"This study portrays how Louise Erdrich's writing extends Bakhtin's concepts of dialogism and the novel through an investigation of a selection of her works, as well as her practices of writing, co-writing, re-writing, and reading novels. Erdrich's hallmark dialogic literary style and practice encompasses writing a series of books; re-cycling protagonists, narrators, events, themes and settings; re-writing previously published novels; employing heteroglossia and polyglossia; co-authoring texts, blogging about books; translating different epistemologies for different audiences; and spotlighting families as the main thematic concern in dialogue with her own parenting experiences as depicted in her memoirs. She writes a growing series of novels, compost pile-like, capitalizing on former novels, as well as adding new elements and new stories in the process. Thus, a dialogic intra-textual microcosm emerges. Erdrich suffuses her writing with an incessant quality of changing and becoming. Her novels resist closure, while protagonists return and demand attention, and the author answers dialogically by penning new tales. Erdrich's writing can be accessed because it concerns shared human experiences and relationships, both their ambivalence and their beauty. Erdrich includes instead of alienating, sympathizes instead of judging, which makes her an internationally acclaimed author, with her work crossing topographies, epistemologies, and identities."

This study portrays how Louise Erdrich’s writing extends Bakhtin’s concepts of dialogism and the novel through an investigation of a selection of her works, as well as her practices of writing, co-writing, re-writing, and reading novels. Erdrich’s hallmark dialogic literary style and practice encompasses writing a series of books; re-cycling protagonists, narrators, events, themes and settings; re-writing previously published novels; employing heteroglossia and polyglossia; co-authoring texts, blogging about books; translating different epistemologies for different audiences; and spotlighting families as the main thematic concern in dialogue with her own parenting experiences as depicted in her memoirs. She writes a growing series of novels, compost pile-like, capitalizing on former novels, as well as adding new elements and new stories in the process. Thus, a dialogic intra-textual microcosm emerges. Erdrich suffuses her writing with an incessant quality of changing and becoming. Her novels resist closure, while protagonists return and demand attention, and the author answers dialogically by penning new tales. Erdrich’s writing can be accessed because it concerns shared human experiences and relationships, both their ambivalence and their beauty. Erdrich includes instead of alienating, sympathizes instead of judging, which makes her an internationally acclaimed author, with her work crossing topographies, epistemologies, and identities.

Fresh perspectives and eye-opening discussions of contemporary American fiction In The Encyclopedia of Contemporary American Fiction: 1980-2020, a team of distinguished scholars delivers a focused and in-depth collection of essays on some of the most significant and influential authors and literary subjects of the last four decades. Cutting-edge entries from established and new voices discuss subjects as varied as multiculturalism, contemporary regionalisms, realism after poststructuralism, indigenous narratives, globalism, and big data in the context of American fiction from the last 40 years. The Encyclopedia provides an overview of American fiction at the turn of the millennium as well as a vision of what may come. It perfectly balances analysis, summary, and critique for an illuminating treatment of the subject matter. This collection also includes: An exciting mix of established and emerging contributors from around the world discussing central and cutting-edge topics in American fiction studies Focused, critical explorations of authors and subjects of critical importance to American fiction Topics that reflect the energies and tendencies of contemporary American fiction from the forty years between 1980 and 2020 The Encyclopedia of Contemporary American Fiction: 1980-2020 is a must-have resource for undergraduate and graduate students of American literature, English, creative writing, and fiction studies. It will also earn a place in the libraries of scholars seeking an authoritative array of contributions on both established and newer authors of contemporary fiction.

Rather than rarities, literary depictions of women breastfeeding infants are more common in American literature than recognized. In some cases, readers have dismissed such portrayals as scenic background or strokes of verisimilitude. In other cases, we have failed to register them at all. By cataloging and closely reading scenes of characters breastfeeding across the nineteenth, twentieth, and twenty-first centuries, this book decodes the beliefs of writers as celebrated as Willa Cather, Toni Morrison, and Louise Erdrich and as current as Camille Dungy, Maggie Nelson, and Torrey Peters. It traces in these authors’ fantasies and fears the consistent and sometimes competing cultural ideologies that accrue over decades and find expression in breastfeeding scenes. Despite the different historical and cultural expectations of what a mother should be and do, twentieth and twenty-first-century women writers have consistently singled out maternal pleasure—a mother’s privileging of her own desire—as the most important theme attending scenes of breastfeeding.

Vol. 1 includes "The installation of Frank Le Rond McVey ... as president of the University of North Dakota. Programs and proceedings" called Inauguration number, dated Sept. 1910.

"An account of Louise Erdrich's trip through the lakes and islands of southern Ontario with her 18-month old baby and the baby's father, an Ojibwe spiritual leader and guide"--

The Dark, John McGahern's second novel, is set in rural Ireland. The themes - that McGahern has made his own - are adolescence and a guilty, yet uncontrollable sexuality that is contorted and twisted by both a puritanical state religion and a strange, powerful and ambiguous relationship between son and widower father. Against a background evoked with quiet, undemonstrative mastery, McGahern explores with precision and tenderness a human situation, superficially very ordinary, but inwardly an agony of longing and despair. 'It creates a small world indelibly and without recourse to deliberate heightening effects of prose. There are few writers whose work can be anticipated with such confidence and excitement.' Sunday Times 'One of the greatest writers of our era.' Hilary Mantel, New Statesman