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The recipient of numerous literary prizes, including the National Book Award, the Kafka Award, and the Pushcart Prize, Ursula K. Le Guin is renowned for her spare, elegant prose, rich characterization, and diverse worlds. "Semley's Necklace" is a short story originally published in the collection The Wind's Twelve Quarters.
Narratives of Community draws together essays that examine short story sequences by women through the lenses of Sandra Zagarell’s theoretical essay, “Narrative of Community.” Reading texts from countries around the world, the collection’s twenty-two contributors expand scholarship on the genre as they employ diverse theoretical models to consider how female identity is negotiated in community or the roles of women in domestic, social and literary community. Grouped into four sections based on these examinations, the essays demonstrate how Zagarell’s theory can provide a point of reference for multiple approaches to women’s writing as they read the semiotic systems of community. While “narrative of community” provides an organizing principle behind this collection, these essays offer critical approaches grounded in a wide variety of disciplines. Zagarell contributes the collection’s concluding essay, in which she provides a series of reflections on literary and cultural representations of community, on generic categorizations of community, and on regionalism and narrative of community as she returns to theoretical ground she first broke almost twenty years ago. Overall, these essays bring their contributors and readers into a community engaged with a narrative genre that inspires and affords a rich and growing tradition of scholarship. With Narratives of Community, editor Roxanne Harde offers a wealth of critical essays on a wide variety of women's linked series of short stories, essays that can be seen overall to explore the genre as a kind of meeting house of fictional form and meaning for an inclusive sororal community. The book itself joins a growing critical community of monographs and essay collections that have been critically documenting the rise of the modern genre of the story cycle to a place second only to the novel. But more than simply joining this critical venture, Narratives of Community makes a major contribution to studies in the short story, feminist theory, women's studies, and genre theory. Its introduction and essays should prove of enduring interest to scholars and critics in these fields, as well as continue highly useful in the undergraduate and graduate classrooms. — Gerald Lynch, Professor of English, University of Ottawa The introduction, by Prof. Harde, and the 20 essays in the book dialogue with Sandra Zagarell’s proposed paradigm “narratives of community”, which other scholars have called “short story cycles” or “story sequences”. Zagarell’s proposal organically blends a generic model with a thematic concern to explain how women writing community often turn to a particular narrative style that itself supports the literary creation of that community. Harde and the volume contributors appropriate this brilliant and engaging proposal in the context of other crucial discussions of the genre—notably Forest Ingram’s germinal study, J. Gerald Kennedy’s work, and those by Robert Luscher, Maggie Dunn and Anne Morris, James Nagel, Gerald Lynch and (I’m honored to note), my own study on Asian American short story cycles—to expand the range of the critical discussion on the form. The quality and diversity of the essays remind us that there is still much work that can be done in the area of genre studies. The volume emphasizes an important caveat to one vital misconception: that although writers like James Joyce or Sherwood Anderson are thought to be the precursors or, even, “inventors” of the form, women’s sequences, by Sara Orne Jewett and Elizabeth Gaskell, among others, actually predate the work of the male writers. This fact suggests that the development of the form as a genre that attends to specific perspectives or creative formulations of and by women needs to be considered in depth. The temporal scope of the volume is therefore a vital contribution to scholarship on the form, as is the diversity of the writers analyzed. Indeed, the examination of narratives by writers from different countries and that focus on characters from different time periods, racial, religious, or ethnic communities, and social class impels a multilayered reading of the texts that inevitably promotes a nuanced understanding of the project of each of the writers, a project that connects issues of individuality and community in varied and often surprising ways. The essays thus critically explore the notion of community in its myriad associations with the individual and as a crucial site not only for women’s action upon the world but also for her creative endeavors. The essays in the volume revisit familiar texts—Naylor’s The Women of Brewster Place, Cisneros’s The House on Mango Street, Kingston’s The Woman Warrior, Welty’s The Golden Apples, Munro’s The Lives of Girls and Women, among others—but offer new perspectives on the way form interacts with issues of women’s communities and women creating community in these works. Significantly, it also offers readings on texts that have not been analyzed in detail from this perspective—Gaskell’s Cranford or Woolf’s A Haunted House, for example—thus contributing to a continuing conversation about the ways women write. The juxtaposition of the familiar and the new expand the paradigms of current criticism not only on the story cycle but also on women’s writing in general. —Rocio Davis, Professor of Literature, University of Navarre "Roxanne Harde’s forthcoming volume, Narratives of Community: Women’s Short Story Sequences, provides an abundant collection of varied responses to Sandra Zagarell’s longstanding call for further in-depth exploration of the genre that Zagarell christened “the narrative of community” in her 1988 essay linking non-novelistic narrative form with representations of female experience. As Harde observes, such narratives of community overlap significantly with the growing canon of unified but discontinuous collections of autonomous stories that critics have variously labeled as the short story cycle/ sequence/ composite . . . The essays in her collection examine a rich variety of such works by women, extending the scholarship in this area. . . Harde’s ample collection of essays presents a concerted and diverse exploration of the implications of the short story sequence form as a representation of women’s lives as part of and in conflict with membership in a community. . . . Overall, Harde’s volume is a welcome addition to current scholarship on the short story sequence, bringing in a variety of new voices and perspectives to the community of scholars who have engaged in the exploration of this paradoxical, evolving, and increasingly popular genre." — Dr. Luscher
Dancing the Tao: Le Guin and Moral Development takes an original approach to Ursula K. Le Guin’s work – speculative fiction, poetry and children’s literature – by considering her Taoist upbringing and then looking through the lens of moral development theorists such as Carol Gilligan and Mary Field Belenky, and psychologists such as Lenore Terr and Jennifer J. Freyd. It is the most comprehensive approach to Le Guin’s moral thinking to date. A particular emphasis is put on Le Guin’s depiction of physical and sexual child abuse and its long term aftereffects such as post traumatic stress disorder. The focus throughout the book is on how morality develops through self-awareness and voice, how moral decisions are made and how Le Guin challenges readers to reconsider their own moral thinking. This book covers all of Le Guin’s major works such as The Left Hand of Darkness, The Dispossessed, the Earthsea Series, Always Coming Home, The Telling and Lavinia, and it also looks in depth at work that is rarely discussed such as Le Guin’s early work, her poetry, and her picture books.
