Showing papers in "Critique-studies in Contemporary Fiction in 1997"
TL;DR: The Calculus of Love and Nightmare: The Handmaid's Tale and the Dystopian Tradition as mentioned in this paper is a well-known work in the literature that deals with the relationship between love and nightmare.
Abstract: (1997). The Calculus of Love and Nightmare: The Handmaid's Tale and the Dystopian Tradition. Critique: Studies in Contemporary Fiction: Vol. 38, Women Writers, pp. 83-95.
21 citations
TL;DR: In this article, Atwood's Rhetorical Epilogue in The Handmaid's Tale: The Reader's Role in Empowering Offred's Speech Act is discussed.
Abstract: (1997). Margaret Atwood's Rhetorical Epilogue in The Handmaid's Tale: The Reader's Role in Empowering Offred's Speech Act. Critique: Studies in Contemporary Fiction: Vol. 38, No. 4, pp. 262-278.
21 citations
TL;DR: Atwood as mentioned in this paper conducted an interview with Margaret Atwood and discussed her work on Atwood's "Atwood Interview" and her life with Atwood. Critique: Studies in Contemporary Fiction: Vol. 38, Women Writers, pp. 96-104.
Abstract: (1997). An Interview with Margaret Atwood. Critique: Studies in Contemporary Fiction: Vol. 38, Women Writers, pp. 96-104.
19 citations
TL;DR: Depend upon it, there is mythology now as there was in the time of Homer, only we do not perceive it, because we ourselves live in the very shadow of it, and because we all shrink from the full meridian light of truth as discussed by the authors.
Abstract: Depend upon it, there is mythology now as there was in the time of Homer, only we do not perceive it, because we ourselves live in the very shadow of it, and because we all shrink from the full meridian light of truth.
16 citations
TL;DR: The publication of Thomas Pynchon's fourth novel, Vineland, during the same year as the appearance of William Gibson and Bruce Sterling's first collaborative novel, The Difference Engine, provides an ironical but illuminating starting point for understanding the likely fate of postmodernism in the 1990s as mentioned in this paper.
Abstract: The publication of Thomas Pynchon's fourth novel, Vineland, during the same year as the appearance of William Gibson and Bruce Sterling's first collaborative novel, The Difference Engine, provides an ironical but illuminating starting point for understanding the likely fate of “postmodernism” in the 1990s.
7 citations
7 citations
7 citations
TL;DR: In this article, Confecting Sugar: Narrative Theory and Practice in A. S. Byatt's Short Stories is presented, which is a collection of short stories by Byatt.
Abstract: (1997). Confecting Sugar: Narrative Theory and Practice in A. S. Byatt's Short Stories. Critique: Studies in Contemporary Fiction: Vol. 38, Women Writers, pp. 105-122.
6 citations
TL;DR: In this article, the Apocalypse of Form is discussed in the context of Midnight's Children and its relation to the study of contemporary fiction, and the authors present a survey of the literature.
Abstract: (1997). Midnight's Children and the Apocalypse of Form. Critique: Studies in Contemporary Fiction: Vol. 38, No. 4, pp. 289-299.
5 citations
4 citations
TL;DR: For instance, Doctorow has made a career out of historical fiction, and he is renowned for both examining and rewriting the American past, most notably in the novel Ragtime as discussed by the authors.
Abstract: E. L. Doctorow has made a career out of historical fiction, and he is renowned for both examining and rewriting the American past, most notably in the novel Ragtime. Such rewritings of history are possible because for Doctorow there is no fact or fiction, only narrative.
TL;DR: In this article, personal and cultural transformation: Letter writing in Lee Smith's Fair and Tender Ladies is discussed. But the authors do not discuss the relationship between women and women writers.
Abstract: (1997). Personal and Cultural Transformation: Letter Writing in Lee Smith's Fair and Tender Ladies. Critique: Studies in Contemporary Fiction: Vol. 38, Women Writers, pp. 135-144.
TL;DR: A letter written in January 1969 was the occasion for Thomas Pynchon to define his fictional project in K and Gravity's Rainbow in historiographical terms and to state some ground rules for the metropolitan historian of European colonialism in Africa as discussed by the authors.
Abstract: A letter written in January 1969 was the occasion for Thomas Pynchon to define his fictional project in K and Gravity's Rainbow in historiographical terms and to state some ground rules for the metropolitan historian of European colonialism in Africa. In seeking to explain colonialsim, that historian has to make sure of “getting the African side of it” (Seed 241).
TL;DR: The Poetics of Revolution: Ngugi wa Thiong'o's Matigari as discussed by the authors is a seminal work in the field of postcolonial African literature. But it has not been widely read.
Abstract: (1997). The Poetics of Revolution: Ngugi wa Thiong'o's Matigari. Critique: Studies in Contemporary Fiction: Vol. 38, Postcolonial African Writers, pp. 163-176.
TL;DR: With South Africa in the process of eliminating the remaining vestiges of imperialism by returning sovereignty to its indigenous population, one must hope that the course for genuine equality does not reverse itself as mentioned in this paper.
Abstract: With South Africa in the process of eliminating the remaining vestiges of imperialism by returning sovereignty to its indigenous population, one must hope that the course for genuine equality does not reverse itself. For South Africa to continue to make real social progress toward democracy in the immediate future remains a vision on the horizon, blurred and confounded with variables.
TL;DR: Andre Dubus as discussed by the authors began publishing short fiction in the late 1960s. Unlike many writers working during that period of literary experimentation, Dubus grounds his fiction in a real world; he evidences little interest in explorations of fiction-as-fiction, surfictions or metafictions.
Abstract: Andre Dubus began publishing short fiction in the late 1960s. Unlike many writers working during that period of literary experimentation, Dubus grounds his fiction in a real world; he evidences little interest in explorations of fiction-as-fiction, surfictions, or metafictions.
TL;DR: In this article, Ayi Kwei Armah's Epic We-Narrator is described as a "postcolonial African story" with a "we protagonist" and "we narrator".
Abstract: (1997). Ayi Kwei Armah's Epic We-Narrator. Critique: Studies in Contemporary Fiction: Vol. 38, Postcolonial African Writers, pp. 221-234.
TL;DR: The films I make are unusual as mentioned in this paper, they start with realistic premises and lead to seemingly unrealistic conclusions, and I am interested in the way politics, racial issues, and sexual images impinge on that journey.
Abstract: The films I make are unusual,” Neil Jordan commented in a 1993 interview. “They start with realistic premises and lead to seemingly unrealistic conclusions. And I am interested in the way politics, racial issues, and sexual images impinge on that journey” (Entertainment Weekly 21).
TL;DR: In 1989, Puig gave a public reading from his sixth novel, Eternal Curse on the Reader of These Pages (ECW), at the 92nd Street Y in New York City as discussed by the authors.
Abstract: In 17 April 1989, at the 92nd Street Y in New York City, Manuel Puig (1932–1990) gave a public reading from his sixth novel, Eternal Curse on the Reader of These Pages. Following the reading, Puig took questions from the audience; they focused primarily on the still relatively recent film adaptation of his fourth novel, Kiss of the Spider Woman (which, in a few years' time, would be made into a Broadway musical).