Politics and the Novel clarifies the role of revolutionary ideas in fiction, establishing the role of the political novel, and tracing the growth of this novel into the 20th century. Examples are drawn from such classics as Stendhal's The Red and the Black, Dostoevsky's The Possessed, Conrad's The Secret Agent, and Turgenev's Fathers and Sons. Howe examines how American novels failed to integrate ideology into their works, including DeForests' Playing the Mischief, Adams' Democracy, James' The Bostonians, and Hawthorne's The Bilthedale Romance. he also discusses political fiction after World War II: Kundera's Book of Laughter and Forgetting, Naipaul's Bend in the River, and Solzhenitsyn's The First Circle, among others.

David Cautes wide-ranging study examines how outstanding novelists of the Cold War era conveyed the major issues of contemporary politics and history. In the United States and Western Europe the political novel flourished in the 1930s and 1940s, the crisis years of economic depression, fascism, the Spanish Civil War,the consolidation of Stalinism, and the Second World War. Starting with the high hopes generated by the Spanish Civil War, Caute then explores the god that failed pessimism that overtook the Western political novel in the 1940s. The writers under scrutiny include Hemingway, Dos Passos, Orwell, Koestler, Malraux, Serge, Greene, de Beauvoir, and Sartre. Strikingly different approaches to the burning issues of the time are found among orthodox Soviet novelists such as Sholokhov, Fadeyev, Kochetov, and Pavlenko. Soviet official culture continued to choke on modernism, formalism, satire, and allegory. In Russia and Eastern Europe dissident novelists offered contesting voices as they engaged in the fraught re-telling of life under Stalinism. The emergence of the New Left in the 1960s generated a new wave of fiction challenging Americas global stance. Mailer, Doctorow, and Coover brought fresh literary sensibilities tobear on such iconic events as the 1967 siege of the Pentagon and the execution of the Rosenbergs.

A Novel Approach to Politics turns conventional textbook wisdom on its head by using pop culture references to illustrate key concepts and cover recent political events. This is a textbook students want to read. Adopters of previous editions from schools all over the country are thanking author Douglas A. Van Belle for some of their best student evaluations to date. With this Fifth Edition, Van Belle brings the book fully up to date with recent events such as Trump’s executive orders on immigration, the 2016 elections in the US, current policy debates including recent court decisions that may affect gerrymandering, international happenings such as Brexit, and other assorted intergalactic matters. Van Belle adds a wealth of new and recent movies and books to the text as he illustrates key concepts in political science through examples that captivate students. Employing a wide range of references from 1984 to Game of Thrones to House of Cards, students are given a solid foundation in institutions, ideology, and economics. To keep things grounded, the textbook nuts and bolts are still there to aid students, including chapter objectives, chapter summaries, bolded key terms, and discussion questions. Give your students the SAGE edge! SAGE edge offers a robust online environment featuring an impressive array of free tools and resources for review, study, and further exploration, keeping both instructors and students on the cutting edge of teaching and learning. Learn more at edge.sagepub.com/vanbelle5e.

It is impossible to separate the content of a book from its form. In this study, Filipe Carreira da Silva and Mónica Brito Vieira expand our understanding of the history of social and political scholarship by examining how the entirety of a book mediates and constitutes meaning in ways that affect its substance, appropriation, and reception over time. Examining the evolving form of classic works of social and political thought, including W. E. B. Du Bois’s The Souls of Black Folk, G. H. Mead’s Mind, Self, and Society, and Karl Marx’s 1844 Economic and Philosophic Manuscripts, Carreira da Silva and Brito Vieira show that making these books involved many hands. They explore what publishers, editors, translators, and commentators accomplish by offering the reading public new versions of the works under consideration, examine debates about the intended meaning of the works and discussions over their present relevance, and elucidate the various ways in which content and material form are interwoven. In doing so, Carreira da Silva and Brito Vieira characterize the editorial process as a meaning-producing action involving both collaboration and an ongoing battle for the importance of the book form to a work’s disciplinary belonging, ideological positioning, and political significance. Theoretically sophisticated and thoroughly researched, The Politics of the Book radically changes our understanding of what doing social and political theory—and its history—implies. It will be welcomed by scholars of book history, the history of social and political thought, and social and political theory.

The story of what happens when a serious writer goes to Hollywood has become a cliché: the writer is paid well but underappreciated, treated like a factory worker, and forced to write bad, formulaic movies. Most fail, become cynical, drink to excess, and at some point write a bitter novel that attacks the film industry in the name of high art. Like many too familiar stories, this one neither holds up to the facts nor helps us understand Hollywood novels. Instead, Chip Rhodes argues, these novels tell us a great deal about the ways that Hollywood has shaped both the American political landscape and American definitions of romance and desire. Rhodes considers how novels about the film industry changed between the studio era of the 1930s and 1940s and the era of deregulated film making that has existed since the 1960s. He asserts that Americans are now driven by cultural, rather than class, differences and that our mainstream notion of love has gone from repressed desire to “abnormal desire” to, finally, strictly business. Politics, Desire, and the Hollywood Novel pays close attention to six authors—Nathanael West, Raymond Chandler, Budd Schulberg, Joan Didion, Bruce Wagner, and Elmore Leonard—who have toiled in the film industry and written to tell about it. More specifically, Rhodes considers both screenplays and novels with an eye toward the different formulations of sexuality, art, and ultimately political action that exist in these two kinds of storytelling.

Novel Politics aims to change the current consensus of thinking about the nineteenth-century novel. This assumes that the novel is structured by bourgeois ideology and morality, so that its default position is conservative and hegemonic. Such critique comes alike from Marxists, readers of nineteenth-century liberalism, and critics making claims for the working-class novel, and systematically under-reads democratic imaginations and social questioning in novels of the period. To undo such readings means evolving a new praxis of critical writing. Rather than addressing the explicitly political and deeply limited accounts of the machinery of franchise and ballot in texts, it is important to create a poetics of the novel that opens up its radical aspects. This can be done partly by taking a new look at some classic nineteenth-century political texts (Mill, De Tocqueville, Hegel), but centrally by exploring four claims: the novel is an open Inquiry (compare philosophical Inquiries of the Enlightenment contemporary with the novel's genesis), a lived interrogation, not a pre-formed political document; radical thinking requires radical formal experiment, creating generic and ideological disruption simultaneously and putting the so-called realist novel and its values under pressure; the poetics of social and phenomenological space reveals an analysis of the dispossessed subject, not the bildung of success or overcoming; the presence of the aesthetic and art works in the novel is a constant source of social questioning. Among texts discussed, six novels of illegitimacy, from Jane Austen to Scott to George Eliot and George Moore, stand out because illegitimacy, with its challenge to social norms, is a test case for the novelist, and a growing point of the democratic imagination.

"The best (and the best written) book about Austen that has appeared in the last three decades."—Nina Auerbach, Journal of English and Germanic Philology "By looking at the ways in which Austen domesticates the gothic in Northanger Abbey, examines the conventions of male inheritance and its negative impact on attempts to define the family as a site of care and generosity in Sense and Sensibility, makes claims for the desirability of 'personal happiness as a liberating moral category' in Pride and Prejudice, validates the rights of female authority in Emma, and stresses the benefits of female independence in Persuasion, Johnson offers an original and persuasive reassessment of Jane Austen's thought."—Kate Fullbrook, Times Higher Education Supplement