"Josie Billington seeks to resituate Gaskell's work within the wider tradition of nineteenth-century realism and argues that Gaskell deserves to be read not as a poor second to George Eliot but as offering an English Victorian equivalent of the religious realism of Leo Tolstoy.

From the New York Times bestselling author of The Marriage of Opposites and The Dovekeepers comes a soul-searching story about a young woman struggling to redefine herself and the power of love, family, and fate. Growing up on Long Island, Shelby Richmond is an ordinary girl until one night an extraordinary tragedy changes her fate. Her best friend’s future is destroyed in an accident, while Shelby walks away with the burden of guilt. What happens when a life is turned inside out? When love is something so distant it may as well be a star in the sky? Faithful is the story of a survivor, filled with emotion—from dark suffering to true happiness—a moving portrait of a young woman finding her way in the modern world. A fan of Chinese food, dogs, bookstores, and men she should stay away from, Shelby has to fight her way back to her own future. In New York City she finds a circle of lost and found souls—including an angel who’s been watching over her ever since that fateful icy night. Here is a character you will fall in love with, so believable and real and endearing, that she captures both the ache of loneliness and the joy of finding yourself at last. For anyone who’s ever been a hurt teenager, for every mother of a daughter who has lost her way, Faithful is a roadmap. Alice Hoffman’s “trademark alchemy” (USA TODAY) and her ability to write about the “delicate balance between the everyday world and the extraordinary” (WBUR) make this an unforgettable story. With beautifully crafted prose, Alice Hoffman spins hope from heartbreak in this profoundly moving novel.

Often slyly funny and always devastatingly observant, Jenny Irish writes about the precarities of our moment with gorgeous prose and heartbreaking acuity. --Laura Kipnis

The figure of Jesus appears as a character in dozens of nineteenth-century novels, including works by Balzac, Flaubert, Dickens, Dostoevsky, and others. The Real and the Sacred focuses in particular on two fiction genres: the Jesus redivivus tale and the Jesus novel. In the former, Christ makes surprise visits to earth, from rural Flanders (Balzac) and Muscovy (Turgenev) to the bustling streets of Paris (Flaubert), Seville (Dostoevsky), Berlin, and Boston. In the latter, the historical Jesus wanders through the picturesque towns and plains of first-century Galilee and Judea, attracting followers and enemies. In short, authors subjected Christ, the second person of the Christian trinity, to the realist norms of secular fiction. Thus the Jesus of nineteenth-century fiction was both situated within a specific time and place, whether ancient or modern, and positioned before the gaze of increasingly daring literary portraitists. The highest artistic challenge for authors was to paint, using mere words, a faithful picture of Jesus in all his humanity. The incongruity of a sacred figure inhabiting secular literary forms nevertheless tested the limits of modern realist style no less than the doctrine of Christ’s divinity. The international “quest of the historical Jesus” has been amply documented within the context of nineteenth-century biblical scholarship. Yet there has been no broad-based comparative study devoted to the depiction of Jesus in prose fiction over the same time period. The Real and the Sacred offers a comprehensive survey of this body of fiction, examining both the range of its Christ types and the varying formal means through which these types were represented. The nineteenth century—despite forecasts of God's death at the time—not only revived older Christ types but also witnessed the rise of new ones, including le Christ proletaire, the Mormon Christ, the Buddhist Christ, and the Tolstoyan Christ. Novelists played a crucial role in the invention and popularization of the historical Jesus in particular, one of modernity's major figures. These pioneering works of fiction, written by authors of diverse religious and national backgrounds, laid the formal groundwork for an enduring fascination with the historical Jesus in later fiction and film, from Mikhail Bulgakov's Master and Margarita to Mel Gibson's The Passion of the Christ. The book is enhanced by a gallery of illustrations of the historical Jesus as depicted by nineteenth-century artists.

The relation between logic and knowledge has been at the heart of a lively debate since the 1960s. On the one hand, the epistemic approaches based their formal arguments in the mathematics of Brouwer and intuitionistic logic. Following Michael Dummett, they started to call themselves `antirealists'. Others persisted with the formal background of the Frege-Tarski tradition, where Cantorian set theory is linked via model theory to classical logic. Jaakko Hintikka tried to unify both traditions by means of what is now known as `explicit epistemic logic'. Under this view, epistemic contents are introduced into the object language as operators yielding propositions from propositions, rather than as metalogical constraints on the notion of inference. The Realism-Antirealism debate has thus had three players: classical logicians, intuitionists and explicit epistemic logicians. The editors of the present volume believe that in the age of Alternative Logics, where manifold developments in logic happen at a breathtaking pace, this debate should be revisited. Contributors to this volume happily took on this challenge and responded with new approaches to the debate from both the explicit and the implicit epistemic point of view.

Taking its cue from Eugene O'Neill's questioning of «faithful realism», voiced by Edmund Tyrone in Long Day's Journey into Night, this book examines the distant legacy of the Irish American playwright in contemporary multiethnic drama in the U.S. It explores the labyrinth of formal devices through which African American, Latina/o, First Nations, and Asian American dramatists have unconsciously reinterpreted O'Neill's questioning of mimesis. In their works, hybridizations of stage realism function as aesthetic celebrations of the spiritual potentialities of cultural in-betweenness. This volume provides detailed analyses of over forty plays authored by such key artists as August Wilson, Suzan-Lori Parks, José Rivera, Cherríe Moraga, Hanay Geiogamah, Diane Glancy, David Henry Hwang, and Chay Yew, to give only a few prominent examples. All in all, Labyrinth of Hybridities invites its readers to reassess the cross-cultural patterns characterizing the history of twentieth century American drama.