A survey of the development of the novel since 1900, with detailed information about individual novels, themes and subgenres.

Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.

This book focuses on the issues of space, culture and identity in recent Australian fiction. It discusses the work of 15 authors to show that, in Australia, the meaning of “country” remains critical and cultural belonging is still a difficult process. Interrogating the definition of Australia as a “post-colonial nation” and its underlying extension from Britain, it applies Nicolas Bourriaud’s concept of the Radicant to examine Australian writing beyond the “post” of “post-colonialism”. The book shows that some authors are engaged in writing about the country and the time in which they live, but that they also share common critical views on the definition of multiculturalism, the belonging to place, and integration in the nation. The volume suggests that theories of cultural hybridism presented as a decolonising methodology in fact dissolve singularity in the same way that globalisation creates standardisation. It argues that 21st century Australian fiction depicts the subject as a radicant and that Australian culture constitutes a mobile entity unconnected to any soil.

Postmodern realist fiction uses realism-disrupting literary techniques to make interventions into the real social conditions of our time. It seeks to capture the complex, fragmented nature of contemporary experience while addressing crucial issues like income inequality, immigration, the climate crisis, terrorism, ever-changing technologies, shifting racial, sex and gender roles, and the rise of new forms of authoritarianism. A lucid, comprehensive introduction to the genre as well as to a wide variety of voices, this book discusses more than forty writers from a diverse range of backgrounds, and over several decades, with special attention to 21st-century novels. Writers covered include: Kathy Acker, Chimamanda Ngozi Adiche, Julia Alvarez, Sherman Alexie, Gloria Anzaldua, Margaret Atwood, Toni Cade Bambara, A.S. Byatt, Octavia Butler, Angela Carter, Ana Castillo, Don DeLillo, Junot Diaz, Jennifer Egan, Awaeki Emezi, Mohsin Hamid, Jessica Hagedorn, Maxine Hong Kingston, Ursula K. Le Guin, Daisy Johnson, Bharati Mukherjee, Toni Morrison, Vladimir Nabokov, Tommy Orange, Ruth Ozeki, Ishmael Reed, Eden Robinson, Salman Rushdie, Jean Rhys, Leslie Marmon Silko, Art Spiegelman, Kurt Vonnegut, and Jeannette Winterson, among others.

Vastly entertaining and outright hilarious, Paul Murray’s debut heralds the arrival of a major new Irish talent. His protagonist is endearing and wildly witty–part P. G. Wodehouse’s Bertie Wooster, with a cantankerous dash of A Confederacy of Dunces’ Ignatius J. Reilly thrown in. With its rollicking plot and colorful characters, An Evening of Long Goodbyes is a delightful and erudite comedy of epic proportions. Charles Hythloday observes the world from the comfortable confines of Amaurot, his family estate, and doesn’t much care for what he sees. He prefers the black-and-white sanctum of classic cinema–especially anything starring the beautiful Gene Tierney–to the roiling and rumbling of twenty-first-century Dublin. At twenty-four, Charles aims to resurrect the lost lifestyle of the aristocratic country gentleman–contemplative walks, an ever-replenished drink, and afternoons filled with canapés as prepared by the Bosnian housekeeper, Mrs. P. But Charles’s cozy existence is about to face a serious shake-up. His sister, Bel, an aspiring actress and hopeless romantic, has brought to Amaurot her most recent–and to Charles’s mind, most ill-advised–boyfriend. Frank is hulking and round, and resembles nothing so much as a large dresser, probably a Swedish one. He bets on greyhounds and talks endlessly of brawls and pubs in an accent that brings tears to Charles’s eyes. And, most suspiciously, his entrance into the Hythlodays’ lives just happens to coincide with the disappearance of an ever-increasing number of household antiques and baubles. Soon, Charles and Bel discover that missing heirlooms are the least of their worries; they are simply not as rich as they have always believed. With the family fortune teetering in the balance, Charles must do something he swore he would never do: get a job. Booted into the mean streets of Dublin, he is as unprepared for real life as Frank would be for a cotillion. And it turns out that real life is a tad unprepared for Charles, as well.

