... of the city as a natural system contrasts with conventional dystopian visions of future cities as scenarios of exploitation, crisis, and disaster. Science-fiction novelist, Kim Stanley Robinson's 2312 uses high-modernist literary strategies to create a narrative of cities and planets as humanly transformed...

..., self-justifying storytellers" (61). Grossman's final chapter extends the relationship between legal story and narrative voice to the Newgate novel, that neglected school of fiction drawn from the pages of the Newgate Calendar and its collection of criminals' lives. By giving these criminals...

... Voices: Ethnic Postmodern Narration in Toni Morrison’s Jazz and Karen Tei Yamashita’s Through the Arc of the Rain Forest.” Contemporary Literature 41 ( 2000 ): 619 –41. Snead , James . “European pedigrees/African contagions: nationality, narrative, and communality in Tutuola, Achebe, and Reed...

..., Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction (Columbus: Ohio State UP, 2006), pp. 166, cloth, $55.95, paper, $24.95, CD, $9.95. Unnatural Voices is the first sustained study of outrageous, impossible, experimental and eccentric narrative point-of-view in modem...

..., as filtered through photography in particular, operates within certain canonical modernist texts. As in Burrows's case, rather than reiterate the by now fairly well-trodden argument that modernism's adoption of the camera eye allows us to define the narrative voice as photographic, the study tries to define...

...”: a “form of reading” that “seeks to restore narrative—to the act of writing and to Conrad's “voice”—some scarcely noted dissent, exilic voices, and sounds that Conrad's novel both designates and suppresses” (73). Through the echo, the reader seeks to recover a voice that Conrad has permitted...

..." 65), one key implication of which is to set the debate firmly in the area of form.I0 In a situation of cultural encounter, it is through the element of local form that variation occurs. According to Moretti, the discernable manifestation of local form is related to narrative voice. He...

...: A Biography . New York : Harcourt , 1940 . Zola Émile . The Experimental Novel and Other Essays . Trans. Sherman Belle M. . New York : Cassell , 1893 . Henry James realism The American Théâtre Français narrative voice modernism European novel This essay proposes...

... . Copyright © Novel Corp. 2000 2000 On Voice JOHN BRENKMAN I intend in this essay on "voice" in the novel to sharpen the difference between narrative theory and novel theory as antagonistic genres of criticism. Their antagonism is not of course absolute...

... form, local material, and local form. Simplifying somewhat: foreign plot; local characters; and then, local narrative voice: and it’s precisely in this third dimension that these novels seem to be most unstable. (58, 64–65) This understanding of the third-world novel as an artifact...

... be talked about by somebody located in a different corner of the world at a time long after its occurrence; the same event can be looked at from the space and the time of its occurrence; the same narrative voices can take us to before the time and the space of that event's occurrence: literally, global...

...” plots (19). For Garcha it is not plot but the consistency of style and narrative voice in a novel that enables us to “read the heterogeneous, often nar- ratively dysfunctional novels of the Victorian period as unified wholes” (42). Style, then, is intimately connected to the novel form...

... of voice typical of the genre, the deployment of these new techniques enables the narratives to uncover “insights and illuminations more profound than the superficial image man has of itself at a particular time” ( Lukács, Writer 16 ) and thus qualifies them as realist literature. Furthermore...

... shapes his narrative voice. The discourses of neuroscience and evolutionary psychology are especially deployed after Joe endures a traumatic event in which he witnesses a man falling to his death from a hot air balloon. Much of the novel records the cognitive and emotional aftermath...

... talent for close listening—tunes in to Thackeray’s insistently depressive narrative voice so acutely that he can hear more in that voice than just the mechanical operation of ironic bitchery. Lending a preternaturally sensitive ear to the Thackerayan narrator’s sour “acous- tics,” Kurnick picks up...

... , the history of empire is “disavowed,” or is “not quite spoken aloud, but seem[s] instead to get trapped in the novel's throat,” or is confined in “the black hole of oblivion” (124, 127, 196). Chapter 4 is about the aliveness of Eliot's narrative voice in Middlemarch . As in previous chapters...

... himself” and even feels that such a course of action “seemed mandatory” given the circumstances (344). The material logic of his hopeless condition—he is, he thinks, likely the only human left alive—could seemingly mandate despair and self-destruction. The narrative voice at first reflects that he...

... of feminine identity and disturb stable gender di- chotomies. Moving from third-person to first-person narratives, her fiction elabo- rates a disjunctive narrative style, a fragmented, ironic, self-conscious narrative voice, and a grotesque visual aesthetic which creates dissonance with cosmetic...

.... It provides genuine pleasures, surprises, and provocations and will quickly become required reading for anyone working on realism, sympathy, narrative voice, or the experience of reading itself. ...

... complains that the driver is “a son of a gun” who “took an extra dollar twenty-five” in tabulating the fare (50). The splitting that begins within the narrative voice itself redoubles in her casting of the march as a utopia fractured by class competition. While Lee wrestles with the aesthetic...