When we first meet Kit, she's a fox. Nineteen-year-old Kit works for the research department of Shen Corporation as a phenomenaut. She's been “jumping”--projecting her consciousness, through a neurological interface--into the bodies of lab-grown animals made for the purpose of research for seven years, which is longer than anyone else at ShenCorp, and longer than any of the scientists thought possible. She experiences a multitude of other lives--fighting and fleeing as predator and prey, as mammal, bird, and reptile--in the hope that her work will help humans better understand the other species living alongside them. Her closest friend is Buckley, her Neuro--the computer engineer who guides a phenomenaut through consciousness projection. His is the voice, therefore, that's always in Kit's head and is the thread of continuity that connects her to the human world when she's an animal. But when ShenCorp's mission takes a more commercial--and ominous--turn, Kit is no longer sure of her safety. Propelling the reader into the bodies of the other creatures that share our world, The Many Selves of Katherine North takes place in the near future but shows us a dazzling world far, far from the realm of our experience.

This volume is the first comprehensive guide to current research on animals, animality, and human-animal relations in literature. To reflect the history of literary animal studies to date, its primary focus is literary prose and poetry in English, while also accommodating emergent discussions of the full range of media and contexts with which literary studies engages, especially film and critical theory. User-friendly language, references, even suggestions for further readings are included to help newcomers to the field understand how it has taken shape primarily through recent decades. To further aid teachers, sections are organized by conventions of periodization, and chapters address a range of canonical and popular texts. Bookended by sections devoted to the field’s conceptual foundations and new directions, the volume is designed to set an agenda for literary animal studies for decades to come.

This book surveys a broad range of contemporary texts to show how representations of human-animal relations challenge the anthropocentric nature of fiction. By looking at the relation between language and suffering in twenty-first-century fiction and drawing on a wide range of theoretical approaches, Baker suggests new opportunities for exploring the centrality of nonhuman animals in recent fiction: writing animal lives leads to new narrative structures and forms of expression. These novels destabilise assumptions about the nature of pain and vulnerability, the burden of literary inheritance, the challenge of writing the Anthropocene, and the relation between text and image. Including both well-known authors and emerging talents, from J.M. Coetzee and Karen Joy Fowler to Sarah Hall, Alexis Wright, and Max Porter, and texts from experimental fiction to work for children, Writing Animals offers an original perspective on both contemporary fiction and the field of literary animal studies.

This volume illuminates how creative representations remain sites of ongoing struggles to engage with animals in indigenous epistemologies. Traditionally imagined in relation to spiritual realms and the occult, animals have always been more than primitive symbols of human relations. Whether as animist gods, familiars, conduits to ancestors, totems, talismans, or co-creators of multispecies cosmologies, animals act as vital players in the lives of cultures. From early days in colonial contact zones through contemporary expressions in art, film, and literature, the volume’s unique emphasis on Southern Africa and North America – historical loci of the greatest ranges of species and linguistic diversity – help to situate how indigenous knowledges of human-animal relations are being adapted to modern conditions of life shared across species lines.

The first volume of critical essays on the contemporary Portuguese novel in English, this book theorizes the concept of the 'hypercontemporary' as a way of reading the novel after its postmodern period. This inquiry into the notion of the hypercontemporary in its literary and cultural articulations analyzes a varied group of works representative of the most vibrant novels published in Portugal since 2000. The editors' introductory chapter theorizes the concept of the hypercontemporary as one way of looking at the novel after its postmodern period – especially in its relation to questions of violence, memory and performativity. These essays show how the Portuguese novel has evolved in the past 25 years, and how, in their diversity, most of these novels exhibit several common traits, including new topics and writing strategies – sometimes developing further entropic lines characteristic of many Postmodern narratives – and themes of violence, rapid transformation, and the many threats to a contemporary world that seems mass-produced due to greater technological advances. Readings also discuss the use of innovative graphic forms available from current print technologies and global networks. The Hypercontemporary Novel in Portugal provides a necessary understanding of the current literary landscape of Portugal and, in the process, the aesthetics of hyperrealism or post-postmodernism.

This book addresses the persistence of meat consumption and the use of animals as food in spite of significant challenges to their environmental and ethical legitimacy. Drawing on Foucault’s regime of power/knowledge/pleasure, and theorizations of the gaze, it identifies what contributes to the persistent edibility of ‘food’ animals even, and particularly, as this edibility is increasingly critiqued. Beginning with the question of how animals, and their bodies, are variously mapped by humans according to their use value, it gradually unpacks the roots of our domination of ‘food’ animals – a domination distinguished by the literal embodiment of the ‘other’. The logics of this embodied domination are approached in three inter-related parts that explore, respectively, how knowledge, sensory and emotional associations, and visibility work together to render animal’s bodies as edible flesh. The book concludes by exploring how to more effectively challenge the ‘entitled gaze’ that maintains ‘food’ animals as persistently edible.