Granta 118

Be it a wrong turn, a bad relationship, a debilitating illness or a war, every action creates a reaction, every move is followed by another move. How do we get out of what we've gotten ourselves into? Granta 118 zooms in close on the phenomenon of the exit strategy. In a new story, Alice Munro writes of an elderly woman whose attempts to care for her husband are undermined by her own deteriorating thought processes; Claire Messud searches for her father's past in Beirut, Lebanon as he lays dying in a hospital in the US; and Aleksandar Hemon remembers the importance of smuggling his family's dog out of war-torn Sarajevo. Exit Strategies also features new writing by John Barth, Anne Tyler, Ann Beattie, and newcomer Chinelo Okparanta - examining how we get ourselves out and the repercussions that follow. Hindsight is 20/20, but it's what we do moving forward that defines us and - in the best of all worlds - redeems us.

This unique new work of reference traces the origins of the modern laws of warfare from the earliest times to the present day. Relying on written records from as far back as 2400 BCE, and using sources ranging from the Bible to Security Council Resolutions, the author pieces together the history of a subject which is almost as old as civilisation itself. The author shows that as long as humanity has been waging wars it has also been trying to find ways of legitimising different forms of combatants and ascribing rules to them, protecting civilians who are either inadvertently or intentionally caught up between them, and controlling the use of particular classes of weapons that may be used in times of conflict. Thus it is that this work is divided into three substantial parts: Volume 1 on the laws affecting combatants and captives; Volume 2 on civilians; and Volume 3 on the law of arms control. This second book on civilians examines four different topics. The first topic deals with the targetting of civilians in times of war. This discussion is one which has been largely governed by the developments of technologies which have allowed projectiles to be discharged over ever greater areas, and attempts to prevent their indiscriminate utilisation have struggled to keep pace. The second topic concerns the destruction of the natural environment, with particular regard to the utilisation of starvation as a method of warfare, and unlike the first topic, this one has rarely changed over thousands of years, although contemporary practices are beginning to represent a clear break from tradition. The third topic is concerned with the long-standing problems of civilians under the occupation of opposing military forces, where the practices of genocide, collective punishments and/or reprisals, and rape have occurred. The final topic in this volume is about the theft or destruction of the property of the enemy, in terms of either pillage or the intentional devastation of the cultural property of the opposition. As a work of reference this set of three books is unrivalled, and will be of immense benefit to scholars and practitioners researching and advising on the laws of warfare. It also tells a story which throws fascinating new light on the history of international law and on the history of warfare itself.

The twenty-five interviews gathered here, several available in English for the first time, include craft interviews, biographical portraits, self-analyses, & wide-ranging reflections on the current literary scene.

Taking up the roles that Salman Rushdie himself has assumed as a cultural broker, gatekeeper, and mediator in various spheres of public production, Ana Cristina Mendes situates his work in terms of the contemporary production, circulation, and consumption of postcolonial texts within the workings of the cultural industries. Mendes pays particular attention to Rushdie as a public performer across various creative platforms, not only as a novelist and short story writer, but also as a public intellectual, reviewer, and film critic. Mendes argues that how a postcolonial author becomes personally and professionally enmeshed in the dealings of the cultural industries is of particular relevance at a time when the market is strictly regulated by a few multinational corporations. She contends that marginality should not be construed exclusively as a basis for understanding Rushdie’s work, since a critical grounding in marginality will predictably involve a reproduction of the traditional postcolonial binaries of oppressor/oppressed and colonizer/colonized that the writer subverts. Rather, she seeks to expand existing interpretations of Rushdie’s work, itineraries, and frameworks in order to take into account the actual conditions of postcolonial cultural production and circulation within a marketplace that is global in both orientation and effects.

