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"An Introduction to Queer Literature Studies: Reading Queerly is the first introduction to queer theory written especially for students of literature. Tracking the emergence of queer theory out of gay and lesbian studies, this book pays unique attention to how queer scholars have read some of the most well-known works in the English language. Organized thematically, this book explores queer theoretical treatments of sexual identity, gender and sexual norms and normativity, negativity and utopianism, economics and neoliberalism, and AIDS activism and disability. Each chapter expounds upon foundational works in queer theory by scholars including Michel Foucault, Eve Kosofsky Sedgwick, and Lee Edelman. Each chapter also offers readings of primary texts -ranging from the highly canonical, like John Milton's Paradise Lost, to more contemporary works of popular fiction, like Stephen King's 'Salem's Lot. Along the way, An Introduction to Queer Literature Studies: Reading Queerly demonstrates how queer reading methods work alongside other methods like feminism, historicism, deconstruction, and psychoanalysis. By modelling queer readings, this book invites literature students to develop queer readings of their own. It also suggests that reading queerly is not simply a matter of reading work written by queer people. Queer reading attunes us to the queerness of even the most straightforward text"--

Abstract
After more than a decade as a feminist researcher and teaching women's studies at tertiary level, I decided to investigate a new direction. Driven in part by the demise of women's studies in universities – an international phenomenon – and looking for something completely different, I attended my first Romance Writers of Australia conference. To my surprise, the scene was all too familiar: predominantly female participants and presenters, a collaborative leadership model, a supportive atmosphere and lots of purple. In this article I muse upon arguments that romance is a form of feminism. Going back to its history in the Middle Ages and its invention by noblewomen who created the notion of courtly love, examining its contemporary popular explosion and the concurrent rise of popular romance studies in the academy that has emerged in the wake of women's studies, and positing an empowering female future for the genre, I propose that reading and writing romantic fiction is not only personal escapism, but also political activism. Now also a published romance novelist, I chart my own Harlequin Escape from the ivory tower to the boudoir.

Introduction: disaster strikes, literature responds -- Voices from the debris: cultural trauma and disaster fiction -- Tohoku on the margins: Furukawa Hideo's Horses -- Hiroshima encore: return of the hibakusha -- Chernobyl and beyond: a new era of nuclear literature -- Epilogue: writing toward the future

"Authorship is a complicated subject in Kierkegaard's work, which he surely recognized, given his late attempts to explain himself in On My Work as an Author. From the use of multiple pseudonyms and antonyms, to contributions across a spectrum of media and genres, issues of authorship abound.Why did Kierkegaard write in the ways he did? Before we assess Kierkegaard's famous thoughts on faith or love, or the relationship between 'the aesthetic,' 'the ethical,' and 'the religious,' we must approach how he expressed them. Given the multi-authored nature of his works, can we find a view or voice that is definitively Kierkegaard's own? Can entries in his unpublished journals and notebooks tell us what Kierkegaard himself thought? How should contemporary readers understand inconsistencies or contradictions between differently named authors? We cannot make definitive claims about Kierkegaard's work as a thinker without understanding Kierkegaard's work as an author. This collection, by leading contemporary Kierkegaard scholars, is the first to systematically examine the divisive question and practice of authorship in Kierkegaard from philosophical, literary and theological perspectives."-- Back cover

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Maulana Karenga ends the "Creative Production" chapter in Introduction to Black Studieswith a justifiable, negative critique of literature's modern lapse into types of detachment and personal gratification that are antithetical to the Black studies enterprise. Scholars have embraced this negative critique of the possibilities of literature to contribute to the problem-solving activities of the discipline. Karenga's critique is required study for the discipline as he issues a call for discourse "to provoke and expand the discussion, not to close or avoid it." This essay is a response, provoked by Karenga, that evaluates axiological and epistemological variables of the academy, the discipline of Black studies, and African culture that support the rescue of the literary in Black studies.

Acknowledgements -- Introduction -- Chapter 1. The Garden and the Grid: DJ Waldie and Raymond Chandler in Lakewood and Los Angeles -- Chapter 2. The Imago City: Joan Didion, Hisaye Yamamoto and Alison Lurie in Los Angeles and Sacramento -- Chapter 3. The Suture: Marshall Berman and Robert Moses in the Bronx -- Chapter 4. The Palimpsest: Paula Fox and L.J. Davis in Brooklyn -- Conclusion -- References -- Index.

This topical, lively and wide-ranging book examines the material conditions under which the contemporary English novel is produced and consumed. Its starting point is the general economic emergency which showed up these conditions with unusual clarity in the early 1970s. The first section of the book, 'Crisis and Change', considers the changing patterns of institutional book-purchase, inflation and novel-production, the 'Americanisation' of the British book trade, and the present state of fiction reviewing. The second section, 'State Remedies', surveys such interventions, and failed interventi

The Global Native Literary Studies Panel concludes with questions from the audience. The Global Native Literary Studies Panel provides an opportunity to reflect on Indigenous worlds and Indigenous literary worlds. Through their fiction as well as their political, institutional, scholarly and cultural work, each of the panelists explores the range of ways and reasons for Indigenous engagement with literary arts. Chantal Spitz's character Tetiare (in English translation) "washes away… dirt by writing." Albert Wendt's character Alapati is encouraged for his ability "to story our lives history and refusal to become nothing." Daniel Justice's character Tobhi recalls Strivix counseling a Dragonfly who claims "I don't know how to be a Dragonfly" with the suggestion "All ye got to do it tell yer people's story, and ye'll figure it out." This panel also asks, What questions, aspirations and political "lines in the sand" have underpinned "Global Native Literary Studies"? What lessons have been learned in Indigenous and Pacific worlds about writing, regionalism, and "the global"? What strengths and dimensions of Indigenous Studies and Pacific Studies could contribute to scholars and students grappling with the notion of "World Literature"? What Samoan, Tahitian and Cherokee concepts could contribute to scholars and students grappling with the notion of "World Literature"? Rather than proposing how or why Indigenous and Pacific texts might be included in a concept of (and classes about) "World Literature" on the basis of the fact these too are "part of the world," the panelists suggest how "World Literature," Pacific, and Indigenous Literary worlds might mutually engage. Moderator: Alice Te Punga Somerville Panelists: Chantal Spitz, Daniel Justice, Albert Wendt

In an exploration of the subspecies of espionage agent known as the "paper merchant," a spy driven by his dearth of real secret information to fabricate intelligence reports, a fictional & a real-life practitioner of this arcane art are compared. Indeed, the covert careers of the character Wormold in Graham Greene's Our Man in Havana (London, 1955) & of an actual WWII-era Spanish adventurer, Angel Alcazar de Velasco, have much in common in terms of personal motivation, espionage modus operandi, & agent-management. Like Greene's politically agonistic antihero, Alcazar de Velasco invented reports for his German & Japanese spymasters not for ideological reasons, but financial reward. Moreover, these bogus intelligence reports consisted mainly of "chicken-feed" & conjecture, but also included the odd sensational fabrication to cater to the exotic tastes of their gullible controls. Finally, Greene's story & Alcazar de Velasco's case history resemble one another in their respective blurring of the distinction between fact & fiction. Modified AA