Becoming Ray Bradbury chronicles the making of an iconic American writer by exploring Ray Bradbury’s childhood and early years of his long life in fiction, film, television, radio, and theater. Jonathan R. Eller measures the impact of the authors, artists, illustrators, and filmmakers who stimulated Bradbury’s imagination throughout his first three decades. Unprecedented access to Bradbury’s personal papers and other private collections provides insight into his emerging talent through his unpublished correspondence, his rare but often insightful notes on writing, and his interactions with those who mentored him during those early years. _x000B__x000B_Beginning with his childhood in Waukegan, Illinois, and Los Angeles, this biography follows Bradbury’s development from avid reader to maturing author, making a living writing for pulp magazines. Eller illuminates the sources of Bradbury’s growing interest in the human mind, the human condition, and the ambiguities of life and death–themes that became increasingly apparent in his early fiction. Bradbury’s correspondence documents his frustrating encounters with the major trade publishing houses and his earliest unpublished reflections on the nature of authorship. Eller traces the sources of Bradbury’s very conscious decisions, following the sudden success of The Martian Chronicles and The Illustrated Man, to voice controversial political statements in his fiction, and he highlights the private motivations behind the burst of creative energy that transformed his novella “The Fireman” into the classic novel Fahrenheit 451._x000B__x000B_Becoming Ray Bradbury reveals Bradbury’s emotional world as it matured through his explorations of cinema and art, his interactions with agents and editors, his reading discoveries, and the invaluable reading suggestions of older writers. These largely unexplored elements of his life pave the way to a deeper understanding of his more public achievements, providing a biography of the mind, the story of Bradbury’s self-education and the emerging sense of authorship at the heart of his boundless creativity.
In this first-ever anthology of Indigenous science fiction Grace Dillon collects some of the finest examples of the craft with contributions by Native American, First Nations, Aboriginal Australian, and New Zealand Maori authors. The collection includes seminal authors such as Gerald Vizenor, historically important contributions often categorized as “magical realism” by authors like Leslie Marmon Silko and Sherman Alexie, and authors more recognizable to science fiction fans like William Sanders and Stephen Graham Jones. Dillon’s engaging introduction situates the pieces in the larger context of science fiction and its conventions.
Organized by sub-genre, the book starts with Native slipstream, stories infused with time travel, alternate realities and alternative history like Vizenor’s “Custer on the Slipstream.” Next up are stories about contact with other beings featuring, among others, an excerpt from Gerry William’s The Black Ship. Dillon includes stories that highlight Indigenous science like a piece from Archie Weller’s Land of the Golden Clouds, asserting that one of the roles of Native science fiction is to disentangle that science from notions of “primitive” knowledge and myth. The fourth section calls out stories of apocalypse like William Sanders’ “When This World Is All on Fire” and a piece from Zainab Amadahy’s The Moons of Palmares. The anthology closes with examples of biskaabiiyang, or “returning to ourselves,” bringing together stories like Eden Robinson’s “Terminal Avenue” and a piece from Robert Sullivan’s Star Waka.
An essential book for readers and students of both Native literature and science fiction, Walking the Clouds is an invaluable collection. It brings together not only great examples of Native science fiction from an internationally-known cast of authors, but Dillon’s insightful scholarship sheds new light on the traditions of imagining an Indigenous future.
Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 140 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon, of the Library of Congress Hispanic Division, has been the editor since 2000, and Katherine D. McCann has been assistant editor since 1999. The subject categories for Volume 60 are as follows: Art; History (including ethnohistory); Literature (including translations from the Spanish and Portuguese); Music; Philosophy: Latin American Thought; Electronic Resources for the Humanities
From memoir to journalism, personal essays to cultural criticism, this indispensable anthology brings together works from all genres of creative nonfiction, with pieces by fifty contemporary writers including Cheryl Strayed, David Sedaris, Barbara Kingsolver, and more.
Selected by five hundred writers, English professors, and creative writing teachers from across the country, this collection includes only the most highly regarded nonfiction work published since 1970.
