Reprint of the original, first published in 1857.

Over the last few decades, character-based criticism has been seen as either naive or obsolete. But now questions of character are attracting renewed interest. Making the case for a broad-based revision of our understanding of character, Character rethinks these questions from the ground up. Is it really necessary to remind literary critics that characters are made up of words? Must we forbid identification with characters? Does character-discussion force critics to embrace humanism and outmoded theories of the subject? Across three chapters, leading scholars Amanda Anderson, Rita Felski, and Toril Moi reimagine and renew literary studies by engaging in a conversation about character. Moi returns to the fundamental theoretical assumptions that convinced literary scholars to stop doing character-criticism, and shows that they cannot hold. Felski turns to the question of identification and draws out its diverse strands, as well as its persistence in academic criticism. Anderson shows that character-criticism illuminates both the moral life of characters, and our understanding of literary form. In offering new perspectives on the question of fictional character, this thought-provoking book makes an important intervention in literary studies.

“Exuberant . . . elegantly conjures an evocative group dynamic.” —Sam Roberts, New York Times From its birth in 1925 to the early days of the Cold War, The New Yorker slowly but surely took hold as the country’s most prestigious, entertaining, and informative general-interest periodical. In Cast of Characters, Thomas Vinciguerra paints a portrait of the magazine’s cadre of charming, wisecracking, driven, troubled, brilliant writers and editors. He introduces us to Wolcott Gibbs, theater critic, all-around wit, and author of an infamous 1936 parody of Time magazine. We meet the demanding and eccentric founding editor Harold Ross, who would routinely tell his underlings, "I'm firing you because you are not a genius," and who once mailed a pair of his underwear to Walter Winchell, who had accused him of preferring to go bare-bottomed under his slacks. Joining the cast are the mercurial, blind James Thurber, a brilliant cartoonist and wildly inventive fabulist, and the enigmatic E. B. White—an incomparable prose stylist and Ross's favorite son—who married The New Yorker's formidable fiction editor, Katharine Angell. Then there is the dashing St. Clair McKelway, who was married five times and claimed to have no fewer than twelve personalities, but was nonetheless a superb reporter and managing editor alike. Many of these characters became legends in their own right, but Vinciguerra also shows how, as a group, The New Yorker’s inner circle brought forth a profound transformation in how life was perceived, interpreted, written about, and published in America. Cast of Characters may be the most revealing—and entertaining—book yet about the unique personalities who built what Ross called not a magazine but a "movement."

What is “character”? Since at least Aristotle’s time, philosophers, theologians, moralists, artists, and scientists have pondered the enigma of human character. In its oldest usage, “character” derives from a word for engraving or stamping, yet over time, it has come to mean a moral idea, a type, a literary persona, and a physical or physiological manifestation observable in works of art and scientific experiments. It is an essential term in drama and the focus of self-help books. In Character: The History of a Cultural Obsession, Marjorie Garber points out that character seems more relevant than ever today, omnipresent in discussions of politics, ethics, gender, morality, and the psyche. References to character flaws, character issues, and character assassination and allegations of “bad” and “good” character are inescapable in the media and in contemporary political debates. What connection does “character” in this moral or ethical sense have with the concept of a character in a novel or a play? Do our notions about fictional characters catalyze our ideas about moral character? Can character be “formed” or taught in schools, in scouting, in the home? From Plutarch to John Stuart Mill, from Shakespeare to Darwin, from Theophrastus to Freud, from nineteenth-century phrenology to twenty-first-century brain scans, the search for the sources and components of human character still preoccupies us. Today, with the meaning and the value of this term in question, no issue is more important, and no topic more vital, surprising, and fascinating. With her distinctive verve, humor, and vast erudition, Marjorie Garber explores the stakes of these conflations, confusions, and heritages, from ancient Greece to the present day.

Kapoor gives us piercing glimpses of slums, roadside restaurants, Sufi shrines, heroin dens hidden in the backpacker district, desert outskirts where luxury apartments are being erected, and the noisy, thronging bazaar in the old city . . . She writes with a keening, furious sorrow that rang in my ears well after I finished the book' Wall Street Journal // She is twenty, restless in Delhi. He is a few years older, and has travelled the world. They meet in a café and they fall in love. In a dark, cool flat they have sex and do drugs. And then they travel the city. From the drug dens of Paharganj to the building sites of Noida; through the wastelands of Mehrauli and the dargah in Nizamuddin charged with plaintive song, the two play out their love story to its black end. // 'Charged with the energy of a racy page-turner, and visceral in its treatment of female desire and sexuality' Mint 'Intoxicating' New York Times