In this study, Rebecca Suter aims to complicate our understanding of world literature by examining the creative and critical deployment of cultural stereotypes in the early novels of Kazuo Ishiguro. “World literature” has come under increasing scrutiny in recent years: Aamir Mufti called it the result of “one-world thinking,” the legacy of an imperial system of cultural mapping from a unified perspective. Suter views Ishiguro’s fiction as an important alternative to this paradigm. Born in Japan, raised in the United Kingdom, and translated into a broad range of languages, Ishiguro has throughout his career consciously used his multiple cultural positioning to produce texts that look at broad human concerns in a significantly different way. Through a close reading of his early narrative strategies, Suter explains how Ishiguro has been able to create a “two-world literature” that addresses universal human concerns and avoids the pitfalls of the single, Western-centric perspective of “one-world vision.” Setting his first two novels, A Pale View of Hills (1982) and An Artist of the Floating World (1986), in a Japan explicitly used as a metaphor enabled Ishiguro to parody and subvert Western stereotypes about Japan, and by extension challenge the universality of Western values. This subversion was amplified in his third novel, The Remains of the Day (1989), which is perfectly legible through both English and Japanese cultural paradigms. Building on this subversion of stereotypes, Ishiguro’s early work investigates the complex relationship between social conditioning and agency, showing how characters’ behavior is related to their cultural heritage but cannot be reduced to it. This approach lies at the core of the author’s compelling portrayal of human experience in more recent works, such as Never Let Me Go (2005) and The Buried Giant (2015), which earned Ishiguro a global audience and a Nobel Prize. Deprived of the easy explanations of one-world thinking, readers of Ishiguro’s two-world literature are forced to appreciate the complexity of the interrelation of individual and collective identity, personal and historical memory, and influence and agency to gain a more nuanced, “two-world appreciation” of human experience.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1956.

Written in elegant and precise prose, Don Vicente contains two novels in F. Sionil José's classic Rosales Saga. The saga, begun in José's novel Dusk, traces the life of one family, and that of their rural town of Rosales, from the Philippine revolution against Spain through the arrival of the Americans to, ultimately, the Marcos dictatorship. The first novel here, Tree, is told by the loving but uneasy son of a land overseer. It is the story of one young man's search for parental love and for his place in a society with rigid class structures. The tree of the title is a symbol of the hopes and dreams--too often dashed--of the Filipino people. The second novel, My Brother, My Executioner, follows the misfortunes of two brothers, one the editor of a radical magazine who is tempted by the luxury of the city, the other an activist who is prepared to confront all of his enemies, real or imagined. The critic I. R. Cruz called it "a masterly symphony" of injustice, women, sex, and suicide. Together in Don Vicente, they form the second volume of the five-novel Rosales Saga, an epic the Chicago Tribune has called "a masterpiece."

These short, unfinished novels address a wide range of subjects related to women and serve as an extension of the valuable source material found in the diaries, revealing much about southern history and culture, gender roles, slave-mistress relations, childhood, education, the experiences of westward migration, and the impact of the Civil War on private lives and relationships.".

Bryher (born Annie Winifred Ellerman) is perhaps best known today as the lifelong partner of the poet H.D. She was, however, a central figure in modernist and avant-garde cultural experimentation in the early twentieth century; a prolific producer of poetry, novels, autobiography, and criticism; and an intimate and patron of such modernist artists as Gertrude Stein, Marianne Moore, and Dorothy Richardson. Bryher’s own path-breaking writing has remained largely neglected, long out of print, and inaccessible to those interested in her oeuvre. Now, for the first time since their original publication in the early 1920s, two of Bryher's pioneering works of fictionalized autobiography, titled Development and Two Selves, are reprinted in one volume for a new audience of readers, scholars, and critics. Blending poetry, prose, and autobiographical details, Development and Two Selves together constitute a compelling bildungsroman that is among the first ever to follow a young woman's process of coming out. Through the fictionalized character Nancy, the novels trace Bryher’s life through her childhood and young adulthood, giving the reader an account of the development of a unique lesbian, feminist, and modernist consciousness. Development and Two Selves recover significant work by one of the first experimenters of the modernist movement and are a welcome reintroduction of the enigmatic Bryher.

Set against the unexpected splendor of an ostrich ranch in the California desert, April Dávila’s beautifully written debut conjures an absorbing and compelling heroine in a story of courage, family and forgiveness. When Tallulah Jones was thirteen, her grandmother plucked her from the dank Oakland apartment she shared with her unreliable mom and brought her to the family ostrich ranch in the Mojave Desert. After eleven years caring for the curious, graceful birds, Tallulah accepts a job in Montana and prepares to leave home. But when Grandma Helen dies under strange circumstances, Tallulah inherits everything—just days before the birds inexplicably stop laying eggs. Guarding the secret of the suddenly barren birds, Tallulah endeavors to force through a sale of the ranch, a task that is complicated by the arrival of her extended family. Their designs on the property, and deeply rooted dysfunction, threaten Tallulah’s ambitions and eventually her life. With no options left, Tallulah must pull her head out of the sand and face the fifty-year legacy of a family in turmoil: the reality of her grandmother's death, her mother's alcoholism, her uncle's covetous anger, and the 142 ostriches whose lives are in her hands. “Vivid…uplifting…The fascinating details of operating an ostrich ranch elevate this family tale.” —Publishers Weekly “Tension mounts in every chapter, and when the difficult forces converge in the satisfying climax, Tallulah discovers clarity. This is an enjoyable, winning, interesting novel for readers of many backgrounds.” —Booklist (starred review) “A story told with depth and beauty about the many things we inherit from our families. Dávila’s characters are familiar, yet unforgettable, and I’m waiting patiently for what she writes next.” —Wayétu Moore, author of She Would Be King

#1 NEW YORK TIMES BESTSELLER • From the author of Small Great Things and A Spark of Light comes a “powerful” (The Washington Post) novel about the choices that alter the course of our lives. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY MARIE CLAIRE Everything changes in a single moment for Dawn Edelstein. She’s on a plane when the flight attendant makes an announcement: Prepare for a crash landing. She braces herself as thoughts flash through her mind. The shocking thing is, the thoughts are not of her husband but of a man she last saw fifteen years ago: Wyatt Armstrong. Dawn, miraculously, survives the crash, but so do all the doubts that have suddenly been raised. She has led a good life. Back in Boston, there is her husband, Brian, their beloved daughter, and her work as a death doula, in which she helps ease the transition between life and death for her clients. But somewhere in Egypt is Wyatt Armstrong, who works as an archaeologist unearthing ancient burial sites, a career Dawn once studied for but was forced to abandon when life suddenly intervened. And now, when it seems that fate is offering her second chances, she is not as sure of the choice she once made. After the crash landing, the airline ensures that the survivors are seen by a doctor, then offers transportation to wherever they want to go. The obvious destination is to fly home, but she could take another path: return to the archaeological site she left years before, reconnect with Wyatt and their unresolved history, and maybe even complete her research on The Book of Two Ways—the first known map of the afterlife. As the story unfolds, Dawn’s two possible futures unspool side by side, as do the secrets and doubts long buried with them. Dawn must confront the questions she’s never truly asked: What does a life well lived look like? When we leave this earth, what do we leave behind? Do we make choices . . . or do our choices make us? And who would you be if you hadn’t turned out to be the person you are right now?