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Materiality in Modernist Short Fiction provides a fresh approach to reading material things in modern fiction, accounting for the interplay of the material and the cultural. This volume investigates how Djuna Barnes, Katherine Mansfield, and Jean Rhys use the short story form to evoke the material world as both living and lived, and how the spaces they create for challenging gendered social norms can also be nonanthropocentric spaces for encounters between the human and the nonhuman. Using the unique knowledge created by literary works to spark new conversations between phenomenology, cognitive studies, and new materialisms, complemented with a feminist perspective, this book explores how literature can touch the basic experience of being in, feeling and making sense of a material world that is itself alive and active. From a sensitive reading of how three women used the material world to make their readers see, feel, and question the norms shaping our experience, this volume draws a theory of reading affective materiality that illuminates modernism and the short story form but also reaches beyond them.

William Allen White was known as the editor of the Emporia Gazette, as a political leader in the Republican Party in Kansas, and as a spokesman for the Middle West. His contributions to literature in the form of two novels and more than fifty short stories are seldom remembered today, but it was his ambition at one time to earn his living and reputation as an author, and not as a politician or a journalist. White's biography forms the second chapter of this study, emphasizing the elements in his early life which most affected the form and content of his fiction and defining the events of his political and journalistic career which changed the direction his fiction took. His philosophy of life as seen in his attitudes toward social, political, and economic issues of the day is discussed in the third chapter. The fourth chapter is devoted to his theories of literature and to their practical application in his fiction. Like many other writers at the turn of the century, he was caught up in the ferment of ideas which marked that era. A detailed study of representative examples of White's short fiction is contained in the fifth chapter. White's technical accomplishments and failures and the recurrent themes he used in his fiction are at the center of the study and are illustrated by a large sampling of his stories.

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The aim of this dissertation is to contribute to the academic dispute over the emancipatory potential of Angela Carter's fiction by examining the way in which her short fiction re-imagines and either reproduces or subverts the ideology at work in patriarchy. The relevance that the category ―postmodernism‖ has had for the critical reception of Carter's work determines this dissertation's three-part structure. The first part provides an overview of the standard theoretical perspectives that define postmodernism as a frame of ideas and as a literary practice and that, as such, have had a direct influence on the assessment of the political potential of Carter's fiction. Part II focuses on Slavoj Žižek's non-standard account of postmodernism, an approach that reasserts the subversive character of postmodernist cultural productions. Part III analyses a corpus of seven short narratives from Carter's four collections and examines the extent to which Žižek's unorthodox view of postmodernism sheds new light on the emancipatory potential of their representation of social reality, sexual difference and the human condition.

Comparatively few contemporary writers have accompanied American POWs home from Hanoi, been arrested on the White House Lawn, or been dragged off in shackles to serve time in the Greenwich Village Women's House of Detention. Paley's pacifist, socialist politics are also deeply rooted in a family past where memories were still fresh of Tsarist oppression - one uncle shot dead carrying the red flag, and parents who reached America only because the Tsar had a son and amnestied all political prisoners under the age of twenty-one. At this point, Paley's father (imprisoned in Archangel) and her mother (in exile) took their chances (and all their surviving relatives) and very sensibly ran for their lives. Her grandmother recalled family arguments around the table between Paley's father (Socialist), Uncle Grisha (Communist), Aunt Luba (Zionist), and Aunt Mira (also Communist). Paley's own street-wise adolescence involved the usual teenage gang fights, between adherents of the Third and Fourth Internationals.This article is copyright MHRA 2001, and is included in this repository with permission.

This essay discusses two short stories of girlhood written by Lucy Caldwell: "Mayday" (2016) and "Here We Are" (2017). It argues that although Caldwell's fiction is mobilized by an engagement with the politics of Northern Ireland, it is not the physical violence of "the Troubles" that animates her work. Rather, her stories are concerned with the broader reverberations of the conflict and its aftermath; the conservative political climate that characterized the latter part of the twentieth century; and the domestic debris that decades of conflict have left in their wake. Caldwell's focus on young female sexuality – and the ways in which this is curtailed, controlled, and abused – enables her to analyze the anachronistic politics of Northern Ireland while opening up imaginative avenues through which to envision the future. In exploring moments of connection and the enabling power of girlhood desire, Caldwell provides a feminist alternative to the masculinist narratives, so often of (paramilitary) violence, that have characterized engagement with the North of Ireland during the latter part of the twentieth century. The essay emphasizes that it is not the trauma of the Troubles that galvanizes Caldwell's short fiction but the trauma of being denied bodily autonomy, or the right to love whom you choose in a manner equal to your peers.