Annotation Who has the right to speak about trauma? As cultural products, narratives of social suffering paradoxically release us from responsibility while demanding that we examine our own connectedness to the circumstances that produce suffering. As a result, the text's act of "speaking havoc" rebounds in unsettling ways. Speaking Havoc investigates how literary and cinematic fictions intervene in the politics and reception of social suffering. Amitav Ghosh's modernist novel The Shadow Lines (1988), A Fine Balance (1995) by Rohinton Mistry, the short stories of Saadat Hasan Manto, Salman Rushdie's postmodernist novel Shame (1983), and the "spectacular" films of Maniratnam each bear witness to social violence in South Asia. These works confront squarely the catastrophes and innumerable minor tragedies that arise from clashes among religious and ethnic communities. Focusing on central events such as the Partition of 1947, the assassination of Indira Gandhi in 1984, and more recent religious conflicts between India and Pakistan, Nagappan demonstrates the differing ways that narratives engage the political violence that has marked the last fifty years of South Asian history. Is it possible to tell fully the stories of those who have died and those who have survived? Can writing really act as a counter to silence? In his compassionate engagement with these concerns, Nagappan demonstrates the relevance of literature and literary studies to fundamental sociological, anthropological, and political issues. With its interdisciplinary scope, historical perspective, and lucid style, Speaking Havoc is destined to become a foundational text for scholars of South Asian studies and postcolonial and culturalstudies, and for readers interested in trauma and social suffering as well as in the literature, films, and histories that take this field as their topic.

When Canadian Alice Munro was awarded the Nobel Prize for Literature in 2013, she had already declared her resignation from the post of short story writer following the publication of her 2012 collection Dear Life. This present volume offers critical analyses of Alice Munro's complete final short story collection. The book's contributors exercise in-depth, close readings of each individual story and situate them in Munro's lifetime oeuvre, as well as in her work's critical reception to date. Scholars set out to show how complex, irritating, disturbing, and enchanting Munro's stories are, and how often all that matters is to hold life dear - or to hold on for (dear) life. (Series: MasteRResearch - Vol. 7) [Subject: Literary Criticism]

This book focuses on the science fictional dimensions of Rushdie's later novels, Fury, The Ground Beneath Her Feet, Shalimar the Clown and Luka and the Fire of Life, and Rushdie's first unpublished novel, The Antagonist, to show how the author's oeuvre moves towards a more consistent engagement with science fiction as a generic form and an ideological investment. The author demonstrates how Rushdie recreates personal and national histories in a science fictional setting and mode, and contends that the failure of his first novel Grimus may have led Rushdie away from SF for some time, although he returns to it with a much firmer conviction and a much stronger voice in his later novels, showing his commitment to this imaginative form which he describes in Fury as providing "the best popular vehicle ever devised for the novel of ideas and metaphysics."The science fictional mode is the most appropriate vehicle for expressing these thematic and ideological concerns and the organizing feature of Rushdie's oeuvre. The author rereads the later novels in light of recent critical engagement with SF as a vehicle for reimagining national histories and as a potentially subversive tool for social and political engagement in a fictional realm.

Essays tracing the evolving relationship between British women writers and the short story genre from the late Nineteenth Century to the present day.What is the relationship between the British woman writer and the short story? This collection examines what this versatile genre offers women writers, and what this can tell us about the society and culture they inhabit. From the rise of the modern printing press at the end of the Nineteenth Century through to the present digital age, these essays examine how the short story has been deployed and reworked by women writers and how they have influenced and shaped the genres development. Considering the effect of literary inheritances, societal and cultural change, and shifting publishing demands, this collection traces the evolution of the genre through to its continued appeal to women writing today. From the New Woman to contemporary feminisms, women's anthologies to microfiction, modernist writers to the contemporary works of Sarah Hall and Helen Simpson, the chapters in this collection investigate a crucial yet under-examined field of British literature.Key Features and Benefits12 chapters discussing a range of gender and genre issues since the fin-de-sic e to the present day.Sets out a clear trajectory to map both the historical and literary connections and divergences between British women short story writers. Offers a comprehensive account of the genres development to provide scholars with a unique insight into a largely neglected aspect of womens writing.Includes new readings of canonical authors alongside more recent theoretical approaches, innovations and lesser-discussed writers.