Contributers include: Jo Ann Beard, Wendell Berry, Eula Biss, Mary Clearman Blew, Charles Bowden, Janet Burroway, Kelly Grey Carlisle, Anne Carson, Bernard Cooper, Michael W. Cox, Annie Dillard, Mark Doty, Brian Doyle, Tony Earley, Anthony Farrington, Harrison Candelaria Fletcher, Diane Glancy, Lucy Grealy, William Harrison, Robin Hemley, Adam Hochschild, Jamaica Kincaid, Barbara Kingsolver , Ted Kooser, Sara Levine, E.J. Levy, Phillip Lopate, Barry Lopez, Thomas Lynch, Lee Martin, Rebecca McCLanahan, Erin McGraw, John McPhee, Brenda Miller, Dinty W. Moore, Kathleen Norris, Naomi Shihab Nye, Lia Purpura, Richard Rhodes, Bill Roorbach, David Sedaris, Richard Selzer, Sue William Silverman, Floyd Skloot, Lauren Slater, Cheryl Strayed, Amy Tan, Ryan Van Meter, David Foster Wallace, and Joy Williams.
The premier anthology of contemporary American poetry continues with an exceptional volume edited by award-winning novelist and poet Sherman Alexie, now with a new essay by Alexie on reactions to the 2015 publication.
Since its debut in 1988, The Best American Poetry has become a mainstay for the direction and spirit of American poetry. Each volume in the series presents the year’s most extraordinary new poems and writers. Guest editor Sherman Alexie’s picks for The Best American Poetry 2015 highlight the depth and breadth of the American experience. Culled from electronic and print journals, the poems showcase some of our leading luminaries—Amy Gerstler, Terrance Hayes, Ron Padgett, Jane Hirshfield—and introduce a number of outstanding younger poets taking their place in the limelight.
A leading figure since his breakout poetry collection The Business of Fancydancing in 1992, Sherman Alexie won the National Book Award for his novel The Absolutely True Diary of a Part-Time Indian. He describes himself as “lucky enough to be a full-time writer” and has written short stories, novels, screenplays, and essays—but he is at his core a poet. As always, series editor David Lehman’s foreword assessing the state of the art kicks off the book, followed by an introductory essay in which Alexie discusses his selections. The Best American Poetry 2015 is a guide to who’s who and what’s happening in American poetry today.
This bibliography lists English-language translations of twentieth-century Italian literature published chiefly in book form between 1929 and 1997. In doing so it continues for the field of literature the 1931 volume by Nancy C. Shields, Italian Translations in America, which lists almost all translations up to 1929. But where Shields included only translations in American editions, this volume contains a comprehensive record of English-language literary translations.
The 2,500 listings of the editions of some 1,400 works encompass fiction, poetry, plays, screenplays, librettos, journals and diaries, correspondence, and some personal narratives, belles-lettres and associated works. While the majority of translations have been published in Great Britain or the United States, other countries such as Australia, Canada, Ireland, Italy, South Africa, and Switzerland are also represented. Listings are arranged chronologically and author, title, translator, editor, publisher, and periodical indexes are included.
Contemporary Italian writers are increasingly studied, enjoyed, and talked about in the English-speaking world. By making accurate information about old and new translations accessible to schools, libraries, and individuals, this bibliography will greatly assist readers in their choice of modern Italian literature in translation.
A work unique in the sweep of its design and scope, intended expressly for the general reader interested in human history and culture, this is a vivid panoramic survey of the vast course of Chinese civilization from prehistory to 1850, when the old China began the agonizing transition to the new. Historical surveys of China tend to be dynasty-by-dynasty chronicles with a profusion of names and dates and occaisional cultural tidbits, or to concentrate on the period from earliest times to the Han dynasty (or the T’ang), giving only scant coverage to the last thousand years. China’s Imperial Past is different. Not only does it treat the three major periods of Chinese history at roughly equal length, weaving all their complexity into a balanced, integrated whole, but it gives ample space to China’s magnificent literary and artistic achievements.
The author’s approach is primarily interpretive, emphasizing patterns of change and development rather than factual details, but he never loses sight of the particularities that made traditional Chinese civilization one of the richest in human history. Especially notable are the many translations of Chinese poetry, among them more than twenty exquisite poems from the great poets of the T’ang.
The author divides Chinese history into three major epochs: a formative age, from high antiquity to the unification of China under the Ch’in in the third century B.C.; an early imperial age, from the Han dynasty (202 B.C.-A.D. 220) through the T’ang (618-907) and its breakdown; and a later imperial age, from the Sung dynasty (960-1279) to the mid-nineteenth century. Each major epoch is considered in topical chapters–on general history, political institutions, socioeconomic organization, religion and thought, and literature and the arts. A brief Epilogue comments on aspects of Chinese history since 1850.
