In this Readers' Guide, Betty Jay considers the establishment of Forster's reputation and the various attempts of critics to decipher the complex codes that are a feature of his novel. Successive chapters focus on debates around Forster's liberal-humanism, with essays from F. R. Leavis, Lionel Trilling and Malcolm Bradbury; on the indeterminacy and ambiguity of the text, with extracts from essays by Gillian Beer, Robert Barratt, Wendy Moffat and Jo-Ann Hoeppner Moran; and on the sexual politics of Forster's work, with writings from Elaine Showalter, Frances L. Restuccia and Eve Dawkins Poll. The Guide concludes with essays from Jeffrey Meyers and Jenny Sharpe, who read A Passage to India in terms of its engagement with British imperialism.

- Presents the most important 20th century criticism on major works from The Odyssey through modern literature - The critical essays reflect a variety of schools of criticism - Contains critical biographies, notes on the contributing critics, a chronology of the author's life, and an index - Introductory essay by Harold Bloom"

Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,7, Johannes Gutenberg University Mainz, 14 entries in the bibliography, language: English, abstract: E.M. Forster published his novel A Passage to India in 1924, after he visited India beforehand in 1912 and in 1921. The novel deals in large parts with the political occupation of India by the British army and the concluding relations between the English and the native population. It is also about the friendship between the two main characters, Cyril Fielding and Dr. Aziz, with all its obstacles. A Passage to India wants to describe the differences between the Eastern and Western culture and how they might find together. This seminar paper discusses the relevant parts of the structure of this novel, which help Forster to create the gap between the cultures and the struggle of them getting together. These structural means are the use of a tripartite structure, specific locations and motifs in the novel.

“This is why we read fiction at all” raves the Washington Post: Family life meets historical romance in this critically acclaimed, “gorgeous, sweeping novel” (Ms Magazine) about two people who find each other when abandoned by everyone else, marking the signal American debut of an award-winning writer who richly deserves her international acclaim. On the outskirts of a small town in Bengal, a family lives in solitude in their vast new house. Here, lives intertwine and unravel. A widower struggles with his love for an unmarried cousin. Bakul, a motherless daughter, runs wild with Mukunda, an orphan of unknown caste adopted by the family. Confined in a room at the top of the house, a matriarch goes slowly mad; her husband searches for its cause as he shapes and reshapes his garden. As Mukunda and Bakul grow, their intense closeness matures into something else, and Mukunda is banished to Calcutta. He prospers in the turbulent years after Partition, but his thoughts stay with his home, with Bakul, with all that he has lost—and he knows that he must return.

“Stunning . . . . This is a novel that rewards reading, and even re-reading. The World We Found is a powerful meditation.” —Boston Globe Thrity Umrigar, acclaimed author of The Space Between Us and The Weight of Heaven, returns with a breathtaking new novel—a skillfully wrought, emotionally resonant story of four women and the indelible friendship they share As university students in late 1970s Bombay, Armaiti, Laleh, Kavita, and Nishta were inseparable. Spirited and unconventional, they challenged authority and fought for a better world. But over the past thirty years, the quartet has drifted apart, the day-to-day demands of work and family tempering the revolutionary fervor they once shared. Then comes devastating news: Armaiti, who moved to America, is gravely ill and wants to see the old friends she left behind. For Laleh, reunion is a bittersweet reminder of unfulfilled dreams and unspoken guilt. For Kavita, it is an admission of forbidden passion. For Nishta, it is the promise of freedom from a bitter, fundamentalist husband. And for Armaiti, it is an act of acceptance, of letting go on her own terms. The World We Found is a dazzling masterwork from the remarkable Thrity Umrigar, offering an unforgettable portrait of modern India while it explores the enduring bonds of friendship and the power of love to change lives.