Focusing on the 1950s and early 1960s, Culture Writing argues that this period in Britain, the United States, France, and the Caribbean was characterized by dynamic exchanges between literary writers and anthropologists on both sides of the Atlantic. As the British and French empires collapsed and the United States rose to global power in the early Cold War, and as intellectuals from the decolonizing world challenged the cultural hegemony of the West, some anthropologists began to assess their discipline's complicity with empire and experimented with literary forms and technique. Culture Writing shows that the "literary turn" in anthropology took place earlier than has conventionally been assumed, in the 1950s rather than the 1970s and 80s. Simultaneously, some literary writers reacted to the end of the period of modernist experimentation by turning to ethnographic methods for representing the people and cultural practices of Britain, France, and the United States, bringing anthropology back home. There is analysis of literary writers who had a significant professional engagement with anthropology and brought some of its techniques and research questions into literary composition: Barbara Pym (Britain), Ursula Le Guin and Saul Bellow (United States), Édouard Glissant (Martinique), and Michel Leiris (France). On the side of ethnography, the book analyzes works by anthropologists who either explicitly or surreptitiously adopted literary forms for their writing about culture: Laura Bohannan (United States), Michel Leiris and Claude Lévi-Strauss (France), and Mary Douglas (Britain). Culture Writing concludes with an epilogue that shows how the literature-anthropology conversation continues into the postcolonial period in the work of Indian author-anthropologist Amitav Ghosh and Jamaican author-sociologist Erna Brodber.
Worlds of Exile and Illusion by Ursula K. Le Guin Pdf
Worlds of Exile and Illusion contains three novels in the Hainish Series from Ursula K. Le Guin, one of the greatest science fiction writers and many times the winner of the Hugo and Nebula Awards. Her career as a novelist was launched by the three novels contained here. These books, Rocannon's World, Planet of Exile, and City of Illusions, are set in the same universe as Le Guin's groundbreaking classic, The Left Hand of Darkness. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
“Ursula Le Guin is more than just a writer of adult fantasy and science fiction . . . she is a philosopher; an explorer in the landscapes of the mind.” – Cincinnati Enquirer The recipient of numerous literary prizes, including the National Book Award, the Kafka Award, and the Pushcart Prize, Ursula K. Le Guin is renowned for her spare, elegant prose, rich characterization, and diverse worlds. "Direction of the Road" is a short story originally published in the collection The Wind's Twelve Quarters.
The Wind's Twelve Quarters by Ursula K. Le Guin Pdf
The recipient of numerous literary prizes, including the National Book Award, the Kafka Award, and the Pushcart Prize, Ursula K. Le Guin is renowned for her lyrical writing, rich characters, and diverse worlds. The Wind's Twelve Quarters collects seventeen powerful stories, each with an introduction by the author, ranging from fantasy to intriguing scientific concepts, from medieval settings to the future. Including an insightful foreword by Le Guin, describing her experience, her inspirations, and her approach to writing, this stunning collection explores human values, relationships, and survival, and showcases the myriad talents of one of the most provocative writers of our time.
Ideal for those new to the genre or for anyone who wishes to improve their technique, Ailsa Cox’s guide will help readers achieve their full potential as a short story writer. The book encourages you to be inventive, to break writing habits and to try something new, by showing the diversity of the short story genre, from cyberpunk to social observation. Each chapter of the book: introduces key aspects of the craft of short story writing, including structure, dialogue, characterization, viewpoint, narrative voice and more shows how a wide variety of published writers have approached the short story genre, in order to deepen the insights you gain from your own work gets you writing, with a series of original, sometimes challenging but always rewarding exercises, which can be tackled alone or adapted for use in a group includes activities at the end of each chapter. Ailsa Cox draws on her experience as a writer to provide essential information on drafting and editing, as well as a rich Resources section, which lists print and online journals that accept the work of new writers. Whether you’re writing as part of a course, in a workshop group or at home alone, this book will equip and inspire you to write better short stories, and make you a more skilled, enthusiastic and motivated writer of short stories.
Winner of a 2008 Hugo Award, this new paperback takes readers on spectacular tour of the language created by science fiction. From "Stargate" to "Force Field," this dictionary opens a fascinating window into an entire genre, through the words invented by science fiction's most talented writers, critics, and fans. Each entry includes numerous citations of the word's usage, from the earliest known appearance forward. Drawn not only from science fiction novels and stories, citations also come from fanzines, screenplays, comics, songs, and the Internet.