In the decades following World War II, many American Jews sought to downplay their difference, as a means of assimilating into Middle America. Yet a significant minority, including many prominent Jewish writers and intellectuals, clung to their ethnic difference, using it to register dissent with the status quo and act as spokespeople for non-white America. In this provocative book, Jennifer Glaser examines how racial ventriloquism became a hallmark of Jewish-American fiction, as Jewish writers asserted that their own ethnicity enabled them to speak for other minorities. Rather than simply condemning this racial ventriloquism as a form of cultural appropriation or commending it as an act of empathic imagination, Borrowed Voices offers a nuanced analysis of the technique, judiciously assessing both its limitations and its potential benefits. Glaser considers how the practice of racial ventriloquism has changed over time, examining the books of many well-known writers, including Bernard Malamud, Cynthia Ozick, Philip Roth, Michael Chabon, Saul Bellow, and many others. Bringing Jewish studies into conversation with critical race theory, Glaser also opens up a dialogue between Jewish-American literature and other forms of media, including films, magazines, and graphic novels. Moreover, she demonstrates how Jewish-American fiction can help us understand the larger anxieties about ethnic identity, authenticity, and authorial voice that emerged in the wake of the civil rights movement.

The chorus of characters residing in the fictional town of White Rivers Falls, sing in their own or sometimes "borrowed voices" the familiar melodies of pain, love, devotion, rivalry, and triumph.

A Borrowed Man: a new science fiction novel from Gene Wolfe, the celebrated author of the Book of the New Sun series. It is perhaps a hundred years in the future, our civilization is gone, and another is in place in North America, but it retains many familiar things and structures. Although the population is now small, there is advanced technology, there are robots, and there are clones. E. A. Smithe is a borrowed person. He is a clone who lives on a third-tier shelf in a public library, and his personality is an uploaded recording of a deceased mystery writer. Smithe is a piece of property, not a legal human. A wealthy patron, Colette Coldbrook, takes him from the library because he is the surviving personality of the author of Murder on Mars. A physical copy of that book was in the possession of her murdered father, and it contains an important secret, the key to immense family wealth. It is lost, and Colette is afraid of the police. She borrows Smithe to help her find the book and to find out what the secret is. And then the plot gets complicated. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A pioneering, interdisciplinary study of how transnational novelists and critics use music as a critical device to structure narrative and to model ethical relations.

We Borrowed Gentleness interrogates the innateness of pain and forms of destruction—through natural disaster, through God, through family, and through the power structures and patriarchal violence that embeds itself in language and cultural memory. Poems critique and challenge the patriarchal narratives that dominate American history. The poems leave the question open of whether man, men, a father and son, are redeemable after the surge of rising white nationalism in America. And yet, there are poems that find, still, bits of joy and perhaps a shred of hope. By juxtaposing poems of louder narrative imagination with quieter poems that explore intimate failings within a family, often portrayed with a realist aesthetic, the book attempts to work through the essential fault in man, in men—in the structures that they design and maintain.

What do Dexter King, Condoleeza Rice, Mackenzie King, Corazon Aquino, Eleanor Roosevelt, Bill Cosby, Tony Dungy, Theodore Roosevelt, George H. W. and Barbara Bush, Caroline Kennedy, Arthur Ashe, Lady Bird Johnson, Colin Powell and C. S. Lewis have in common? They all have significant grief experiences that have shaped their lives in dramatic ways, stories that have also shaped our lives. Grieving individuals, through "borrowing narratives," look for inspiration in biographic, historical and memoir accounts of political and religious leaders, celebrities, sports figures, and cultural icons. In a time of diminishing trust in heroes and "sainted leaders", who will speak to us from their grief? In a diverse society grief counselors and educators need to identify and "mine" the experienced grief(s) of historical personalities for resources for reflection and meaning-making. This book will help readers: find, "read," evaluate, extract, and adapt historical/biographical materials create bio-narrative resources for use in grief counseling and grief education explore the wide diversity of experienced grief in biographical narratives identify ways to "harness" grief narratives for personal reflection.