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Open Access (free)
Author: David Brauner

This is a comprehensive and definitive study of the Man Booker Prize-winning novelist Howard Jacobson. It offers lucid, detailed and nuanced readings of each of Jacobson’s novels, and makes a powerful case for the importance of his work in the landscape of contemporary fiction. Focusing on the themes of comedy, masculinity and Jewishness, the book emphasises the richness and diversity of Jacobson’s work. Often described by others as ‘the English Philip Roth’ and by himself as ‘the Jewish Jane Austen’, Jacobson emerges here as a complex and often contradictory figure: a fearless novelist; a combative public intellectual; a polemical journalist; an unapologetic elitist and an irreverent outsider; an exuberant iconoclast and a sombre satirist. Never afraid of controversy, Jacobson tends to polarise readers; but, love him or hate him, he is difficult to ignore. This book gives him the thorough consideration and the balanced evaluation that he deserves.

Robert Burgoyne

past. In particular, I will focus on the most contested and controversial area of contemporary fiction cinema’s representation of the past – the use of documentary images as a mode of imaginative reconstruction or re-enactment. The shift from documentary images being understood as the trace of the past, as something left behind by a past event, to something available for imaginative and poetic

in Memory and popular film
A history
Hans Bertens

‘post-contemporary fiction’. 37 The list could easily be expanded. For some of these critics, Wasson, for instance, the postmodernism that they do not mention reacts against modernism, but for most of them the target is a much longer tradition of attempts at realistic representation of which modernism is only one practice out of many. And then we have critics who accept the idea of ‘postmodernism’ in a general way, but single out a dominant mode that they then give a more personal label. An especially

in Post-everything
Contemporary Irish and Scottish fiction
Glenda Norquay and Gerry Smyth

constructions of Scotland and Ireland are almost changing faster than cultural representations can cope with. Roddy Doyle’s advice for the citizens of the Republic is apposite for those living throughout these islands: ‘You Norquay_10_Ch9 154 22/3/02, 10:06 am 155 Contemporary Irish and Scottish fiction should bring your passport to bed with you because you’re going to wake up in a different place’ (quoted in Smyth 1997: 102). It is also pertinent advice for writers of contemporary fiction in Ireland and Scotland. Nevertheless, the established cultural institutions

in Across the margins
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood
Avril Horner and Sue Zlosnik

, Streetwalking the Metropolis, p. 9. Cited in Heath, The Picturesque Prison, p. 118. Parsons, Streetwalking the Metropolis, p. 9. Ahmed Nimeiri, ‘Djuna Barnes’s Nightwood and “the Experience of America”’, Critique: Studies in Contemporary Fiction, 34:1 (1993), p. 111. Herring, Djuna, p. 262. Georgette Fleischer, ‘Djuna Barnes and T.S. Eliot: The Politics and Poetics of Nightwood’, Studies in the Novel, 30:3 (Autumn 1998), 405–35. Fleischer, ‘Djuna Barnes and T.S. Eliot’, p. 416. T.S. Eliot, ‘Introduction’, in Djuna Barnes, Nightwood, London, Faber & Faber, 1936, p. 3. Herring

in Special relationships
Open Access (free)
Pollution, contamination and the neglected dead in post-war Saigon
Christophe Robert

Modern Society: Bureaucracy, Democracy, Totalitarianism, trans. J. Thompson (Cambridge, MA: MIT Press). Lévi-Strauss, C., 1992, Tristes Tropiques, trans. J. Weightman and D. Weightman (London and New York: Penguin). Levinas, E., 2000, God, Death, and Time, trans. B. Bergo (Stanford, CA: Stanford University Press). Mbembe, A., 2003, ‘Necropolitics’, Public Culture 15(1): 11–40. Nguyen Manh Tuan, 2003, ‘Living by the Tombs’, in W. Karlin and H. A. Thai (eds), Love after War: Contemporary Fiction from Vietnam, pp. 386– 99 (Willimantic, CT: Curbstone Press). People

in Governing the dead
Open Access (free)
David Brauner

with the fact that his work is not easily accommodated in any of the dominant paradigms of academic discourse on contemporary fiction in the late twentieth and early twenty-first centuries: namely, postmodernism, postcolonialism, trauma theory and the historiographical turn. It might also be partly because Jacobson often seems to stand apart from most of his contemporaries. He is neither a social realist nor a postmodernist; he writes compulsively about ethnicity, but an ethnicity that has, historically, not had much critical currency in the British academy; and he

in Howard Jacobson
Open Access (free)
Gill Rye and Michael Worton

intensely personal, and also the locus of manifestations of inner changes, and therefore ineluctably public. And, crucially, the individual body must remain invisible to the person who inhabits it and is defined by it: it is what we can never see properly, even if we can feel it totally. The communication of the feelings aroused by this knowledge is one of the great challenges of contemporary fiction: there is the need to write the body – to bring it into view and into existence – yet the more one focuses on one’s own body and personalises the definitions and descriptions of

in Women’s writing in contemporary France
Open Access (free)
Reading Tomb Raider
Barry Atkins

another indicator of the player’s ability as reader. It is as if a novel contained areas of sub-plot that were cordoned off from the main body of the narrative, and accessible only to those readers chap2.p65 45 13/02/03, 16:36 46 More than a game who somehow prove their sophistication of reading. An analogy might be found, perhaps, in the intertextual play of some contemporary fiction where recognition of an authorial reference to something outside the novel (a play, another novel, a film, a song, a political speech etc.) adds a further element to the readerly

in More than a game
Open Access (free)
Andrew Bowie

best popular writing about science is aesthetically superior to most contemporary fiction. Indeed, some of the best aesthetic writing seems increasingly to eschew extended fiction in the name of the attempt to use the results of lived experience and historical and other research to offer new worlddisclosing perspectives. I am thinking, for example, of a book like W.G. Sebald’s Die Ringe des Saturn. If this sounds too abstract, what I mean is exemplified, for example, in the ways in which government-imposed evaluations of humanistic disciplines in academia are

in Aesthetics and subjectivity