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Inspired by real, hundred-year-old love letters. My great-grandmother's name is bold across the cream envelope, now golden at the seams with age. I can't remember the last time I've seen graceful, purposeful handwriting with a fountain pen and not the hasty scrawl of ballpoint. Alice Hirshhorn, Astoria Hotel, Seattle Washington. "Letters to Great-grandma Alice," I say with wonder, tracing my fingers over the faded postmark and foreign stamps. December 1915. Philippine Islands. I turn the thick envelope in my palm, slide out the tightly folded pages, and unfold the thin paper, taking care not to tear the letters that were important enough to keep for a century. My dearest Alice "Great-grandpa was in the Philippines?" I ask. "Oh no. Not your great-grandfather," answers Grammie, her eyes twinkling with her mother's secrets. "Elliott." ~~~ At thirty-three and with her future unclear, Ali Waller finds her way home again. A box of long-forgotten love letters written to her great-grandmother holds the unlikely key to Ali finding her new path. As she tracks down the letter writer and his descendants, Ali learns the magic of love, hope, and resilience.Told by three characters, and across century and an ocean, Genealogy is an enchanting story about love and loss, taking chances, and embracing the surprises that life brings. Genealogy comes with a twelve question discussion guide, making it perfect for book clubs and buddy reads.
The present age has seen an explosion of verse novels in many parts of the world. Australia is a prolific producer, as are the USA and the UK. Novels in verse have also appeared in Canada, New Zealand, India, South Africa, Jamaica and several other countries. A novel written in verse contradicts theories that distinguish the novel as essentially a prose genre. The boundaries of prose and verse are, however, somewhat fluid. This is especially evident in the case of free verse poetry and the kinds of prose used in many Modernist novels. The contemporary outburst may seem a uniquely Postmodernist flouting of generic boundaries, but, in fact, the verse novel is not new. Its origins reach back to at least the eighteenth century. Byron’s Don Juan, in the early nineteenth century, was an important influence on many later examples. Since its first surge in popularity during the Victorian era, it has never died out, though some fine examples, most of them from the earlier twentieth century, have been neglected or forgotten. This book investigates the status of the verse novel as a genre and traces its mainly English-language history from its beginnings. The discussion will be of interest to genre theorists, prosodists, narratologists and literary historians, as well as readers of verse novels wishing for some background to this apparently new literary phenomenon.
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.
"In this truly comparative study of 19th and 20th-century literature, Jobst Welge argues that there is a "deep structure" to certain novels of this period that centers on the idea of genealogy and family history. Welge examines British, Italian, Spanish, Portuguese, and Brazilian novels that share a "genealogical narrative" featuring stories of familial decline. Stories of families in crisis, Welge argues, reflect the experience of historical and social change among groups at the periphery of society. Though geographically and temporally diverse, the novels Welge considers all demonstrate a relation among family and national history, genealogical succession, generational experience, as well as social change and modernization. Welge links private and public histories, and also integrates detailed accounts of various literary fields across the globe. In combining theories of the novel, recent discussions of cultural geography, and new approaches to genealogical narratives, this study addresses a significant part of European (and, partly, Latin American) literary history in which texts from different "national" cultures illuminate each other in unsuspected ways and reveal the repetition, as well as the variation, among them"--
"With the appearance of D.A. Miller's remarkable book, the Victorian novel has its most dazzling critic in years. . . . Miller's subject is not so much the police in fiction as fiction and policing, narrative as a conservative function of the polis. Tracking diverse strategies of surveillance and incarceration into the confines of the fictional institution itself, Miller investigates Victorian novels as the often unconscious agent of a disciplinary culture. He thus reads fiction reading us, keeping a public in its private place. His mastery of an intricate, layered, and sinuous argument is stunning, the writing no less than superb. For all the book's overarching debt to Foucault, D.A. Miller 'do the police' in a voice all his own."—Garrett Stewart, author of Death Sentences: Styles of Dying in British Fiction
Novel Characters offers a fascinating and in-depth history of the novelistic character from the “birth of the novel” in Don Quixote, through the great canonical works of the nineteenth and twentieth centuries, to the most influential international novels of the present day An original study which offers a unique approach to thinking about and discussing character Makes extensive reference to both traditional and more recent and specialized academic studies of the novel Provides a critical vocabulary for understanding how the novelistic conception of character has changed over time. Examines a broad range of novels, cultures, and periods Promotes discussion of how different cultures and times think about human identity, and how the concept of what a character is has changed over time

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