... Poetry and Prose, Including Writings Never before Available in Book Form . New York: Dodd, Mead and Company, 1975 . Matthews , Victoria Earle . “The Value of Race Literature.” First Congress of Colored Women of the United States, July 30, 1895, The Massachusetts Review 27 ( 1986 ): 169 –85...

...J. MARINA DAVIES MICHAEL LUCEY, Never Say I: Sexuality and the First Person in Colette, Gide, and Proust (Durham: Duke UP, 2006), pp. 336, cloth, $84.95, paper, $23.95. Copyright © Novel Corp. 2007 2007 First Person Sexual MICHAEL LUCEY, Never Say I...

...J. MARINA DAVIES MICHAEL LUCEY, Never Say I: Sexuality and the First Person in Colette, Gide, and Proust (Durham: Duke UP, 2006), pp. 336, cloth, $84.95, paper, $23.95. Copyright © Novel Corp. 2007 2007 First Person Sexual MICHAEL LUCEY, Never Say I...

...Brian T. Edwards This essay proposes that “circulation” is a useful rubric for thinking about the twenty-first-century Egyptian novel and its relationship to democracy. In the first decade of the twenty-first century, a new generation of Cairo-based writers employed innovative forms and linguistic...

...Neil Ten Kortenaar A great project of the first two generations of African writers was to establish continuities with the precolonial and ongoing oral tradition. This essay, however, asks what African writers thought of the act of writing itself. A key scene in Chinua Achebe's novel Arrow of God...

...Dierdra Reber Abstract This essay traces a conceptual through-line from the twenty-first century crisis of democratic institutionality, explained as an effect of contemporary neoliberalism, back to the eighteenth-century discursive origins of free-market capitalism. On both ends of this temporal...

... first by discussing what it calls “commodity origin” scenes in Émile Zola, F. Scott Fitzgerald, and Richard Powers, a genre that like the epic simile interrupts the action to provide background knowledge. Second, it reflects on the famous first sentence of Gabriel García Márquez's One Hundred Years...

... is that the situation is hard for her to detect until it is too late. This aspect of the novel anticipates the particular hardships of the twenty-first-century gig economy, at the core of which is the systematic representation of work as something other than work. I thus approach The Old Curiosity Shop as a hybrid text...

... struggle against systems of data capture and control. Both novels suggest that the ubiquity of computational systems has generated new problems for the form and function of literary thinking in the twenty‐first century. The first problem is both practical and aesthetic: how to narrate or describe a world...

...Amanda Anderson A therapeutic impulse could be said to stand behind two distinctive responses to ideological criticism that have formed in the field of literary criticism over the past few decades. The first response is best characterized as an ascesis that willfully reduces the methodological...

...Scott McCracken Günter Grass's novel Ein weites Feld caused a storm of controversy when it was published in Germany in 1995. There was an expectation that his first novel after the fall of the Berlin Wall would answer the question of what should now constitute a national literature. Instead, he...

... action is embodied and interrogated in what I call the microeconomic mode , a ubiquitous twenty-first-century cultural formation defined by a combination of abstraction and extremity. From Cormac McCarthy's The Road to the Hunger Games franchise, this mode represents individuals making life-and-death...

...John Sampson Abstract “Untimely Love” reassesses the aesthetic choices and political implications of Edith Wharton's The Age of Innocence (1920), first by highlighting a surprising overlap between Wharton and the anarcho-feminist Emma Goldman. Wharton's novelistic critique of New York society's...

...Rita Barnard If, as Benedict Anderson has argued, the realist novel has a particularly close relationship to the nation, what kind of narrative form would be best suited to transnational or even global fictions? This essay proposes a few answers to this question by looking first at what Roger Ebert...

... and do partake of an “Indianness” that is deemed authentic and powerful as long as they are understood to be committed to the Indian nation and her people from within or from afar. In Markandaya's case, I argue that after the global success of her first novel, Nectar in a Sieve (1954), her refusal to put...

... of production Deleuze and Guattari associate with desire in its purest or least “oedipalized” form. First I discuss the deliberate but apparently pointless and wasteful expenditure of labor, time, and resources associated with “curiosities.” Turning to Uncle Toby's battlefield in Tristram Shandy and Mr. Dick's...

... serving as US consul in Liverpool that Hawthorne first came to think of himself as a national, rather than a regional, writer. But this national identity took two different forms: one that was grounded in the customs and traditions, culture and commitments that make up the nation and another...

... in narration rather than in event and sometimes in a contest between the two. This sapphic structuring of the novel first takes form in seventeenth-century erotic fictions, but more surprisingly, it also characterizes such eighteenth-century domestic novels as Eliza Haywood's The Masqueraders , Frances...

... and distribution regimes, and the careers of dramatizers, directors, and stars. Focusing on the early twenty-first century adaptations of Jane Austen's novels, I argue here that the differing ways print and filmic media are packaged, advertised, and sold or exhibited to potential cultural consumers creates...

...Paul K. Saint-Amour This essay takes exception with two widespread attitudes toward war and technology. The first is a shopworn optimism that produces an absolute distinction between war and peace by celebrating the peacetime applications of weapons technologies. The second understands peace...