Books in the Literature Now series

Jessica Pressman explores the rise of "bookishness" as an identity and an aesthetic strategy that proliferates from store-window decor to experimental writing. Ranging from literature to kitsch objects, stop-motion animation films to book design, she considers the multivalent meanings of books in contemporary culture.

This book develops a new theory of the novel for the twenty-first century. In the works of writers such as J. M. Coetzee, Rachel Cusk, James Kelman, W. G. Sebald, and Zadie Smith, Timothy Bewes identifies a mode of thought that he calls "free indirect," in which the novel's refusal of prevailing ideologies can be found.

How do genres develop? In what ways do they reflect changing political and cultural trends? What do they tell us about the motivations of publishers and readers? Combining close readings and formal analysis with a sociology of literary institutions and markets, Minor Characters Have Their Day offers a compelling new approach to genre study and contemporary fiction. Focusing on the booming genre of books that transform minor characters from canonical literary texts into the protagonists of new works, Jeremy Rosen makes broader claims about the state of contemporary fiction, the strategies of the publishing industry over recent decades, and the function of literary characters.Rosen traces the recent surge in "e;minor-character elaboration"e; to the late 1960s and works such as Jean Rhys's Wide Sargasso Sea and Tom Stoppard's Rosencrantz and Guildenstern Are Dead. These early examples often recover the voices of marginalized individuals and groups. As the genre has exploded between the 1980s and the present, with novels about Ahab's wife, Huck Finn's father, and Mr. Dalloway, it has begun to embody the neoliberal commitments of subjective experience, individual expression, and agency. Eventually, large-scale publishers capitalized on the genre as a way to appeal to educated audiences aware of the prestige of the classics and to draw in identity-based niche markets. Rosen's conclusion ties the understudied evolution of minor-character elaboration to the theory of literary character.

As a growing number of contemporary novelists write for publication in multiple languages, the genre's form and aims are shifting. Born-translated novels include passages that appear to be written in different tongues, narrators who speak to foreign audiences, and other visual and formal techniques that treat translation as a medium rather than as an afterthought. These strategies challenge the global dominance of English, complicate "e;native"e; readership, and protect creative works against misinterpretation as they circulate. They have also given rise to a new form of writing that confounds traditional models of literary history and political community.Born Translated builds a much-needed framework for understanding translation's effect on fictional works, as well as digital art, avant-garde magazines, literary anthologies, and visual media. Artists and novelists discussed include J. M. Coetzee, Junot Diaz, Jonathan Safran Foer, Mohsin Hamid, Kazuo Ishiguro, Jamaica Kincaid, Ben Lerner, China Mieville, David Mitchell, Walter Mosley, Caryl Phillips, Adam Thirlwell, Amy Waldman, and Young-hae Chang Heavy Industries. The book understands that contemporary literature begins at once in many places, engaging in a new type of social embeddedness and political solidarity. It recasts literary history as a series of convergences and departures and, by elevating the status of "e;born-translated"e; works, redefines common conceptions of author, reader, and nation.