The book includes 47 plates, eight maps, and various charts, and as appendixes and unusually detailed chronological table, notes on the Chines language, and suggestions for supplementary reading.
Since the series’ inception in 1915, the annual volumes of The Best American Short Stories have launched literary careers, showcased the most compelling stories of each year, and confirmed for all time the significance of the short story in our national literature. Now THE BEST AMERICAN SHORT STORIES OF THE CENTURY brings together the best of the best – fifty-five extraordinary stories that represent a century’s worth of unsurpassed accomplishments in this quintessentially American literary genre. Here are the stories that have endured the test of time: masterworks by such writers as Ernest Hemingway, William Faulkner, Willa Cather, F. Scott Fitzgerald, William Saroyan, Flannery O’Connor, John Cheever, Eudora Welty, Philip Roth, Joyce Carol Oates, Raymond Carver, Cynthia Ozick, and scores of others. These are the writers who have shaped and defined the landscape of the American short story, who have unflinchingly explored all aspects of the human condition, and whose works will continue to speak to us as we enter the next century. Their artistry is represented splendidly in these pages. THE BEST AMERICAN SHORT STORIES series has also always been known for making literary discoveries, and discovery proved to be an essential part of selecting the stories for this volume too. Collections from years past yielded a rich harvest of surprises, stories that may have been forgotten but still retain their relevance and luster. The result is a volume that not only gathers some of the most significant stories of our century between two covers but resurrects a handful of lost literary gems as well. Of all the great writers whose work has appeared in the series, only John Updike’s contributions have spanned five consecutive decades, from his first appearance, in 1959, to his most recent, in 1998. Updike worked with coeditor Katrina Kenison to choose stories from each decade that meet his own high standards of literary quality.
First published in 1987, The Oxford Book of Canadian Short Stories was hailed as “a world-class anthology” in The Washington Post Book World and as “a banquet of stories…to be savored and enjoyed over and over again” in The Philadelphia Inquirer. Now, in The New Oxford Book of Canadian Short Stories, Margaret Atwood and Robert Weaver have compiled an updated anthology that surpasses the original in historical and regional balance while providing fiction lovers with another superb collection of works.
Featuring 45 stories, four more than in the first edition–including new stories by 18 of the writers featured in the original–The New Oxford Book of Canadian Short Stories offers an engaging survey of Canada’s leading writers and finest short stories. Here readers will find gems by such writers as W. P. Kinsella, Morley Callaghan, Timothy Findlay, Matt Cohen, and many others. And of course, there are selections by some of Canada’s leading literary lights, including internationally known authors Alice Munro (“The Jack Randa Hotel”), Mavis Gallant (“Scarves, Beads, and Sandals”), and Atwood herself. But perhaps the most exciting feature is the presence of many new writers, including Thomas King, Carol Shields, Rohinton Mistry, and Dionne Brand–writers who underscore Atwood’s conviction that the Canadian short story will continue to grow, mutate, re-seed itself, and flourish.
The New Oxford Book of Canadian Short Stories, revised and updated, reflects the increasing diversity of the genre and the growing reputation of a new generation of Canadian writers. It belongs on the shelf of all aficionados of short fiction.
Ten years ago, Jerome Stern, director of the writing program at Florida State, initiated the World’s Best Short Short Story Contest. Stories were to be about 250 words long; first prize was a check and a crate of oranges.
Two to three thousand stories began to show up annually in Tallahassee, and National Public Radio regularly broadcast the winner. But, more important, the Micro form turned out to be contagious; stories of this “lack of length” now dot the literary magazines. The time seemed right, then, for this anthology, presenting a decade of contest winners and selected finalists. In addition, Stern commissioned Micros, persuading a roster of writers to accept the challenge of completing a story in one page.
Jesse Lee Kercheval has a new spin on the sinking of the Titanic; Virgil Suarez sets his sights on the notorious Singapore caning; George Garrett conjures up a wondrous screen treatment pitch; and Antonya Nelson invites us into an eerie landscape. Verve and nerve and astonishing variety are here, with some wild denouements.
How short can a Micro be, you wonder. Look up Amy Hempel’s contribution, and you’ll see.