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Een ongelukkige schrijfster steelt het onvoltooide manuscript van haar overleden populaire Aziatische vriendin. Met de publicatie ervan onder haar eigen naam komt de discussie over culturele toe-eigening op gang en loopt alles uit de hand.

American fiction --- Racisme. --- Roman. --- Woke.

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"Mid-twentieth-century developments in science and technology produced new understandings and images of the planet that circulated the globe, giving rise to a modern ecological consciousness; but they also contributed to accelerating crises in the global environment, including climate change, pollution, and waste. In this new work, Patrick Whitmarsh analyzes postwar narrative fictions that describe, depict, or express the earth from above (the aerial) and below (the subterranean), revealing the ways that literature has engaged this history of vertical science and linked it to increasing environmental precarity, up to and including the extinction of humankind. Whitmarsh examines works by writers such as Don DeLillo, Karen Tei Yamashita, Reza Negarestani, and Colson Whitehead alongside postwar scientific programs including the Space Race, atmospheric and underground nuclear testing, and geological expeditions such as Project Mohole (which attempted to drill to the earth's mantle). As Whitmarsh argues, by focusing readers' attention on the fragility of postwar life through a vertical lens, Anthropocene fiction highlights the interconnections between human behavior and planetary change. These fictions situate industrial history within the much longer narrative of geological time and reframe scientific progress as a story through which humankind writes itself out of existence"

American fiction --- American fiction --- Global environmental change in literature --- Extinction (Biology) in literature --- Geology in literature --- Ecoliterature, American

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What is a reference to an Italian Egyptologist doing in Louisa May Alcott's portrait of domesticity in Little Women? Why does Elizabeth Stuart Phelps's painter protagonist Avis Dobell know - and care - that her red shawl is dyed with desiccated beetles? Why might W. E. B. Du Bois's fictional sharecropper display a reproduction of a painting by William-Adolphe Bouguereau near his cotton field? These questions, and more, are answered by Consuming Empire in US Fiction, 1865-1930. An interdisciplinary study of references to internationally-traded commodities in US fiction, this book assembles an integrated geopolitical analysis of Americans' material, gendered, and aesthetic experiences of empire at the turn of the twentieth century. Examining allusions to contested goods like cochineal, cotton, oranges, fur, gold, pearls, porcelain, and wheat, it reveals a linked global imagination among authors who were often directly or indirectly critical of US imperial ambitions. Furthermore, the book considers the commodification of art itself, interpreting writers' allusions to paintings, sculptures, and artists as self-aware acknowledgments of their own complicity in global capitalism. As Consuming Empire in US Fiction, 1865-1930 demonstrates, literary texts have long trained consumers to imagine their relationship to the world through the things they own.

American fiction --- History and criticism. --- Commercial products in literature. --- Consumption (Economics) in literature. --- Imperialism in literature.

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"With novels by Toni Morrison, Colson Whitehead, Philip Roth, Julia Alvarez, and Viet Thanh Nguyen, historical fiction has become a, if not the dominant genre in literary fiction. In the 1980s and 1990s, the American literary field fundamentally reorganized itself around historical fiction and the cultural, pedagogical, and political value of history. This decisive turn toward the past has both motivated, and been motivated by, the increasing recognition of Black, Latinx, Asian American, and Native writers within the literary canon. Alexander Manshel provides a new history of literary multiculturalism that recognizes the central place of the historical novel, as well as the central role of literary institutions that have privileged historical recovery over present political struggle. While the increasingly diverse literary canon has much to do with the trajectory of national politics, it depends far more on funding organizations such as the National Endowment for the Arts, literary prizes like the National Book Award, and the scholarship and syllabi of university English departments. Manshel investigates how the shifting priorities of these institutions have reshaped the history of American literature over the last forty years, documenting not only how the newly inclusive literary canon came to exist but also what, and who, it still excludes. The book concludes by looking at works by writers such as Paul Beatty, Jesmyn Ward, Tommy Orange, and Valeria Luiselli as offering a kind of challenge to the "historical" turn in U.S. fiction"

Historical fiction, American --- American fiction --- Canon (Literature) --- History and criticism --- History and criticism. --- Canon (Literature).

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Fiction provides the possibility for radical empathy by connecting us with strangers and Radical Empathy in Multicultural Women's Fiction: From the Library to Liberation both analyzes and embodies this phenomenon by putting women novelists of color in conversation with one another. Foregrounding the growing importance of intersectionality studies, this book considers how race, gender, and class interact for each author. In our increasingly fragmented national dialogue, this approach is unique and timely, demonstrating how novels can transform how we understand ourselves and act towards others. Each chapter compares a contemporary female author to an earlier, canonical author of her ethnic background, depicting the dialogues that authors have across the decades. Each conversation focuses on an intersectional question: How has culturally-enforced silence impacted Asian women writers? How can the American road trip narrative provide Black men access to their pasts? How do poverty and gentrification impact Chicana coming-of-age stories? Finally, the book facilitates a dialogue across ethnic categories, considering what commonalities all women writers of color share in the contemporary United States, and how their conversations can reach and impact readers to take the crucial step from empathy to action in their own communities.

American fiction --- Empathy in literature --- Women authors --- History and criticism --- Minority authors