Cambridge Studies in Twenty-First-Century Literature and Culture – serie

A growing awareness of climate change and looming planetary crisis has put unprecedented pressure on the near future, leading to an increasing amount of fiction being set there. But what do these disparate works have in common, other than their temporal setting? And what can the imagination of the near future tell us about where we live now? The Near Future in 21st Century Fiction ranges across novels and films to reveal how our contemporary near future splits between two divergent paths. One seeks to retreat from climate change and the disruption it threatens to affluent lifestyles; the other tries to imagine new forms of community, and radical change, but struggles to locate a genre adequate to the task. It in this struggle, however, that we begin to glimpse the outlines of an emergent near future form: a revolution fit for the Anthropocene.

A growing awareness of climate change and looming planetary crisis has put unprecedented pressure on the near future, leading to an increasing amount of fiction being set there. But what do these disparate works have in common, other than their temporal setting? And what can the imagination of the near future tell us about where we live now? The Near Future in 21st Century Fiction ranges across novels and films to reveal how our contemporary near future splits between two divergent paths. One seeks to retreat from climate change and the disruption it threatens to affluent lifestyles; the other tries to imagine new forms of community, and radical change, but struggles to locate a genre adequate to the task. It in this struggle, however, that we begin to glimpse the outlines of an emergent near future form: a revolution fit for the Anthropocene.

This is a book about the encounters that contemporary North American fiction stages with distinct strands of self-help. Its central argument is that the varied practices of ever-expanding and diversifying self-help cultures are generatively elastic sites of inspiration as well as antagonism for contemporary authors: spaces where they can explore what it means to be better on personal, ethical, and societal terms. It offers new perspectives on the work of nine very different writers by exploring how they play different forms of self-help off against one another. This book shows how in the clashes between practices ranging from commencement speeches and grassroots communitarian self-help to time-management productivity manuals, trauma recovery theories, pop-neuroscience, and makeover cultures, contemporary writers try to find ways of reimagining authority and agency beyond individualism, asking how - and if - it is possible to live and write 'better' in our compromised neoliberal world.

Liliane Campos argues that contemporary fiction is shaping a new, multi-scalar view of life. In the early twenty-first century, humans face complex relations of dependency with the invisibly small and the ungraspably huge, from the viral to the planetary. Entangled Life examines how Anglophone fiction imagines this ecological interdependence. It outlines an emergent poetics across a range of genres, including realist fiction, science-fiction, weird fiction and dystopian fiction. Arguing that literary form performs epistemic and ethical work, Campos analyses the rhetorical strategies through which these stories connect human and nonhuman scales. She shows that fiction uses three recurrent devices - critical synecdoche, ontological metalepsis and scalar irony - to shape our awareness of other scales and forms of life, and our response-ability towards them. This title is also available as open access on Cambridge Core.

This book examines a wide sweep of prominent Black and Asian British poets, from Linton Kwesi Johnson and Jean 'Binta' Breeze through David Dabydeen, Bernardine Evaristo, and Jason Allen-Paisant. Throughout, Omaar Hena demonstrates how these poets engage with urgent crises surrounding race and social inequality over the past fifty years, spanning policing and racial violence in the 1970s and 1980s, through poetry's cultural recognition in the 1990s and 2000s by museums, the 2012 London Olympics, the publishing scene, and awards and prizes, as well as continuing social realities of riots and uprisings. In dub poetry, dramatic monologues, ekphrasis, and lyric, Hena argues that British Black and Asian poets perform racial politics in conditions of spiraling crisis. Engaged and insightful, this book argues that poetry remains a vital art form in twenty-first-century global Britain. This title is also available as open access on Cambridge Core.

The New Believers identifies a group of today's most important novelists, Margaret Atwood, J. M. Coetzee, Junot Díaz, and George Saunders, who have challenged the trend of depressing and defeatist novelistic endings by turning to spiritual beliefs, powers, and presences. Through spiritual belief, these writers use the novel to imagine more hopeful and caring ways of being in the world, ones that can challenge Christian Nationalism and neoliberal capitalism and empower leftist and liberal causes, such as women's rights, migrant rights, animal rights, and care for the environment. Through a survey of the current state of novel studies, close readings of key works by each writer, and new archival research on Margaret Atwood and J. M. Coetzee, The New Believers shows how these writers transform novelistic realism through spiritual realism and reshape the current debate about religion, secularization, and literature.

