When LaShonda, Devine and Keyshawn realise that their ever-loving spouses are behaving like anything but, they decide it’s time to take action. And get some action. With anonymous sexual encounters and passionate flings, the three desperate sisters embark on a series of hot adventures.
Mystery and detective novels are popular fictional genres within Western literature. As such, they provide a wealth of information about popular art and culture. When the genre develops within various cultures, it adopts, and proceeds to dominate, native expressions and imagery. American mystery and detective novels appeared in the late nineteenth century. This reference provides a selective guide to the important criticism of American mystery and detective novels and presents general features of the genre and its historical development over the past two centuries. Critical approaches covered in the volume include story as game, images, myth criticism, formalism and structuralism, psychonalysis, Marxism and more. Comparisons with related genres, such as gothic, suspense, gangster, and postmodern novels, illustrate similarities and differences important to the understanding of the unique components of mystery and detective fiction.
The guide is divided into five major sections: a brief history, related genres, criticism, authors, and reference. This organization accounts for the literary history and types of novels stemming from the mystery and detective genre. A chronology provides a helpful overview of the development and transformation of the genre.
Lieutenant Lord Ramage is ordered to proceed to Gibraltar with all possible dispatch aboard his Majesty’s ship Kathleen, to support Nelson in a battle with the Spanish off Cape Trafalgar.
The Nore and Spithead mutinies intervene to upset the course of Delancey’s career. He devises an original legal defence in the court martial of a fellow officer accused of murder, and acquits himself well, but falls afoul of the naval establishment and is passed over in the general promotion of all in his rank after the victory at Camperdown.
Charles Dickens died in 1870, the same year in which universal elementary education was introduced. During the following generation a mass reading public emerged, and the term “best-seller” was coined. In new and cheap editions Dickens’s stories sold hugely, but these were progressively outstripped in quantity by the likes of Hall Caine and Marie Corelli, Charles Garvice and Nat Gould. Who has now heard of these writers? Yet Hall Caine, for one, boasted of having made more money from his pen than any previous author.
This book presents a panoramic view of literary life in Britain over half a century from 1870 to 1914, teasing out authors’ relations with the reading public and tracing how reputations were made and unmade. It surveys readers’ habits, the book trade, popular literary magazines and the role of reviewers, and examines the construction of a classical canon by critics concerned about the supposed corruption of popular taste. Certain writers were elevated as national heroes, yet Britain drew its writers from abroad as well as from home.
Authors became stars and celebrities, and a literary tourism grew around their haunts. They advertised products from cigarettes to toothpaste; they were fashion-conscious and promoted themselves via profiles, interviews, and carefully posed photographs; they went on lecture tours to America; and their names were pushed by a new professional breed: the literary agent. Some angled for knighthoods, even peerages, and cut a figure in high society and London clubland. The debated public issues of the day and campaigned on all manner of things from questions of faith and women’s rights to censorship and conscription. During the Great War they penned propaganda. Meanwhile the cinema was developing to challenge the supremacy of the written word over the imagination. Authors took to that too, as an opportunity for new adventure. Writers, Readers, and Reputations is richly entertaining and informative, amounting to a collective biography of a generation of writers and their world.
Much criticism has been directed at negative stereotypes of Appalachia perpetuated by movies, television shows, and news media. Books, on the other hand, often draw enthusiastic praise for their celebration of the simplicity and authenticity of the Appalachian region.
Dear Appalachia: Readers, Identity, and Popular Fiction since 1878 employs the innovative new strategy of examining fan mail, reviews, and readers’ geographic affiliations to understand how readers have imagined the region and what purposes these imagined geographies have served for them. As Emily Satterwhite traces the changing visions of Appalachia across the decades, from the Gilded Age (1865–1895) to the present, she finds that every generation has produced an audience hungry for a romantic version of Appalachia.
According to Satterwhite, best-selling fiction has portrayed Appalachia as a distinctive place apart from the mainstream United States, has offered cosmopolitan white readers a sense of identity and community, and has engendered feelings of national and cultural pride. Thanks in part to readers’ faith in authors as authentic representatives of the regions they write about, Satterwhite argues, regional fiction often plays a role in creating and affirming regional identity. By mapping the geographic locations of fans, Dear Appalachia demonstrates that mobile white readers in particular, including regional elites, have idealized Appalachia as rooted, static, and protected from commercial society in order to reassure themselves that there remains an “authentic” America untouched by global currents.
Investigating texts such as John Fox Jr.’s The Trail of the Lonesome Pine (1908), Harriette Arnow’s The Dollmaker (1954), James Dickey’s Deliverance (1970), and Charles Frazier’s Cold Mountain (1997), Dear Appalachia moves beyond traditional studies of regional fiction to document the functions of these narratives in the lives of readers, revealing not only what people have thought about Appalachia, but why.
As the postwar mass media in France imagined her, the teenage girl was no longer a demure and daughterly jeune fille. Instead, she was an enfant terrible, a “bad girl”—implying that she was unapologetically and unsentimentally no longer a virgin. Focusing on the role of gender in representations of youth in post-World War II France, Susan Weiner traces how, after 1945, young men and women came to symbolize different aspects of social order and disorder in a country traumatized by the Nazi Occupation and Cold War paranoia, seduced by consumerism and Americanization, and engaged in an undeclared war in Algeria. While overtly political discourses about “youth” generally referred to middle-class young men, Weiner argues that it was in media representations of “bad girls” that anxieties over the loss of a morally and socially coherent national identity found their expression.
Enfants Terribles looks at French culture from the Liberation to 1968 through images of the teenage girl which appeared in a broad range of texts and institutions: magazines such as Elle and Mademoiselle, newspapers, novels, popular essays, popular music, surveys, and film. Weiner highlights the new importance of youth as a social category of identity in the context of the postwar explosion of the mass media and explores the ways in which girls both defined and disrupted this category.