This book addresses the religious scope of Cormac McCarthy’s fiction, one of the most controversial issues in studies of his work. Current criticism is divided between those who find a theological dimension in his works, and those who reject such an approach on the grounds that the nihilist discourse characteristic of his narrative is incompatible with any religious message. McCarthy’s tendencies toward religious themes have become increasingly more acute, revealing that McCarthy has adopted the biblical language and rhetoric to compose an "apocryphal" narrative of the American Southwest while exploring the human innate tendency to evil in the line of Herman Melville and William Faulkner, both literary progenitors of the writer. Broncano argues that this apocryphal narrative is written against the background of the Bible, a peculiar Pentateuch in which Blood Meridian functions as the Book of Genesis, the Border Trilogy functions as the Gospels, and No Country for Old Men as the Book of Revelation, while The Road is the post-apocalyptic sequel. This book analyzes the novels included in what Broncano defines as the South-Western cycle (from Blood Meridian to The Road) in search of the religious foundations that support the narrative architecture of the texts.

This book argues that McCarthy’s works convey a profound moral vision, and use intertextuality, moral philosophy, and questions of genre to advance that vision. It focuses upon the ways in which McCarthy’s fiction is in ceaseless conversation with literary and philosophical tradition, examining McCarthy’s investment in influential thinkers from Marcus Aurelius to Hannah Arendt, and poets, playwrights, and novelists from Dante and Shakespeare to Fyodor Dostoevsky and Antonio Machado. The book shows how McCarthy’s fiction grapples with abiding moral and metaphysical issues: the nature and problem of evil; the idea of God or the transcendent; the credibility of heroism in the modern age; the question of moral choice and action; the possibility of faith, hope, love, and goodness; the meaning and limits of civilization; and the definition of what it is to be human. This study will appeal alike to readers, teachers, and scholars of Cormac McCarthy.

This collection offers a fresh approach to the work of Cormac McCarthy, one of the most important contemporary American authors. Essays focus on his work across the genres and/or in constellation with other writers and artists, presenting not only a different "angle" on the work, but setting him within a broader literary and artistic context. Such an approach offers a view of McCarthy that is strikingly different to previous collections that have dealt with the work in an almost exclusively "single author" and/or "single genre" mode. McCarthy’s novels are increasingly regarded as amongst the most rich, the most complex, and the most insightful of all recent literary responses to prevailing conditions in both the USA and beyond, and this collection recognizes the intertextual and interdisciplinary nature of his work. Contributors draw back the curtain on some of McCarthy’s literary ancestors, revealing and analyzing some of the fiction’s key contemporary intertexts, and showing a complex and previously underestimated hinterland of influence. In addition, they look beyond the novel both to other genres in McCarthy’s oeuvre, and to the way these genres have influenced McCarthy’s writing.

The works of Pulitzer Prize-winning author Cormac McCarthy can be described as dark, mysterious, and violent. His unique writing style and Southern Gothic, post-apocalyptic brand of literature defy classification and make for a challenging and thought-provoking read. This text closely examines McCarthy’s recurring styles, symbols, and themes through excerpts from his books as well as critical analysis. Students will learn how to read and interpret McCarthy’s complex works while they come to a greater understanding of one of America’s most powerful writers.

Everyone’s favorite guide to fiction that’s thrilling, mysterious, suspenseful, thought-provoking, romantic, and just plain fun is back—and better than ever in this completely revamped and revised edition. A must for every readers’ advisory desk, this resource is also a useful tool for collection development librarians and students in LIS programs. Inside, RA experts Wyatt and Saricks cover genres such as Psychological Suspense, Horror, Science Fiction, Fantasy, Romance, Mystery, Literary and Historical Fiction, and introduce the concepts of Adrenaline and Relationship Fiction; include everything advisors need to get up to speed on a genre, including its appeal characteristics, key authors, sure bets, and trends; demonstrate how genres overlap and connect, plus suggestions for guiding readers among genres; and tie genre fiction to the whole collection, including nonfiction, audiobooks, graphic novels, film and TV, poetry, and games. Both insightful and comprehensive, this matchless guidebook will help librarians become familiar with many different fiction genres, especially those they do not regularly read, and aid library staff in connecting readers to books they’re sure to love.

