Communities in Fiction reads six novels or stories (one each by Trollope, Hardy, Conrad, Woolf, Pynchon, and Cervantes) in the light of theories of community worked out (contradictorily) by Raymond Williams, Martin Heidegger, and Jean- Luc Nancy. The book’s topic is the question of how communities or noncommunities are represented in fictional works. Such fictional communities help the reader understand real communities, including those in which the reader lives. As against the presumption that the trajectory in literature from Victorian to modern to postmodern is the story of a gradual loss of belief in the possibility of community, this book demonstrates that communities have always been presented in fiction as precarious and fractured. Moreover, the juxtaposition of Pynchon and Cervantes in the last chapter demonstrates that period characterizations are never to be trusted. All the features both thematic and formal that recent critics and theorists such as Fredric Jameson and many others have found to characterize postmodern fiction are already present in Cervantes’s wonderful early-seventeenth-century “Exemplary Story,” “The Dogs’ Colloquy.” All the themes and narrative devices of Western fiction from the beginning of the print era to the present were there at the beginning, in Cervantes Most of all, however, Communities in Fiction looks in detail at its six fictions, striving to see just what they say, what stories they tell, and what narratological and rhetorical devices they use to say what they do say and to tell the stories they do tell. The book attempts to communicate to its readers the joy of reading these works and to argue for the exemplary insight they provide into what Heidegger called Mitsein— being together in communities that are always problematic and unstable.

Fans have been responding to literary works since the days of Homer's Odyssey and Euripedes' Medea. More recently, a number of science fiction, fantasy, media, and game works have found devoted fan followings. The advent of the Internet has brought these groups from relatively limited, face-to-face enterprises to easily accessible global communities, within which fan texts proliferate and are widely read and even more widely commented upon. New interactions between readers and writers of fan texts are possible in these new virtual communities. From Star Trek to Harry Potter, the essays in this volume explore the world of fan fiction--its purposes, how it is created, how the fan experiences it. Grouped by subject matter, essays cover topics such as genre intersection, sexual relationships between characters, character construction through narrative, and the role of the beta reader in online communities. The work also discusses the terminology used by creators of fan artifacts and comments on the effects of technological advancements on fan communities. Instructors considering this book for use in a course may request an examination copy here.

“Journey through a mystical country where everything is possible and easily arranged” in this 2-part travelogue set in a fictional Mediterranean city of dreams (Los Angeles Times). “A touching lover letter . . . to life itself”—featuring Last Letters from Hav, shortlisted for the Booker Prize, and a foreword by Ursula K. Le Guin (The Independent) Hav is like no place on earth. Rumored to be the site of Troy, captured during the crusades and recaptured by Saladin, visited by Tolstoy, Hitler, Grace Kelly, and Princess Diana, this Mediterranean city-state is home to several architectural marvels and an annual rooftop race that is a feat of athleticism and insanity. As Jan Morris guides us through the corridors and quarters of Hav, we hear the mingling of Italian, Russian, and Arabic in its markets, delight in its famous snow raspberries, and meet the denizens of its casinos and cafés. When Morris published Last Letters from Hav in 1985, it was short-listed for the Booker Prize. Here it is joined by Hav of the Myrmidons, a sequel that brings the story up-to-date. Twenty-first-century Hav is nearly unrecognizable. Sanitized and monetized, it is ruled by a group of fanatics who have rewritten its history to reflect their own blinkered view of the past. Morris’s only novel is dazzlingly sui-generis, part erudite travel memoir, part speculative fiction, part cautionary political tale. It transports the reader to an extraordinary place that never was, but could well be. “Jan Morris is to other travel writers what John le Carré is to other spy novelists.” —New York Times

Gathering some of Kristina Busse’s essential essays on fan fiction together with new work, Framing Fan Fiction argues that understanding media fandom requires combining literary theory with cultural studies because fan artifacts are both artistic works and cultural documents. Drawing examples from a multitude of fan communities and texts, Busse frames fan fiction in three key ways: as individual and collective erotic engagement; as a shared interpretive practice in which tropes constitute shared creative markers and illustrate the complexity of fan creations; and as a point of contention around which community conflicts over ethics play out. Moving between close readings of individual texts and fannish tropes on the one hand, and the highly intertextual embeddedness of these communal creations on the other, the book demonstrates that fan fiction is simultaneously a literary and a social practice. Framing Fan Fiction deploys personal history and the interpretations of specific stories to contextualize fan fiction culture and its particular forms of intertextuality and performativity. In doing so, it highlights the way fans use fan fiction’s reimagining of the source material to explore issues of identities and peformativities, gender and sexualities, within a community of like-minded people. In contrast to the celebration of originality in many other areas of artistic endeavor, fan fiction celebrates repetition, especially the collective creation and circulation of tropes. An essential resource for scholars, Framing Fan Fiction is also an ideal starting point for those new to the study of fan fiction and its communities of writers.

What we can learn about caregiving and community from the Victorian novel In Communities of Care, Talia Schaffer explores Victorian fictional representations of care communities, small voluntary groups that coalesce around someone in need. Drawing lessons from Victorian sociality, Schaffer proposes a theory of communal care and a mode of critical reading centered on an ethics of care. In the Victorian era, medical science offered little hope for cure of illness or disability, and chronic invalidism and lengthy convalescences were common. Small communities might gather around afflicted individuals to minister to their needs and palliate their suffering. Communities of Care examines these groups in the novels of Jane Austen, Charlotte Brontë, Charles Dickens, George Eliot, Henry James, and Charlotte Yonge, and studies the relationships that they exemplify. How do carers become part of the community? How do they negotiate status? How do caring emotions develop? And what does it mean to think of care as an activity rather than a feeling? Contrasting the Victorian emphasis on community and social structure with modern individualism and interiority, Schaffer’s sympathetic readings draw us closer to the worldview from which these novels emerged. Schaffer also considers the ways in which these models of carework could inform and improve practice in criticism, in teaching, and in our daily lives. Through the lens of care, Schaffer discovers a vital form of communal relationship in the Victorian novel. Communities of Care also demonstrates that literary criticism done well is the best care that scholars can give to texts.

“After Auschwitz to write even a single poem is barbaric.” The Conflagration of Community challenges Theodor Adorno’s famous statement about aesthetic production after the Holocaust, arguing for the possibility of literature to bear witness to extreme collective and personal experiences. J. Hillis Miller masterfully considers how novels about the Holocaust relate to fictions written before and after it, and uses theories of community from Jean-Luc Nancy and Derrida to explore the dissolution of community bonds in its wake. Miller juxtaposes readings of books about the Holocaust—Keneally’s Schindler’s List, McEwan’s Black Dogs, Spiegelman’s Maus, and Kertész’s Fatelessness—with Kafka’s novels and Morrison’s Beloved, asking what it means to think of texts as acts of testimony. Throughout, Miller questions the resonance between the difficulty of imagining, understanding, or remembering Auschwitz—a difficulty so often a theme in records of the Holocaust—and the exasperating resistance to clear, conclusive interpretation of these novels. The Conflagration of Community is an eloquent study of literature’s value to fathoming the unfathomable.

Studie over de emancipatie van de vrouw gezien vanuit vrouwengemeenschappen, zoals dit in de Angelsaksische letterkunde tot uiting komt