In a famous passage in The Red and the Black, the French writer Stendhal described the novel as a mirror being carried along a roadway. In the twentieth century this was derided as a naïve notion of realism. Instead, modern writers experimented with creative forms of invention and dislocation. Deconstructive theorists went even further, questioning whether literature had any real reference to a world outside its own language, while traditional historians challenged whether novels gave a trustworthy representation of history and society. In this book, Morris Dickstein reinterprets Stendhal's metaphor and tracks the different worlds of a wide array of twentieth-century writers, from realists like Theodore Dreiser, Sinclair Lewis, Edith Wharton, and Willa Cather, through modernists like Franz Kafka and Samuel Beckett, to wildly inventive postwar writers like Saul Bellow, Günter Grass, Mary McCarthy, George Orwell, Philip Roth, and Gabriel García Márquez. Dickstein argues that fiction will always yield rich insight into its subject, and that literature can also be a form of historical understanding. Writers refract the world through their forms and sensibilities. He shows how the work of these writers recaptures--yet also transforms--the life around them, the world inside them, and the universe of language and feeling they share with their readers. Through lively and incisive essays directed to general readers as well as students of literature, Dickstein redefines the literary landscape--a landscape in which reading has for decades been devalued by society and distorted by theory. Having begun with a reconsideration of realism, the book concludes with several essays probing the strengths and limitations of a historical approach to literature and criticism.

In a novel set in an indefinite, futuristic, post-apocalyptic world, a father and his young son make their way through the ruins of a devastated American landscape, struggling to survive and preserve the last remnants of their own humanity

Shortlisted for the Penguin Literary Prize Like fireflies to the light, Mona, Benny and Jimmy are drawn into the elegantly wasted orbit of the Crystal Ballroom and the post-punk scene of 80s Melbourne, a world that includes Nick Cave and Dodge, a photographer pushing his art to the edge. With precision and richness Kirsten Krauth hauntingly evokes the power of music to infuse our lives, while diving deep into loss, beauty, innocence and agency. Filled with unforgettable characters, the novel is above all about the shapes that love can take and the many ways we express tenderness throughout a lifetime. As it moves between the Blue Mountains and Melbourne, Sydney and Castlemaine, Almost a Mirror reflects on the healing power of creativity and the everyday sacredness of family and friendship in the face of unexpected tragedy.

In this clear-eyed, candid, and ultimately reassuring

This volume offers a rich and accessible introduction to contemporary research on Buddhist ethical thought for interested students and scholars, yet also offers chapters taking up more technical philosophical and textual topics. A Mirror is For Reflection offers a snapshot of the present state of academic investigation into the nature of Buddhist Ethics, including contributions from many of the leading figures in the academic study of Buddhist philosophy. Over the past decade many scholars have come to think that the project of fitting Buddhist ethical thought into Western philosophical categories may be of limited utility, and the focus of investigation has shifted in a number of new directions. This volume includes contemporary perspectives on topics including the nature of Buddhist ethics as a whole, karma and rebirth, mindfulness, narrative, intention, free will, politics, anger, and equanimity.