Characters Of Women In Narrative Literature

For over six years, The Woman in the Story has been the go-to resource for writers who want to be gender-mindful when they figure how to create female characters. Inspired by female psychology and gender issues, this how-to book casts a refreshingly honest and empowering women-centric light on every stage of the screenwriting process.

Female novelists have always invested as much narrative energy in constructing their male characters—heroes and villains—as in envisioning their female protagonists, but this fact has received very little scholarly attention to date. In Women Constructing Men, scholars from Australia, Canada, Germany, Great Britain and the United States begin to sketch the outline of a new literary history of women writing men in the English-speaking world from the eighteenth century until today. By rediscovering forgotten texts, rereading novels by high canonical female authors, refocusing the interest in well-known novels, and analyzing contemporary narrative constructions of masculinity, the contributing scholars demonstrate that female authors create male characters every bit as complex as their male counterparts. Using a variety of theoretical models and coming to an equal variety of conclusions, the essays collected in Women Constructing Men skilfully demonstrate that the topic of female-authored masculinities not only allows scholars to re-read and re-discover almost every novel ever written by a woman writer, but also triggers reflections on a host of theoretical questions of gender and genre. In re-examining these male characters across literary history,these articles extend the feminist question of "Who has the authority to create a female character?" to "Who has the authority to create any character?".

NATIONAL BESTSELLER WINNER OF THE BOOKER PRIZE “A must-read about modern Britain and womanhood . . . An impressive, fierce novel about the lives of black British families, their struggles, pains, laughter, longings and loves . . . Her style is passionate, razor-sharp, brimming with energy and humor. There is never a single moment of dullness in this book and the pace does not allow you to turn away from its momentum.” —Booker Prize Judges Bernardine Evaristo is the winner of the 2019 Booker Prize and the first black woman to receive this highest literary honor in the English language. Girl, Woman, Other is a magnificent portrayal of the intersections of identity and a moving and hopeful story of an interconnected group of Black British women that paints a vivid portrait of the state of contemporary Britain and looks back to the legacy of Britain’s colonial history in Africa and the Caribbean. The twelve central characters of this multi-voiced novel lead vastly different lives: Amma is a newly acclaimed playwright whose work often explores her Black lesbian identity; her old friend Shirley is a teacher, jaded after decades of work in London’s funding-deprived schools; Carole, one of Shirley’s former students, is a successful investment banker; Carole’s mother Bummi works as a cleaner and worries about her daughter’s lack of rootedness despite her obvious achievements. From a nonbinary social media influencer to a 93-year-old woman living on a farm in Northern England, these unforgettable characters also intersect in shared aspects of their identities, from age to race to sexuality to class. Sparklingly witty and filled with emotion, centering voices we often see othered, and written in an innovative fast-moving form that borrows technique from poetry, Girl, Woman, Other is a polyphonic and richly textured social novel that shows a side of Britain we rarely see, one that reminds us of all that connects us to our neighbors, even in times when we are encouraged to be split apart.

Now available in paperback! Until now, there was no theoretical research of character in children's fiction and very few comprehensive theoretical studies of literary characters in general. In her latest intellectual foray, the author of From Mythic to Linear ponders the art of characterization. Through a variety of critical perspectives, she uncovers the essential differences between story ('what we are told') and discourse ('how we are told'), and carefully distinguishes between how these are employed in children's fiction and in general fiction. Yet another masterful work by a leading figure in contemporary criticism.

Annotation Writing from positions of cultural exclusion, women have faced constraints not only upon the "content" of fiction but upon the act of narration itself. Narrative voice thus becomes a matter not simply of technique but of social authority: how to speak publicly, to whom, and in whose name. Susan Sniader Lanser here explores patterns of narration in a wide range of novels by women of England, France, and the United States from the 1740s to the present. Drawing upon narratological and feminist theory, Lanser sheds new light on the history of "voice" as a narrative strategy and as a means of attaining social power.

A luminous, powerful novel that establishes Rachel Cusk as one of the finest writers in the English language A man and a woman are seated next to each other on a plane. They get to talking—about their destination, their careers, their families. Grievances are aired, family tragedies discussed, marriages and divorces analyzed. An intimacy is established as two strangers contrast their own fictions about their lives. Rachel Cusk's Outline is a novel in ten conversations. Spare and stark, it follows a novelist teaching a course in creative writing during one oppressively hot summer in Athens. She leads her students in storytelling exercises. She meets other visiting writers for dinner and discourse. She goes swimming in the Ionian Sea with her neighbor from the plane. The people she encounters speak volubly about themselves: their fantasies, anxieties, pet theories, regrets, and longings. And through these disclosures, a portrait of the narrator is drawn by contrast, a portrait of a woman learning to face a great loss. Outline takes a hard look at the things that are hardest to speak about. It brilliantly captures conversations, investigates people's motivations for storytelling, and questions their ability to ever do so honestly or unselfishly. In doing so it bares the deepest impulses behind the craft of fiction writing. This is Rachel Cusk's finest work yet, and one of the most startling, brilliant, original novels of recent years. A Finalist for the Folio Prize, the Goldsmiths Prize, the Scotiabank Giller Prize, and the Baileys Women’s Prize for Fiction One of The New York Times' Top Ten Books of the Year Named a A New York Times Book Review Notable Book and a Best Book of the Year by The New Yorker, Vogue, NPR, The Guardian, The Independent, Glamour, and The Globe and Mail

Baggage! We all carry it with us through life. It comes in a wide variety of styles, shapes, and colors—more than enough to accommodate the stuff that we accumulate through life. And no matter how we dress it up, it’s frustrating, inconvenient, and slows us down. In fact, it’s downright disruptive. This book is about offloading emotional baggage—something that’s especially important when we realize that we don’t just pack for one; we pack for seven. Each of the seven selves—self-preservation, self-gratification, self-definition, self-acceptance, self-expression, self-reflection, and self-knowledge—has characteristics, wellness types, and shadows. Each plays a vital role in harmony, overall health, and well-being. Chock full of real-life emotional examples, as well as “keys” at the end of each chapter offering actionable tips, techniques, and exercises designed to help you unlock baggage, examine it, and offload it permanently, Note to Self will help you discover a lighter, joy-filled you!