Original essays by American and British scholars offer a reader-friendly introduction to the work of Angela Carter, Doris Lessing, and a dozen other British women writers British women in the second half of the 20th century have produced a body of work that is as diverse as it is entertaining. This book offers an informal, jargon-free introduction to the fiction of sixteen contemporary writers either brought up or now living in England, from Muriel Spark to Jeanette Winterson. British Women Writing Fiction presents a balanced view comprising women writing since the 1950s and 1960s, those who attracted critical attention during the 1970s and 1980s, and those who have burst upon the literary scene more recently, including African-Caribbean and African women. The essays show how all of these writers treat British subjects and themes, sometimes from radically different perspectives, and how those who are daughters of immigrants see themselves as women writing on the margins of society. Abby Werlock's introduction explores the historical and aesthetic factors that have contributed to the genre, showing how even those writers who began in a traditional vein have created experimental work. The contributors provide complete bibliographies of each writer's works and selected bibliographies of criticism. Exceptional both in its breadth of subjects covered and critical approaches taken, this book provides essential background that will enable readers to appreciate the singular merits of each writer. It offers an approach toward better understanding favorite authors and provides a way to become acquainted with new ones.

Family Fictions and World Making: Irish and Indian Women’s Writing in the Contemporary Era is the first book-length comparative study of family novels from Ireland and India. On the one hand, despite an early as well as late colonial experience, Ireland is often viewed exclusively within a metropolitan British and Europe-centered frame. India, on the other hand, once seen as a model of decolonization for the non-Western world, has witnessed a crisis of democracy in recent years. This book charts the idea of "world making" through the fraught itineraries of the Irish and the Indian family novel. The novels discussed in the book foreground kinship based on ideological rather than biological ties and recast the family as a nucleus of interests across national borders. The book considers the work of critically acclaimed women authors Anne Enright, Elizabeth Bowen, Mahasweta Devi, Jennifer Johnston, Kiran Desai and Molly Keane. These writers are explored as representative voices for the interwar years, the late-modern period, and the globalization era. They not only push back against the male nationalist idiom of the family but also successfully interrogate family fiction as a supposedly private genre. The broad timeframe of Family Fictions and World Making from the interwar period to the globalization era initiates a dialogue between the early and the current debates around core and periphery in postcolonial literature.

“Mehran’s novel delights the senses on every page. The story pulses with life as three Iranian sisters struggle to make sense of matters of the heart and the spirit.” –Elizabeth Cox, author of The Slow Moon More than a year has passed since Marjan, Bahar, and Layla, the beautiful Iranian Aminpour sisters, sought refuge in the quaint Irish town of Ballinacroagh. Opening the beguiling Babylon Café, they charmed the locals with their warm hearts and delectable Persian cuisine, bringing a saffron-scented spice to the once-sleepy village. But when a young woman with a dark secret literally washes up on Clew Bay Beach, the sisters’ world is once again turned upside down. With pale skin and webbed hands, the girl is otherworldly, but her wounds tell a more earthly (and graver) story–one that sends the strict Catholic town into an uproar. The Aminpours rally around the newcomer, but each sister must also contend with her own transformation–Marjan tests her feelings for love with a dashing writer, Bahar takes on a new spiritual commitment with the help of Father Mahoney, and Layla matures into a young woman when she and her boyfriend, Malachy, step up their hot and heavy relationship. Filled with mouthwatering recipes and enchanting details of life in Ireland, Rosewater and Soda Bread is infused with a lyrical warmth that radiates from the Aminpour family and their big-hearted Italian landlady, Estelle, to the whole of Ballinacroagh–and the world beyond. Praise for Marsha Mehran’s Pomegranate Soup “A mouthwatering tale with flavors of Chocolat and Under the Tuscan Sun . . . sinfully sweet and satisfying.” –Orlando Sentinel “Glorious, daring, and delightful, filled with humor, hope, and possibility.” –Adriana Trigiani, author of the Big Stone Gap novels “An enchanting tale of love, family, and renewal.” –Firoozeh Dumas, author of Laughing Without an Accent