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After several years of absence, a man reappears in the life of his wife and their young son and takes them to the dilapidated house in the mountains. The Son of Man is an exceptional novel on the transmission of violence from one generation to the next.
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Talk of repair has become ubiquitous in recent years. In the age of trauma culture, art and literature have a new purpose: to do justice, to console, comfort, and heal. Drawing on works of twenty-first-century French-language literature, this monograph shows how literature can not only serve as a means of "personal development", but expand our capacity for empathy, help repair the "brokenness" implied in victimhood, and redress individual and collective traumas. Centered on a critical reflection on discourses of repair (and reparations), it questions the canonical theories on the functions of literature and proposes a new way of writing (and reading) literary history.
In an important feminist study, Rosa Bruno-Jofré offers a sensitive and nuanced picture of how a women's organization, the Missionary Oblate Sisters, a bilingual teaching congregation in Manitoba, dealt with both the larger patriarchal structures and the differing views, traditions, and attitudes of Sisters from disparate French Canadian communities in Manitoba, Quebec, Saskatchewan, Ontario, and the United States.
Dwellings of Enchantment: Writing and Reenchanting the Earth offers ecocritical and ecopoetic readings that focus on multispecies dwellings of enchantment and reenchant our rapport with the more-than-human world. It sheds light on the marvelous entanglements between humans and other life forms coexisting with us–entanglements that, when fully perceived, call onto humans to shift perspectives on both the causes and solutions to current ecological crises. Working against the disenchantment of humans’ relationships with and perceptions of the world entailed by a modern ontology, this book illustrates the power of ecopoetics to attune humans to the vibrant matter both within and outside of us. Braiding indigenous with non-indigenous worldviews, this book tackles ecopoetics emerging from varying locations in the world. It underscores the postmodernist, remythologizing processes going on in many ecopoetic texts, via magical realist modes and mythopoeia.
During the first mandatory lockdowns of the Covid-19 pandemic, citizens worldwide turned to »pandemic fictions« or started to produce their own »Corona Fictions« across different media. These accounts of (previously) experienced or imagined health crises feature a great variety of protagonists and their (re)actions in response to the exceptional circumstances. The contributors to this volume take a closer look at different pandemic protagonists in fictional narratives relating to the Covid-19 pandemic as well as in existing pandemic fictions. Thereby they provide new insights into pandemic narratives from a cultural, literary, and media studies perspective from antiquity to today.
This volume offers analysis regarding the historical transformations in the material conditions and ideological conceptions of nonhuman animals, alienated speciesism, the ecological crisis that is undermining the conditions of life for all species, and the capitalist commodification of animals that results in suffering, death, and profits.
Stories that map the writer's artistic development, written with candor, detachment, and passion. Hervé Guibert published twenty-five books before dying of AIDS in 1991 at age 36. An originator of French "autofiction" of the 1990s, Guibert wrote with aggressive candor, detachment, and passion, mixing diary writing, memoir, and fiction. Best known for the series of books he wrote during the last years of his life, chronicling his coexistence with illness, he has been a powerful influence on many contemporary writers. Written in Invisible Ink maps the writer's artistic development, from his earliest texts—fragmented stories of queer desire—to the unnervingly photorealistic descriptions in...
In Ethnic Minority Women’s Writing in France, Mouflard argues that the identity politics surrounding the immigration discourse of early twenty-first century France were reflected in the marketing and editing practices of the Metropole’s key publishers, specifically with regards to non-white French women’s literature. Echoing the utopic “Black-Blanc-Beur” model of integration which surfaced during the 1998 soccer World Cup, select publishers fashioned unofficial literary categories based on neocolonial racial and gender stereotypes, either lauding integrated “Beur” authors or exploiting “Black” political dissenters. Concurrently, metropolitan women writers in their autobiogr...