Michael J. Blouin - Böcker

Literary Interventions in the Campaign Biography considers campaign biographies written by major authors including Nathaniel Hawthorne, William Dean Howells, Lew Wallace, Jacob Riis, and Rose Wilder Lane. Whereas a number of cultural historians have previously considered campaign biographies to be marginal or isolated from the fictional output of these figures, this volume revisits the biographies in order to understand better how they inform, and are informed by, seismic shifts in the literary landscape. The book illuminates the intersection of American literature and politics while charting how the Presidency has developed in the public imagination. In so doing, it poses questions of increasing significance about how we understand the office as well as its occupants today.

Literary Interventions in the Campaign Biography considers campaign biographies written by major authors including Nathaniel Hawthorne, William Dean Howells, Lew Wallace, Jacob Riis, and Rose Wilder Lane. Whereas a number of cultural historians have previously considered campaign biographies to be marginal or isolated from the fictional output of these figures, this volume revisits the biographies in order to understand better how they inform, and are informed by, seismic shifts in the literary landscape. The book illuminates the intersection of American literature and politics while charting how the Presidency has developed in the public imagination. In so doing, it poses questions of increasing significance about how we understand the office as well as its occupants today.

While the political undercurrent of the American Gothic has been firmly established, few scholars have surveyed the genre's ambivalent relationship to democracy. The American Gothic routinely undercuts centralised authority by exposing the dark underbelly of the status quo; at the same time, the American Gothic tends to reflect a widespread mistrust of the masses. American readers are too afraid of democracy – and not yet fearful enough. This concise Element theorises the democratic and anti-democratic elements of the American Gothic by surveying the conflicted imaginaries of the genre's mainstays, including Charles Brockden Brown, Edgar Allan Poe, Shirley Jackson, and Stephen King.

While the political undercurrent of the American Gothic has been firmly established, few scholars have surveyed the genre's ambivalent relationship to democracy. The American Gothic routinely undercuts centralised authority by exposing the dark underbelly of the status quo; at the same time, the American Gothic tends to reflect a widespread mistrust of the masses. American readers are too afraid of democracy – and not yet fearful enough. This concise Element theorises the democratic and anti-democratic elements of the American Gothic by surveying the conflicted imaginaries of the genre's mainstays, including Charles Brockden Brown, Edgar Allan Poe, Shirley Jackson, and Stephen King.

?This book analyzes how contemporary popular films with fantastic themes, including Candyman, Frozen, The Cabin in the Woods, and The Incredible Burt Wonderstone, cultivate neoliberal subjectivities.

?This book analyzes how contemporary popular films with fantastic themes, including Candyman, Frozen, The Cabin in the Woods, and The Incredible Burt Wonderstone, cultivate neoliberal subjectivities.

Over the past thirty years, Stephen King has received enormous attention from both the popular press as well as academics seeking to explain the unique phenomenon of his success. Books on King explore his canon in religious contexts, in political and historical contexts, in mythic—specifically Jungian—contexts, in Gothic/horror (especially American literary) contexts, and in a wide variety of other contexts appropriate to a writer who, over the past half century, has become "America’s Storyteller." Beginning with a never-published chapter authored by Stephen King himself on the influence of the genre on his own writing, King Noir makes an invaluable contribution to King scholarship by placing King’s works in conversation with American crime fiction.This is the third book that Tony Magistrale and Michael J. Blouin have coauthored on the work of Stephen King, and the first to consider King’s canon through the lens of crime fiction. King Noir examines not only King’s own efforts at writing in the detective genre, but also how the detective genre finds its way into work typically regarded as horror fiction. In interviews, King has acknowledged his debt to earlier writers in the genre, such as Ed McBain and Raymond Chandler, and he much more often references hardboiled writers than he does horror writers. One could speculate that King became a writer because of his love of pulpy crime fiction, which he continues to hold in high esteem. From The Dead Zone to Mr. Mercedes, from the crime fiction of his pseudonym Richard Bachman to his most recent novel Holly, King returns obsessively to patterns established by American sleuths of every stripe, paying homage to them at the same time as he innovates on the formulas he has inherited. To focus upon a hardboiled Stephen King is to discover exciting new avenues for inquiry into one of America’s most enduring, and adaptable, storytellers.

