Narrating From The Margins

Preliminary Material -- The Concern for Self-Possession -- Self-Narration: Conditions, Representations, and Consequences -- The Female Self in Rhys and the Category of the Amateur -- Positioning Rhys's Heroines within Colonial Relations -- Narrative Responses to 'Exile From the English Family': The Zombie and the Mad Witch -- White Female Colonial Self-Articulation: Narrative of Displacement in Voyage in the Dark -- Colonial Creatures: The Community of Life-Stories in Good Morning, Midnight -- Quartet: The Making of the Amateur and Third-Person Self-Narration -- Intersubjectivity and Self-Arrangements in After Leaving Mr Mackenzie -- Membership in the Holy English Family and Mad-Witch Narration in Wide Sargasso Sea -- Conclusion: Self-Narratives for the Chorus Girl and the Horrid Colonial -- Works Cited -- Index.

This book examines Shakespeare's fascination with the art of narrative and the visuality of language. Richard Meek complicates our conception of Shakespeare as either a 'man of the theatre' or a 'literary dramatist', suggesting ways in which his works themselves debate the question of text versus performance. Beginning with an exploration of the pictorialism of Shakespeare's narrative poems, the book goes on to examine several moments in Shakespeare's dramatic works when characters break off the action to describe an absent, 'offstage' event, place or work of art. Meek argues that Shakespeare does not simply prioritise drama over other forms of representation, but rather that he repeatedly exploits the interplay between different types of mimesis - narrative, dramatic and pictorial - in order to beguile his audiences and readers. Setting Shakespeare's works in their literary and rhetorical contexts, and engaging with contemporary literary theory, the book offers new readings of Venus and Adonis, The Rape of Lucrece, Hamlet, King Lear and The Winter's Tale. The book will be of particular relevance to readers interested in the relationship between verbal and visual art, theories of representation and mimesis, Renaissance literary and rhetorical culture, and debates regarding Shakespeare's status as a literary dramatist.

Narrating Love and Violence is an ethnographic exploration of women’s stories from the Himalayan valley of Lahaul, in the region of Himachal Pradesh, India, focusing on how both, love and violence emerge (or function) at the intersection of gender, tribe, caste, and the state in India. Himika Bhattacharya privileges the everyday lives of women marginalized by caste and tribe to show how state and community discourses about gendered violence serve as proxy for caste in India, thus not only upholding these social hierarchies, but also enabling violence. The women in this book tell their stories through love, articulated as rejection, redefinition and reproduction of notions of violence and solidarity. Himika Bhattacharya centers the women’s narratives as a site of knowledge—beyond love and beyond violence. This book shows how women on the margins of tribe and caste know both, love and violence, as agents wishing to re-shape discourses of caste, tribe and community.

APPEARED ON BEST OF THE YEAR LISTS FROM NPR, PUBLISHERS WEEKLY, WASHINGTON POST, VULTURE, BOOKLIST, AND MORE The cartoonist of This One Summer and SuperMutant Magic Academy explores the virtual and IRL world of contemporary women via a lens both surreal and wry Jenny becomes obsessed with a strange "mirror Facebook," which presents an alternate, possibly better, version of herself. Helen finds her clothes growing baggy, her shoes looser, and as she shrinks away to nothingness, the world around her recedes as well. The animals of the city briefly open their minds to us, and we see the world as they do. A mysterious music file surfaces on the internet and forms the basis of a utopian society–or is it a cult? Boundless is at once fantastical and realist, playfully hinting at possible transcendence: from one’s culture, one’s relationship, oneself. This collection of short stories is a showcase for the masterful blend of emotion and humour of award-winning cartoonist Jillian Tamaki.

The history of the 1947 Indian/Pakistani partition is one of separation: a country and people newly divided. However, in telling this story, Anindya Raychaudhuri, the son of a partition participant, looks to unity, joining for the first time the public and private memory narratives of this pivotal moment in time. Narrating Partition features in-depth interviews with more than 120 individuals across India, Pakistan, Bangladesh, and the United Kingdom, each reflecting on a direct or inherited experience of the 1947 Indian/Pakistani partition. Through the collection of these oral history narratives, Raychaudhuri is able to place them into comparison with the literary, cinematic, and artistic representations of partition, and in doing so, examine the ways this event is remembered, re-interpreted, and reconstructed--and the narrator's role in this process. These stories also reflect on the themes of home, family, violence, childhood, trains, and rivers within these public and private narratives. Crucially, Raychaudhuri is the first writer to use oral history in addressing the Bengal/Punjab partition as part of this same event, examining the memorial legacy in both the Bengali and Punjabi communities.

The American poet John Shade is dead. His last poem, 'Pale Fire', is put into a book, together with a preface, a lengthy commentary and notes by Shade's editor, Charles Kinbote. Known on campus as the 'Great Beaver', Kinbote is haughty, inquisitive, intolerant, but is he also mad, bad - and even dangerous? As his wildly eccentric annotations slide into the personal and the fantastical, Kinbote reveals perhaps more than he should be. Nabokov's darkly witty, richly inventive masterpiece is a suspenseful whodunit, a story of one-upmanship and dubious penmanship, and a glorious literary conundrum.

Exploring the archives of the Man Booker prize-winning novelist Julian Barnes – including notebooks, drafts, typescripts and publishing correspondence – this book is an extraordinary in-depth study of the creative practice of a major contemporary novelist. In Julian Barnes from the Margins, Vanessa Guignery charts the genesis and publication history of all of Barnes's major novels, from his debut with Metroland, through Flaubert's Parrot and A History of the World in 10 1⁄2 Chapters to The Sense of an Ending.

Bhabha, in his preface, writes 'Nations, like narratives, lose their origins in the myths of time and only fully encounter their horizons in the mind's eye'. From this seemingly impossibly metaphorical beginning, this volume confronts the realities of the concept of nationhood as it is lived and the profound ambivalence of language as it is written. From Gillian Beer's reading of Virginia Woolf, Rachel Bowlby's cultural history of Uncle Tom's Cabin and Francis Mulhern's study of Leaviste's 'English ethics'; to Doris Sommer's study of the 'magical realism' of Latin American fiction and Sneja Gunew's analysis of Australian writing, Nation and Narration is a celebration of the fact that English is no longer an English national consciousness, which is not nationalist, but is the only thing that will give us an international dimension.