In 1889, the editor of the San Francisco Examiner, having accepted an article from Rudyard Kipling, informed the author that he should not bother to submit any more. "This isn't a kindergarten for amateur writers," the editor wrote. "I'm sorry, Mr. Kipling, but you just don't know how to use the English language." A century later, John Grisham was turned down by sixteen agents before he found representation-and it was only after Hollywood showed an interest in The Firm that publishers began to take him seriously. The anxiety of rejection is an inevitable part of any writer's development. In this book, Ralph Keyes turns his attention from the difficulty of putting pen to paper-the subject of his acclaimed The Courage to Write -to the frustration of getting the product to the public. Inspiration isn't nearly as important to the successful writer, he argues, as tenacity, and he offers concrete ways to manage the struggle to publish. Drawing on his long experience as a writer and teacher of writing, Keyes provides new insight into the mind-set of publishers, the value of an agent, and the importance of encouragement and hope to the act of authorial creation.
From The Other Boleyn Girl to Fingersmith , this collection explores the popularity of female-centred historical novels in recent years. It asks how these representations are influenced by contemporary gender politics, and whether they can be seen as part of a wider feminist project to recover women's history.
Focusing on the figure of the storyteller, this study breaks new ground in the approach to reading contemporary literature by identifying a growing interest in storytelling. For the last thirty years contemporary fiction has been influenced by theoretical discourses, textuality and writing. Only since the rise of postcolonialism have academic critics been more overtly interested in stories, where high theory frameworks are less applicable. However, as we move through various contemporary contexts engaging with postcolonial identities and hybridity, to narratives of disability and evolutionary accounts of group and individual survival, a common feature of all is the centrality of story, which posits both the idea of survival and the passing on of traditions. This book closely examines this preoccupation with story and storytelling through a close reading of sixteen contemporary international novels written in English which are about actual 'storytellers', revealing how death of the author has given birth to the storyteller.
How should a Christian think? If a serious Christian wants to think seriously about a serious subject--from considering how to vote in the next election to choosing a career; from deciding among scientific theories to selecting a mate; from weighing competing marketing proposals to discerning the best fitness plan--what does he or she do? This basic question is at the heart of a complex discourse: epistemology. A bold new statement of Christian epistemology, Need to Know presents a comprehensive, coherent, and clear model of responsible Christian thinking. Grounded in the best of the Christian theological tradition while being attentive to a surprising range of thinkers in the history of philosophy, natural science, social science, and culture, the book offers a scheme for drawing together experience, tradition, scholarship, art, and the Bible into a practical yet theoretically profound system of thinking about thinking. John Stackhouse's fundamental idea is as simple as it is startling: Since God calls human beings to do certain things in the world, God can be relied upon to supply the knowledge necessary for human beings to do those things. The classic Christian concept of vocation, then, supplies both the impetus and the assurance that faithful Christians can trust God to guide their thinking--on a "need to know" basis.
This book provides a critical survey of the gothic texts of late twentieth-century and contemporary Scottish women writers including Kate Atkinson, Ellen Galford, A.L. Kennedy, Ali Smith and Emma Tennant focusing on four themes: quests and other worlds, w
Long before John Barth announced in his famous 1967 essay that late 20th-century fiction was 'The Literature of Exhaustion,' authors have been retelling and recycling stories. Barth was, however, right to identify in postmodern fiction a particular self-consciousness about its belatedness at the end of a long literary tradition. This book traces the move in contemporary women's writing from the self-conscious, ironic parodies of postmodernism to the nostalgic and historical turn of the 21st century. It analyses how contemporary women writers deal with their literary inheritances, offering an illuminating and provocative study of contemporary women writers' re-writings of previous texts and stories. Through close readings of novels by key contemporary women writers including Toni Morrison, Doris Lessing, Margaret Atwood, Zadie Smith, Emma Tennant and Helen Fielding, and of the ITV adaptation, Lost in Austen, Alice Ridout examines the politics of parody and nostalgia, exploring the limitations and possibilities of both in the contexts of feminism and postcolonialism.
The appearance of Margaret Atwood's first major collection of poetry marked the beginning of a truly outstanding career in Canadian and international letters. The voice in these poems is as witty, vulnerable, direct, and incisive as we've come to know in later works, such as Power Politics, Bodily Harm, and Alias Grace. Atwood writes compassionately about the risks of love in a technological age, and the quest for identity in a universe that cannot quite be trusted. Containing many of Atwood's best and most famous poems, The Circle Game won the 1966 Governor General's Award for Poetry and rapidly attained an international reputation as a classic of modern poetry.