much, much more. Scholarly, straightforward, comprehensive, and even entertaining, this is a resource that no word-lover should be without.

    With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind??—??a must-have for all poetry-lovers.

    The collection will include pre-published essays that have gone viral, like “The White Industrial Savior Complex,” first published in The Atlantic.

    "The best book on the dope decade." -- "NY Times Book Review"

    It includes a brief introduction describing the evolution of Mark Twain’s ideas about writing his autobiography, as well as a chronology of his life, brief family biographies, and an excerpt from the forthcoming Autobiography of Mark Twain, Volume 2—a controversial but characteristically humorous attack on Christian doctrine.The year 2010 marked the 100th anniversary of Mark Twain’s death. In celebration of this important milestone and in honor of the cherished tradition of publishing Mark Twain’s works, UC Press published Autobiography of Mark Twain, Volume 1, the first of a projected three-volume edition of the complete, uncensored autobiography. The book became an immediate bestseller and was hailed as the capstone of the life’s work of America’s favorite author.Read an excerpt here: Autobiography of Mark Twain, Volume 1:The Complete and Authoritative Edition by Mark Twain by University of California Press

    Feeling alienated in the America of the 1920s, Fitzgerald, Crane, Hemingway, Wilder, Dos Passos, Cowley, and many other writers "escaped" to Europe, some forever, some as temporary exiles. As Cowley details in this intimate, anecdotal portrait, in renouncing traditional life and literature, they expanded the boundaries of art.

    As the Civil War raged, an unlikely friendship was born between the reclusive poet Emily Dickinson and Thomas Wentworth Higginson, a literary figure who ran guns to Kansas and commanded the first Union regiment of black soldiers. When Dickinson sent Higginson four of her poems, he realized he had encountered a wholly original genius; their intense correspondence continued for the next quarter century.In White Heat, Brenda Wineapple tells an extraordinary story about poetry, politics, and love -- one that sheds new light on her subjects, and on the roiling America they shared.

    As a Women Airforce Service Pilot (WASP), Trudy is one of the most knowledgeable flyers of the P-51 Mustang. She is in full command of one of the fastest airplanes ever made, but she is forbidden from going into combat because of her gender. Trudy is shocked when her dream of going to the front lines is fulfilled. The Office of Strategic Services (OSS) needs a pilot to sneak into German-occupied Lithuania and rescue a professor whose work could have international implications. But first, Trudy will have to get there. As Trudy crosses the United States and Canada with her handsome traveling partner, Major Rod Jackson, she sees the many different ways Americans and Canadians are helping on the home front. Her new base of operations in Duxford, England, will also give her a front-row seat to the violent, deadly aerial battles of the European theater. Trudy is determined to fight to protect the Allies, but will she make it out of her first operation alive?

    She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires.Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

    Among those who have disparaged romance reading are feminists, literary critics, and theorists of mass culture. They claim that romances enforce the woman reader's dependence on men and acceptance of the repressive ideology purveyed by popular culture. Radway questions such claims, arguing that critical attention "must shift from the text itself, taken in isolation, to the complex social event of reading." She examines that event, from the complicated business of publishing and distribution to the individual reader's engagement with the text.Radway's provocative approach combines reader-response criticism with anthropology and feminist psychology. Asking readers themselves to explore their reading motives, habits, and rewards, she conducted interviews in a midwestern town with forty-two romance readers whom she met through Dorothy Evans, a chain bookstore employee who has earned a reputation as an expert on romantic fiction. Evans defends her customers' choice of entertainment; reading romances, she tells Radway, is no more harmful than watching sports on television."We read books so we won't cry" is the poignant explanation one woman offers for her reading habit. Indeed, Radway found that while the women she studied devote themselves to nurturing their families, these wives and mothers receive insufficient devotion or nurturance in return. In romances the women find not only escape from the demanding and often tiresome routines of their lives but also a hero who supplies the tenderness and admiring attention that they have learned not to expect.The heroines admired by Radway's group defy the expected stereotypes; they are strong, independent, and intelligent. That such characters often find themselves to be victims of male aggression and almost always resign themselves to accepting conventional roles in life has less to do, Radway argues, with the women readers' fantasies and choices than with their need to deal with a fear of masculine dominance.These romance readers resent not only the limited choices in their own lives but the patronizing atitude that men especially express toward their reading tastes. In fact, women read romances both to protest and to escape temporarily the narrowly defined role prescribed for them by a patriarchal culture. Paradoxically, the books that they read make conventional roles for women seem desirable. It is this complex relationship between culture, text, and woman reader that Radway urges feminists to address. Romance readers, she argues, should be encouraged to deliver their protests in the arena of actual social relations rather than to act them out in the solitude of the imagination.In a new introduction, Janice Radway places the book within the context of current scholarship and offers both an explanation and critique of the study's limitations.

    This is an exploration of her relationship with the literary form we have come to know as "science fiction,” a relationship that has been lifelong, stretching from her days as a child reader in the 1940s, through her time as a graduate student at Harvard, where she worked on the Victorian ancestor of the form, and continuing as a writer and reviewer.  This book brings together her three heretofore unpublished Ellmann Lectures from 2010: "Flying Rabbits," which begins with Atwood's early  rabbit superhero creations, and goes on to speculate about masks, capes, weakling alter egos, and Things with Wings; "Burning Bushes," which follows her into Victorian otherlands and beyond; and "Dire Cartographies," which investigates Utopias and Dystopias.  In Other Worlds also includes some of Atwood's key reviews and thoughts about the form. Among those writers discussed are Marge Piercy, Rider Haggard, Ursula Le Guin, Ishiguro, Bryher, Huxley, and Jonathan Swift. She elucidates the differences (as she sees them) between "science fiction" proper, and "speculative fiction," as well as between "sword and sorcery/fantasy" and "slipstream fiction." For all readers who have loved The Handmaid's Tale, Oryx and Crake, and The Year of the Flood, In Other Worlds is a must.  From the Hardcover edition.

    Its popularity owes much to the lyricism of the prose, thepitch-perfect rendition of black vernacular English, and the memorable characters--most notably, Janie Crawford. Collecting the most widely cited and influential essays published on Hurston's classic novel over the last quarter century, this Casebook presents contesting viewpoints by Hazel Carby, Henry Louis Gates, Jr., Barbara Johnson, Carla Kaplan, Daphne Lamothe, Mary Helen Washington, and Sherley Anne Williams. The volume also includes a statement Hurston submitted to a reference book on twentieth-century authors in 1942. As it records the major debates the novel has sparked on issues oflanguage and identity, feminism and racial politics, A Casebook charts new directions for future critics and affirms the classic status of the novel.