Geographically and culturally boundless, with contributions from Great Britain, Ireland, America, Canada, Australia, India, the Caribbean, and Southern Africa; influenced by great novelists working in other languages; and encompassing a range of genres, the story of the novel in English unfolds like a richly varied landscape that invites exploration rather than a linear journey. In The Novel: A Biography, "Michael Schmidt does full justice to its complexity.Like his hero Ford Madox Ford in The March of Literature," Schmidt chooses as his traveling companions not critics or theorists but "artist practitioners," men and women who feel "hot love" for the books they admire, and fulminate against those they dislike. It is their insights Schmidt cares about. Quoting from the letters, diaries, reviews, and essays of novelists and drawing on their biographies, Schmidt invites us into the creative dialogues between authors and between books, and suggests how these dialogues have shaped the development of the novel in English.Schmidt believes there is something fundamentally subversive about art: he portrays the novel as a liberalizing force and a revolutionary stimulus. But whatever purpose the novel serves in a given era, a work endures not because of its subject, themes, political stance, or social aims but because of its language, its sheer invention, and its resistance to cliche--some irreducible quality that keeps readers coming back to its pages."

    Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

    But no matter who has staked their claim to the land, it has always had a way of enveloping souls in its vast, icy embrace. For William L. Iggiagruk Hensley, Alaska has been his home, his identity, and his cause. Born on the shores of Kotzebue Sound, twenty-nine miles north of the Arctic Circle, he was raised to live the traditional, seminomadic life that his Iñupiaq ancestors had lived for thousands of years. It was a life of cold and of constant effort, but Hensley’s people also reaped the bounty that nature provided. In Fifty Miles from Tomorrow, Hensley offers us the rare chance to immerse ourselves in a firsthand account of growing up Native Alaskan. There have been books written about Alaska, but they’ve been written by Outsiders, settlers. Hensley’s memoir of life on the tundra offers an entirely new perspective, and his stories are captivating, as is his account of his devotion to the Alaska Native land claims movement. As a young man, Hensley was sent by missionaries to the Lower Forty-eight so he could pursue an education. While studying there, he discovered that the land Native Alaskans had occupied and, to all intents and purposes, owned for millennia was being snatched away from them. Hensley decided to fight back.  In 1971, after years of Hensley’s tireless lobbying, the United States government set aside 44 million acres and nearly $1 billion for use by Alaska’s native peoples. Unlike their relatives to the south, the Alaskan peoples would be able to take charge of their economic and political destiny. The landmark decision did not come overnight and was certainly not the making of any one person. But it was Hensley who gave voice to the cause and made it real. Fifty Miles from Tomorrow is not only the memoir of one man; it is also a fascinating testament to the resilience of the Alaskan ilitqusiat, the Alaskan spirit.

    She engages with such wide-ranging topics as race, parenthood, love, mental illness, poverty, sexual assault, gentrifcation, writing and representation, and in the process makes connections both large and small between the past and present, the personal and political--from overcoming a years-long battle with head lice to the way Native writers are treated within the Canadian literary industry; her unplanned teenage pregnancy to the history of dark matter and how it relates to racism in the court system; her childhood diet of Kraft Dinner to how systemic oppression is directly linked to health problems in Native communities.With deep consideration and searing prose, Elliott provides a candid look at our past, an illuminating portrait of our present and a powerful tool for a better future.

    Jonathan Culler, an extremely lucid commentator and much admired in the field of literary theory, offers discerning insights into such theories as the nature of language and meaning, and whether literature is a form of self-expression or a method of appeal to an audience. Concise yet thorough, Literary Theory also outlines the ideas behind a number of different schools: deconstruction, semiotics, postcolonial theory, and structuralism, among others. From topics such as literature and social identity to poetry, poetics, and rhetoric, Literary Theory: A Very Short Introduction is a welcome guide for anyone interested in the importance of literature and the debates surrounding it.About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

    In the same style as the best-selling Dreaming in Indian, #NotYourPrincess presents an eclectic collection of poems, essays, interviews, and art that combine to express the experience of being a Native woman. Stories of abuse, humiliation, and stereotyping are countered by the voices of passionate women making themselves heard and demanding change. Sometimes angry, often reflective, but always strong, the women in this book will give teen readers insight into the lives of women who, for so long, have been virtually invisible.