In spite of Connie Willis’s numerous science fiction awards and her groundbreaking history as a woman in the field, there is a surprising dearth of critical publication surrounding her work. Taking Doomsday Book as its cue, this collection argues that Connie Willis’s most famous novel, along with the rest of her oeuvre, performs science fiction’s task of cognitive estrangement by highlighting our human inability to read the times correctly—and yet also affirming the ethical imperative to attempt to truly observe and record our temporal location. Willis’s fiction emphasizes that doomsdays happen every day, and they risk being forgotten by some, even as their trauma repeats for others. However, disasters also have the potential to upend accepted knowledge and transform the social order for the better, and this collection considers the ways that Willis pairs comic and tragic modes to reflect these uncertainties.

Establishing science fiction as its own distinct and increasingly important narrative form, this book explores how the genre challenges pervasive perceptions of society as they appear in the conventional modern novel. Inspired by, and building upon, Georg Lukács's criticism of the orthodox novel for its depiction of life as alienating and disjointed, Milner, Murphy and Roberts demonstrate that science fiction steps beyond this contemporary form to be a more constructive form of literature, one able to conceive of society as complete, integrated and well-rounded. Taking stock of three kinds of science fiction which lie outside the scope of the modern novel – theological/ ontological science fiction, the science fiction of future history and epic science fiction – this book demonstrates the genre's unique capacity to encapsulate the whole world, persons and events, things and objects in a glance, and address the motive behind the longing for meaningful totality. With reference to a vast array of works by authors such as Michel Houellebecq, Elias Canetti, Isaac Asimov, Jules Verne, H. G. Wells, Aldous Huxley, Marge Piercy, Iain M. Banks, Margaret Atwood, Ursula K. Le Guin, William Gibson, Dirk C. Fleck, Philip K. Dick, George Orwell and Kazuo Ishiguro, this book offers a compelling argument for rethinking the position and potential of the science fiction novel and to challenge the way we perceive our culture.

I will tell you a story that will make you believe in God." No story can guarantee being able to do this. Yet novelists can tell stories that make us think about what we believe about God and why. Despite repeated predictions of the death of the novel, thousands of works of fiction are published and read in Britain each year. Although Western society is less religiously observant than it was, many 21st-century novelists persist in pursuing theological, religious and spiritual themes. Make-Believe seeks to explain why. With chapters offering analyses of novels from several genres - so-called literary fiction, historical fiction, science fiction, fantasy and dystopia - David Dickinson discusses a wide spectrum of novelists. Authors who are avowedly atheistic and authors who have a vested interest in perpetuating biblical stories are both featured. Well-known writers such as Rushdie, McEwan, McCarthy and Martell rub shoulders with some you may be meeting for the first time. Appealing to literature students and people who simply enjoy reading, whether Christian or not, this study of God in novels invites us to open our minds and allow aspects of our culture to shape our understanding of God and to change our ways of talking about the divine.

In the decades since his 1992 breakout novel, All the Pretty Horses, Cormac McCarthy has gained a reputation as one of the greatest contemporary American authors. Experimenting with genres such as the crime thriller, the post-apocalyptic novel, and the western, his work also engages with the aesthetics of cinema, and several of his novels have been adapted for the screen. While timely and relevant, his works use idiosyncratic language and contain intense, troubling portrayals of racism, sexism, and violence that can pose challenges for students. This volume offers strategies for guiding students through McCarthy's oeuvre, addressing all his novels as well as his published plays and screenplays. Part 1, "Materials," provides sources of biographical information and key scholarship on McCarthy. Essays in part 2, "Approaches," discuss subjects such as landscape and ecology, mythologies of the American West, film adaptations, and literary contexts and describe assignments that encourage students to write creatively and to examine their personal values.

This book confronts the question of why our culture is so fascinated by the apocalypse. It ultimately argues that while many see the post-apocalyptic genre as reflective of contemporary fears, it has actually co-evolved with the transformations in our mediascape to become a perfect vehicle for transmedia storytelling. The post-apocalyptic offers audiences a portal to a fantasy world that is at once strange and familiar, offers a high degree of internal consistency and completeness, and allows for a diversity of stories by different creative teams in the same story world. With case studies of franchises such as The Walking Dead and The Terminator, Transmedia Storytelling and the Apocalypse offers analyses of how shifts in media industries and reception cultures have promoted a new kind of open, world-building narrative across film, television, video games, and print. For transmedia scholars and fans of the genre, this book shows how the end of the world is really just the beginning...