Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field—the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates—and show how these interact with older practices, from fan conventions to writers’ groups.
Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction’s most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.
Henry David Thoreau is best known as a writer, naturalist, and social critic, but he was also a schoolteacher, surveyor, and pencil-maker. In The Gospel According to This Moment, Unitarian minister Barry M. Andrews reveals how an idiosyncratic and unconventional religious faith was central to Thoreau’s many-faceted life—a dimension that has been largely unexamined.
Through close readings of his writings and a focus on his Unitarian upbringing, Harvard education, mentoring by Ralph Waldo Emerson, and immersion in ancient Eastern and Western philosophies, Andrews explores the nature of Thoreau’s spiritual message, what he called the “Gospel according to this moment,” which enables a flourishing and deliberate life. Today, Thoreau is widely recognized as an advocate for simple living, environmental preservation, and civil disobedience. As Andrews uncovers, Thoreau is also a spiritual guide who can teach us an alternative way of being religious in the world.
At twenty-three, Michelle Ephraim was failing at everything. The only child of reclusive Holocaust-survivor parents who were dismayed by her literary studies, she found herself dumped by her boyfriend and bombing out of graduate school. Then, one night, she crashed a Shakespeare recitation party. Loopy from vodka and never having read a single line of Shakespeare, she was transfixed. Shakespeare, she decided, was the lifeline she needed.
Green World is the hilarious and heartbreaking story of Ephraim’s quest to become a Shakespeare scholar and to find community and home. As she studies Shakespeare, Ephraim’s world uncannily begins to mirror the story of the Jewish daughter in The Merchant of Venice, and she finds herself in a Green World, an idyllic place where Shakespeare’s heroines escape their family trauma. Green World reckons with global, historical, and personal tragedy and shows how literature—comic and tragic—can help us brave every kind of anguish.
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