    Justified as a humanitarian enterprise, the undertaking was to be systematic and rational, overseen by Washington’s small but growing bureaucracy. But as the policy unfolded over the next decade, thousands of Native Americans died under the federal government’s auspices, and thousands of others lost their possessions and homelands in an orgy of fraud, intimidation, and violence. Unworthy Republic reveals how expulsion became national policy and describes the chaotic and deadly results of the operation to deport 80,000 men, women, and children.Drawing on firsthand accounts and the voluminous records produced by the federal government, Saunt’s deeply researched book argues that Indian Removal, as advocates of the policy called it, was not an inevitable chapter in U.S. expansion across the continent. Rather, it was a fiercely contested political act designed to secure new lands for the expansion of slavery and to consolidate the power of the southern states. Indigenous peoples fought relentlessly against the policy, while many U.S. citizens insisted that it was a betrayal of the nation’s values. When Congress passed the act by a razor-thin margin, it authorized one of the first state-sponsored mass deportations in the modern era, marking a turning point for native peoples and for the United States.In telling this gripping story, Saunt shows how the politics and economics of white supremacy lay at the heart of the expulsion of Native Americans, how corruption, greed, and administrative indifference and incompetence contributed to the debacle of its implementation, and how the consequences still resonate today.

    He is especially penetrating on Hermann Broch, and his exploration of the world of Kafka's novels vividly reveals the comic terror of Kafka's bureaucratized universe.Kundera's discussion of his own work includes his views on the role of historical events in fiction, the meaning of action, and the creation of character in the post-psychological novel.

    In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history.In more than two hundred original essays, "A New Literary History of America" brings together the nation s many voices. From the first conception of a New World in the sixteenth century to the latest re-envisioning of that world in cartoons, television, science fiction, and hip hop, the book gives us a new, kaleidoscopic view of what Made in America means. Literature, music, film, art, history, science, philosophy, political rhetoric cultural creations of every kind appear in relation to each other, and to the time and place that give them shape.The meeting of minds is extraordinary as T. J. Clark writes on Jackson Pollock, Paul Muldoon on Carl Sandburg, Camille Paglia on Tennessee Williams, Sarah Vowell on Grant Wood s "American Gothic," Walter Mosley on hard-boiled detective fiction, Jonathan Lethem on Thomas Edison, Gerald Early on "Tarzan," Bharati Mukherjee on "The Scarlet Letter," Gish Jen on "Catcher in the Rye," and Ishmael Reed on "Huckleberry Finn." From Anne Bradstreet and John Winthrop to Philip Roth and Toni Morrison, from Alexander Graham Bell and Stephen Foster to Alcoholics Anonymous, "Life," Chuck Berry, Alfred Hitchcock, and Ronald Reagan, this is America singing, celebrating itself, and becoming something altogether different, plural, singular, new.Please visit www.newliteraryhistory.com for more information. "

    Talayesva, the Sun Chief, who was born and reared until the age of ten as a Hopi Indian, and then trained as a white man until he was twenty. Although torn between two worlds and cultures, he returned to Hopiland and readopted all the tribal customs. This is his autobiography, written for Leo Simmons, a white man who was a clan brother.

    The dramatic, brutally honest, and ultimately triumphant sequel to the bestselling American Book Award winner Lakota Woman, this book continues Mary Brave Bird's courageous story of life as a Native American in a white-dominated society.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    In these highly individual, penetrating essays he has exposed 'the American whole soul' within some of that continent's major works of literature. In seeking to establish the status of writings by such authors as Poe, Melville, Fenimore Cooper and Whitman, Lawrence himself has created a classic work. Studies in Classic American Literature is valuable not only for the light it sheds on eighteenth- and nineteenth-century American consciousness, telling 'the truth of the day', but also as a prime example of Lawrence's learning, passion and integrity of judgement.