Literature History

These stories of trauma cannot be limited to the catastrophes they name, and the theory of catastrophic history may ultimately be written in a language that already lingers in a time that comes to us from the other side of the disaster.

From The Epic of Gilgamesh to Harry Potter, this rollicking romp through the world of literature reveals how writings from all over the world can transport us and help us to make sense of what it means to be human.

Ivan Jablonka’s History Is a Contemporary Literature offers highly innovative perspectives on the writing of history, the relationship between literature and the social sciences, and the way that both social-scientific inquiry and literary explorations contribute to our understanding of the world. Jablonka argues that the act and art of writing, far from being an afterthought in the social sciences, should play a vital role in the production of knowledge in all stages of the researcher’s work and embody or even constitute the understanding obtained. History (along with sociology and anthropology) can, he contends, achieve both greater rigor and wider audiences by creating a literary experience through a broad spectrum of narrative modes. Challenging scholars to adopt investigative, testimonial, and other experimental writing techniques as a way of creating and sharing knowledge, Jablonka envisions a social science literature that will inspire readers to become actively engaged in understanding their own pasts and to relate their histories to the present day. Lamenting the specialization that has isolated the academy from the rest of society, History Is a Contemporary Literature aims to bring imagination and audacity into the practice of scholarship, drawing on the techniques of literature to strengthen the methods of the social sciences.

Designed for the general reader, this splendid introduction to French literature from 842 A.D.—the date of the earliest surviving document in any Romance language—to the present decade is the most compact and imaginative single-volume guide available in English to the French literary tradition. In fact, no comparable work exists in either language. It is not the customary inventory of authors and titles but rather a collection of wide-angled views of historical and cultural phenomena. It sets before us writers, public figures, criminals, saints, and monarchs, as well as religious, cultural, and social revolutions. It gives us books, paintings, public monuments, even TV shows. Written by 164 American and European specialists, the essays are introduced by date and arranged in chronological order, but here ends the book’s resemblance to the usual history of literature. Each date is followed by a headline evoking an event that indicates the chronological point of departure. Usually the event is literary—the publication of an original work, a journal, a translation, the first performance of a play, the death of an author—but some events are literary only in terms of their repercussions and resonances. Essays devoted to a genre exist alongside essays devoted to one book, institutions are presented side by side with literary movements, and large surveys appear next to detailed discussions of specific landmarks. No article is limited to the “life and works” of a single author. Proust, for example, appears through various lenses: fleetingly, in 1701, apropos of Antoine Galland’s translation of The Thousand and One Nights; in 1898, in connection with the Dreyfus Affair; in 1905, on the occasion of the law on the separation of church and state; in 1911, in relation to Gide and their different treatments of homosexuality; and at his death in 1922. Without attempting to cover every author, work, and cultural development since the Serments de Strasbourg in 842, this history succeeds in being both informative and critical about the more than 1,000 years it describes. The contributors offer us a chance to appreciate not only French culture but also the major critical positions in literary studies today. A New History of French Literature will be essential reading for all engaged in the study of French culture and for all who are interested in it. It is an authoritative, lively, and readable volume.

This book offers a comprehensive account of modern Spanish culture, tracing its dramatic and often unexpected development from its beginnings after the Revolution of 1868 to the present day. Specially-commissioned essays by leading experts provide analyses of the historical and political background of modern Spain, the culture of the major autonomous regions (notably Castile, Catalonia, and the Basque Country), and the country's literature: narrative, poetry, theatre and the essay. Spain's recent development is divided into three main phases: from 1868 to the outbreak of the Spanish Civil War; the period of the dictatorship of Francisco Franco; and the post-Franco arrival of democracy. The concept of 'Spanish culture' is investigated, and there are studies of Spanish painting and sculpture, architecture, cinema, dance, music, and the modern media. A chronology and guides to further reading are provided, making the volume an invaluable introduction to the politics, literature and culture of modern Spain.

A reader’s fictional tour of the art and lives of some of the great 20th-century Surrealists An author (a version of Vila-Matas himself) presents a short “history” of a secret society, the Shandies, who are obsessed with the concept of “portable literature.” The society is entirely imagined, but in this rollicking, intellectually playful book, its members include writers and artists like Marcel Duchamp, Aleister Crowley, Witold Gombrowicz, Federico García Lorca, Man Ray, and Georgia O’Keefe. The Shandies meet secretly in apartments, hotels, and cafes all over Europe to discuss what great literature really is: brief, not too serious, penetrating the depths of the mysterious. We witness the Shandies having adventures in stationary submarines, underground caverns, African backwaters, and the cultural capitals of Europe.