Fiction, far from being the opposite of truth, is wholly bent on finding it out, and writing novels is a way to know the real world as objectively as possible. In Five Fictions in Search of Truth, Myra Jehlen develops this idea through readings of works by Flaubert, James, and Nabokov. She invokes Proust's famous search for lost memory as the exemplary literary process, which strives, whatever its materials, for a true knowledge. In Salammbô, Flaubert digs up Carthage; in The Ambassadors, James plumbs the examined life and touches at its limits; while in Lolita, Nabokov traces a search for truth that becomes a trespass. In these readings, form and style emerge as fiction's means for taking hold of reality, which is to say that they are as epistemological as they are aesthetic, each one emerging by way of the other. The aesthetic aspects of a literary work are just so many instruments for exploring a subject, and the beauty and pleasure of a work confirm the validity of its account of the world. For Flaubert, famously, a beautiful sentence was proven true by its beauty. James and Nabokov wrote on the same assumption--that form and style were at once the origin and the confirmation of a work's truth. In Five Fictions in Search of Truth, Jehlen shows, moreover, that fiction's findings are not only about the world but immanent within it. Literature works concretely, through this form, that style, this image, that word, seeking a truth that is equally concrete. Writers write--and readers read--to discover an incarnate, secular knowledge, and in doing so they enact a basic concurrence between literature and science.

A bush telegraph is an antipodean slang noun phrase for a grapevine or an informal network of communication. The title of this book on English language use comes from the fact that the book is written from the southern hemisphere (where the idea of a bush telegraph is more widely-known) and because the concept of a bush telegraph describes what the book providesa discussion of salient points in English language use and tertiary teaching across branches of interrelated interests. Each chapter of Bush Telegraph describes aspects of English writing culture. Separately and together, these 20 chapters teach, elucidate, analyse, and discuss crucial aspects of English writing culture, in order to communicate central ideas in, and improve knowledge of, English language writing culture.

This book proposes the idea of fictional International Relations (IR) and engages with feminist IR by contextualising the case of a woman spy in Korea in the Cold War. Fictional imagination and feminist IR encourage one to go beyond conventional or standard ways of thinking; it reshapes taken-for-granted interpretations and assumptions. This takes the view that a dominant narrative of events might be reconstructed as a different kind of story, once events are placed within a wider temporal approach. The case of the woman Korean secret agent- who reportedly bombed a South Korean plane (Korean Airlines (KAL) Flight 858) under the instruction from the North Korean leadership to disrupt the Seoul Olympic Games- is chosen to serve as an effective example of fictional IR and feminist IR scholarship, which can be investigated through the research puzzles concerning gender, pain and truth. Fictional International Relations has three main objectives. First, it investigates the way in which fiction-writing can become a method for dealing with data problems and contingency in IR. Second, the book examines how gender, pain and truth operate or interact in the case of the Korean spy and how this observation can strengthen feminist IR in terms of intersectionality. Finally, the author goes on to explore why this case has been so difficult to study openly and thoroughly. The aim of the book is not to refute the official findings; the point is to unpack complex dynamics surrounding truth—more specifically how the official account has been executed as ‘the’ truth—based on a feminist-informed investigation. This book will be of interest to students of IR theory, critical security studies, Cold War studies, gender studies and Asian studies.

In this path-breaking new work, Gregory Jusdanis asks why literature matters. Why are we afraid to admit our pleasures of reading, to defend the arts to the school board, to discuss the importance of literature in life? Drawing on a wealth of references from Aristophanes to Eudora Welty, from Fernando Pessoa to Orhan Pamuk, from Cavafy to hypertext stories, Jusdanis reminds us that the arts have always been under attack. Instead of despair, however, he offers a pragmatic defense of literature, arguing that it performs a social function in dramatizing the break between illusion and reality, life and the life-like, permanence and metamorphosis. The ability to distinguish between the actual and the imaginary is essential to human beings. Our capacity to imagine something new, to project ourselves into the mind of another person, and to fight for a new world is based on this distinction. Literature allows us to imagine alternate possibilities of human relationships and political institutions, even in the watery world of the Internet. At once daring and lucid, Fiction Agonistes considers the place of art today with passion and optimism.

Brian Hamnett examines key historical novels by Scott, Balzac, Manzoni, Dickens, Eliot, Flaubert, Fontane, Galdós, and Tolstoy, revealing the contradictions inherent in this form of fiction and exploring the challenges writers encountered in attempting to represent a reality that linked past and present.

The modern novel, so the story goes, thinks poorly of mere description—what Virginia Woolf called “that ugly, that clumsy, that incongruous tool.” As a result, critics have largely neglected description as a feature of novelistic innovation during the twentieth century. Dora Zhang argues that descriptive practices were in fact a crucial site of attention and experimentation for a number of early modernist writers, centrally Woolf, Henry James, and Marcel Proust. Description is the novelistic technique charged with establishing a common world, but in the early twentieth century, there was little agreement about how a common world could be known and represented. Zhang argues that the protagonists in her study responded by shifting description away from visualizing objects to revealing relations—social, formal, and experiential—between disparate phenomena. In addition to shedding new light on some of the best-known works of modernism, Zhang opens up new ways of thinking about description more broadly. She moves us beyond the classic binary of narrate-or-describe and reinvigorates our thinking about the novel. Strange Likeness will enliven conversations around narrative theory, affect theory, philosophy and literature, and reading practices in the academy.