Carol Sherman – författare

Questioning a particular tradition of reading, Carol Sherman writes a series of metacritical essays that revise many of our assumptions about Voltaire's stories, substantiate others, and attempt to account for the phenomenon of interpretation for the paradoxical case of fictions that proffer truths. Micromegas, Zadig, Candide, and L'Ingene constantly guide the interpreter to a single reading; nonetheless, these tales deconstruct their premises at the hands of readers who are conscious of their own status as text.

This study examines the many ways in which seventeenth-century Spanish authors manipulated the expected outcomes of secular literature to create religiously motivated endings prompted by some kind of conversion. In the late sixteenth century, the prevalent technique was to transform the secular material entirely, a lo divino. After 1598, however, writers developed the ingenious procedure of ostensibly following a secular account of events but subverting it by inserting an unanticipated religious ending. The specific kinds of conversion at closure examined here are the appropriation of earlier genres; conversion of non-Christian literary types; personal conversion of the native Spaniard through the Catholic ritual of confession, penitence, and absolution; conversion of the nation's historical material; and conversion of the very landscape upon which Christians walk in their pilgrimage through life.

This book explores the change that occurred in the writings of Spanish novelist Benito Perez Galdos when he entered his segunda manera in 1881 with the publication of La desheredada, his first contemporary novel. Critical work on this important phase of Galdos's career has tended to concentrate on the content of his novels, with little attention given to the way in which Galdos conveys that content to the reader. By studying these works in light of how their stories are told, Linda Willem shows that La desheredada marks the beginning of a more sophisticated and varied mode of narrative in Galdos's novels. Through close readings of his first seven contemporary works, Willem shows how the affective response associated with various narrative devices plays a role in the rhetorical strategies of each text.