Dynamite novels meet highbrow modernism via the impact of terrorism. Between 1880 and 1915, a range of writers exploited terrorism's political shocks for their own artistic ends. Drawing on late-Victorian 'dynamite novels' by authors including Robert Louis Stevenson, Tom Greer and Robert Thynne, radical journals and papers, such as The Irish People, The Torch, Anarchy and Freiheit, and modernist writing from H.G. Wells and Joseph Conrad to the compulsively militant modernism of Wyndham Lewis and the Vorticists, O Donghaile maps the political and aesthetic connections that bind the shilling shocker closely to modernism.

By connecting Fenian and anarchist violence found in popular fiction from the 1880s to the early 1900s with the avant-garde writing of British modernism, Deaglan O Donghaile demonstrates that Victorian popular fiction and modernism were directly influence

Blasted Allegories makes available the best and most representative examples of artists' writings from the past ten years, an era marked by such pluralism and eclecticism that the voice of the artist may be the clearest one to listen to. The writings, which included both criticism and fiction, have been selected both for their intrinsic, quality and their usefulness; to an understanding of contemporary art. Among the artists represented are Laurie Anderson, Eric Bogosian, Spalding Gray, Theresa Hak Kyng Cha, Dan Graham, Jenny Holzer, Barbara Kruger, Matt Mullican, Richard Prince, Martha Roster, Allan Sekula, and William Wegman. Brian Wallis an editor at Art in America. A publication of The New Museum of Contemporary Art, New York. Distributed by The MIT Press

This study investigates the overlaps between political discourse and literary and cinematic fiction, arguing that both are informed by, and contribute to, the cultural imaginary of terrorism. Whenever mass-mediated acts of terrorism occur, they tend to trigger a proliferation of threat scenarios not only in the realm of literature and film but also in the statements of policymakers, security experts, and journalists. In the process, the discursive boundary between the factual and the speculative can become difficult to discern. To elucidate this phenomenon, this book proposes that terror is a halfway house between the real and the imaginary. For what characterizes terrorism is less the single act of violence than it is the fact that this act is perceived to be the beginning, or part, of a potential series, and that further acts are expected to occur. As turn-of-the-century writers such as Stevenson and Conrad were the first to point out, this gives terror a fantastical dimension, a fact reinforced by the clandestine nature of both terrorist and counter-terrorist operations. Supported by contextual readings of selected texts and films from The Dynamiter and The Secret Agent through late-Victorian science fiction to post-9/11 novels and cinema, this study explores the complex interplay between actual incidents of political violence, the surrounding discourse, and fictional engagement with the issue to show how terrorism becomes an object of fantasy. Drawing on research from a variety of disciplines, The Cultural Imaginary of Terrorism will be a valuable resource for those with interests in the areas of Literature and Film, Terrorism Studies, Peace and Conflict Studies, Trauma Studies, and Cultural Studies.

Anatole is a most honorable mouse. When he realizes that humans are upset by mice sampling their leftovers, he is shocked! He must provide for his beloved family--but he is determined to find a way to earn his supper. And so he heads for the tasting room at the Duvall Cheese Factory. On each cheese, he leaves a small note--"good," "not so good," "needs orange peel"--and signs his name. When workers at the Duvall factory find his notes in the morning, they are perplexed--but they realize that this mysterious Anatole has an exceptional palate and take his advice. Soon Duvall is making the best cheese in all of Paris! They would like to give Anatole a reward--if only they could find him...

Maps the fin de siecle mission to open up the 'Dark Continent'