Martin Swales explores the interrelation in the novelle of aesthetic theory and textual practice, suggesting that the characteristic mode of the novelle is a specific kind of narrative constellation advocated by theoreticians and practiced by writers. The author’s theory not only serves to illuminate our understanding of the novelle but also advances our knowledge of genre theory. Swales analyzes theoretical writings as if they themselves are literary texts that reflect the age in which they were written. By considering them in relation to seven principal topics, he shows how they share a central concern with cases that are exceptions to the normal social order. The response of each author implies the reluctance of society to have its premises called into question and to adjust in such a way as to accommodate these cases. Swales applies this theory to seven nineteenth-century novellen. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

“Skillfully researched and powerfully written, The German Wife will capture you from the first page.” —Madeline Martin, New York Times bestselling author of The Last Bookshop in London The New York Times bestselling author of The Warsaw Orphan returns with a gripping novel inspired by the true story of Operation Paperclip: a controversial secret US intelligence program that employed former Nazis after WWII. Berlin, 1930—When a wave of change sweeps a radical political party to power, Sofie von Meyer Rhodes’s academic husband benefits from the ambitions of its newly elected chancellor. Although Sofie and Jürgen do not share the social views growing popular in Hitler’s Germany, Jürgen’s position with its burgeoning rocket program changes their diminishing fortunes for the better. But as Sofie watches helplessly, her beloved Berlin begins to transform, forcing her to consider what they must sacrifice morally for their young family’s security, and what the price for their neutrality will be. Twenty years later, Jürgen is one of the many German scientists offered pardons for their part in the war, and taken to America to work for its fledgling space program. For Sofie, this is the chance to exorcise the ghosts that have followed her across the ocean, and make a fresh start in her adopted country. But her neighbors aren’t as welcoming or as understanding as she had hoped. When scandalous rumors about the Rhodes family’s affiliation with Hitler’s regime spreads, idle gossip turns to bitter rage, and the act of violence that results will tear apart Sofie’s community and her family before the truth is finally revealed. “An unforgettable novel that explores important questions highly relevant to the world today.” —Christine Wells, author of Sisters of the Resistance Don’t miss Kelly Rimmer’s next historical suspense, The Paris Agent, coming July 2023! For more by Kelly Rimmer, look for: Before I Let You Go The Things We Cannot Say Truths I Never Told You The Warsaw Orphan

Many early novels were cosmopolitan books, read from London to Leipzig and beyond, available in nearly simultaneous translations into French, English, German, and other European languages. In Novel Translations, Bethany Wiggin charts just one of the paths by which newness—in its avatars as fashion, novelties, and the novel—entered the European world in the decades around 1700. As readers across Europe snapped up novels, they domesticated the genre. Across borders, the novel lent readers everywhere a suggestion of sophistication, a familiarity with circumstances beyond their local ken. Into the eighteenth century, the modern German novel was not German at all; rather, it was French, as suggested by Germans' usage of the French word Roman to describe a wide variety of genres: pastoral romances, war and travel chronicles, heroic narratives, and courtly fictions. Carried in large part on the coattails of the Huguenot diaspora, these romans, nouvelles, amours secrets, histoires galantes, and histories scandaleuses shaped German literary culture to a previously unrecognized extent. Wiggin contends that this French chapter in the German novel's history began to draw to a close only in the 1720s, more than sixty years after the word first migrated into German. Only gradually did the Roman go native; it remained laden with the baggage from its "French" origins even into the nineteenth century.