Over the past thirty years, Stephen King has received enormous attention from both the popular press as well as academics seeking to explain the unique phenomenon of his success. Books on King explore his canon in religious contexts, in political and historical contexts, in mythic—specifically Jungian—contexts, in Gothic/horror (especially American literary) contexts, and in a wide variety of other contexts appropriate to a writer who, over the past half century, has become "America’s Storyteller." Beginning with a never-published chapter authored by Stephen King himself on the influence of the genre on his own writing, King Noir makes an invaluable contribution to King scholarship by placing King’s works in conversation with American crime fiction.This is the third book that Tony Magistrale and Michael J. Blouin have coauthored on the work of Stephen King, and the first to consider King’s canon through the lens of crime fiction. King Noir examines not only King’s own efforts at writing in the detective genre, but also how the detective genre finds its way into work typically regarded as horror fiction. In interviews, King has acknowledged his debt to earlier writers in the genre, such as Ed McBain and Raymond Chandler, and he much more often references hardboiled writers than he does horror writers. One could speculate that King became a writer because of his love of pulpy crime fiction, which he continues to hold in high esteem. From The Dead Zone to Mr. Mercedes, from the crime fiction of his pseudonym Richard Bachman to his most recent novel Holly, King returns obsessively to patterns established by American sleuths of every stripe, paying homage to them at the same time as he innovates on the formulas he has inherited. To focus upon a hardboiled Stephen King is to discover exciting new avenues for inquiry into one of America’s most enduring, and adaptable, storytellers.

The Presidents of American Fiction brings together American literature, history, and political science to explore the most influential fictionalized accounts of the presidency from the early 19th century to the time of Trump. Of late, popular understandings of the presidency are being radically re-written—consider, for example, the distinctive myths that accompanied the ascent of the Obama and Trump administrations—and many readers of all stripes are radically reimagining the office and its holder. Placing these changes within a broader cultural context, Michael J. Blouin investigates narratives involving fictional presidents, from the supposedly factual to the outright fantastical, within their distinct literary and historical moments.The author considers representative texts including works penned by James Fenimore Cooper from the Jacksonian moment, Gore Vidal in the age of Nixon and Vietnam, and Philip Roth in the neoliberal period. Through detailed readings that question how American presidents function as characters within the popular imagination, this book examines the presidency as a complex, ever-evolving trope, and in so doing enhances our appreciation of American literature’s inextricable link with American politics.

The Presidents of American Fiction brings together American literature, history, and political science to explore the most influential fictionalized accounts of the presidency from the early 19th century to the time of Trump. Of late, popular understandings of the presidency are being radically re-written—consider, for example, the distinctive myths that accompanied the ascent of the Obama and Trump administrations—and many readers of all stripes are radically reimagining the office and its holder. Placing these changes within a broader cultural context, Michael J. Blouin investigates narratives involving fictional presidents, from the supposedly factual to the outright fantastical, within their distinct literary and historical moments.The author considers representative texts including works penned by James Fenimore Cooper from the Jacksonian moment, Gore Vidal in the age of Nixon and Vietnam, and Philip Roth in the neoliberal period. Through detailed readings that question how American presidents function as characters within the popular imagination, this book examines the presidency as a complex, ever-evolving trope, and in so doing enhances our appreciation of American literature’s inextricable link with American politics.

From The Long Walk to The Outsider, Stephen King's output reflects the major political concerns of the previous fifty years. This book, Stephen King and American Politics, is the first sustained study of the complex ways in which King's texts speak to their unique political moments. By exploring this aspect of the author's popular works, readers might better understand the numerous crises that Americans currently face in a book that surveys King's corpus to address a wide range of issues - including the spread of neoliberalism, the Bush-Cheney doctrine, and the chaos of the populist present. Although his fiction outwardly declares itself to be anti-political - thus reflecting a widespread shift away from democracy in the aftermath of the 1960s - political energies persist just beneath the surface. Given the possibility of a political resurgence that haunts so many of his page-turners, Stephen King produces horror and hope in equal measure.

In Violence in the Films of Stephen King, contributors analyze the theme of violence in the film adaptations of Stephen King’s work—ranging from the earliest films in the King canonto his most recent iterations—through a variety of lenses. Investigating the diverse and varying roles that violence continues to play as both the level of violence and the gendered depictions of violence have evolved, many of the contributors come to the conclusion that King’s films have grown more violent over time. This book also examines the fine line between necessary violence and sensationalist violence, discussing the complexity of determining what constitutes violence with a narrative and ethical significance versus violence intended solely to titillate, repulse, or otherwise draw an emotional reaction from viewers. Scholars of film studies, horror studies, literary studies, and gender studies will find this book particularly useful.

In Violence in the Films of Stephen King, contributors analyze the theme of violence in the film adaptations of Stephen King’s work—ranging from the earliest films in the King canonto his most recent iterations—through a variety of lenses. Investigating the diverse and varying roles that violence continues to play as both the level of violence and the gendered depictions of violence have evolved, many of the contributors come to the conclusion that King’s films have grown more violent over time. This book also examines the fine line between necessary violence and sensationalist violence, discussing the complexity of determining what constitutes violence with a narrative and ethical significance versus violence intended solely to titillate, repulse, or otherwise draw an emotional reaction from viewers. Scholars of film studies, horror studies, literary studies, and gender studies will find this book particularly useful.

Mass-Market Fiction and the Crisis of American Liberalism, 1972–2017 tracks the transformation of liberal thought in the contemporary United States through the unique lens of the popular paperback.