The New Believers identifies a group of today's most important novelists, Margaret Atwood, J. M. Coetzee, Junot Díaz, and George Saunders, who have challenged the trend of depressing and defeatist novelistic endings by turning to spiritual beliefs, powers, and presences. Through spiritual belief, these writers use the novel to imagine more hopeful and caring ways of being in the world, ones that can challenge Christian Nationalism and neoliberal capitalism and empower leftist and liberal causes, such as women's rights, migrant rights, animal rights, and care for the environment. Through a survey of the current state of novel studies, close readings of key works by each writer, and new archival research on Margaret Atwood and J. M. Coetzee, The New Believers shows how these writers transform novelistic realism through spiritual realism and reshape the current debate about religion, secularization, and literature.

Climate change is becoming a major theme in the contemporary novel, as authors reflect concerns in wider society. Given the urgency and enormity of the problem, can literature (and the emotional response it provokes) play a role in answering the complex ethical issues that arise because of climate change? This book shows that conventional fictional techniques should not be disregarded as inadequate to the demands of climate change; rather, fiction has the potential to challenge us, emotionally and ethically, to reconsider our relationship to the future. Adeline Johns-Putra focuses on the dominant theme of intergenerational ethics in the contemporary novel: that is, the idea of our obligation to future generations as a basis for environmental action. Rather than simply framing parenthood and posterity in sentimental terms, the climate change novel uses their emotional appeal to critique their anthropocentricism and identity politics, offering radical alternatives instead.

Contemporary Feminist Life-Writing is the first volume to identify and analyse the 'new audacity' of recent feminist writings from life. Characterised by boldness in both style and content, willingness to explore difficult and disturbing experiences, the refusal of victimhood, and a lack of respect for traditional genre boundaries, new audacity writing takes risks with its author's and others' reputations, and even, on occasion, with the law. This book offers an examination and critical assessment of new audacity in works by Katherine Angel, Alison Bechdel, Marie Calloway, Virginie Despentes, Tracey Emin, Sheila Heti, Juliet Jacques, Chris Krauss, Jana Leo, Maggie Nelson, Vanessa Place, Paul Preciado, and Kate Zambreno. It analyses how they write about women's self-authorship, trans experiences, struggles with mental illness, sexual violence and rape, and the desire for sexual submission. It engages with recent feminist and gender scholarship, providing discussions of vulnerability, victimhood, authenticity, trauma, and affect.

This book examines the experience of time functions in a specific set of British novels to reveal the persistence of the utopian imagination in the twenty-first century. Through close textual analysis, Edwards develops a new strategy of reading such anticipatory 'fictions of the not yet', including novels by Hari Kunzru, Maggie Gee, David Mitchell, Ali Smith, Jim Crace, Joanna Kavenna, Grace McCleen, Jon McGregor, and Claire Fuller. Read in the context of the philosophical category of non-contemporaneity, these novels reveal a significant new direction in twenty-first-century fiction. Their formal inventiveness and suggestively non-mimetic encounters with otherwise realist narrative representations of contemporary experience open up a realm of utopian possibility that shines through in moments of temporal alterity: glimpses of the future, redeemed strands of past hopes, and alternative social worlds already alive in the present.

In the twenty-first century, leading publishers are under intense pressure from their conglomerate owners and shareholders to generate growth and profits. This book shows how these pressures have transformed the contemporary novel. Paul Crosthwaite argues that recent British and American authors have internalized the market logics of the financial sector and book trade, resulting in the production of works of 'market metafiction' in which authors reflect obsessively on their writing's positioning in the literary marketplace. The Market Logics of Contemporary Fiction reveals the entanglement of fictional narrative and market dynamics to be the central phenomenon of contemporary literary culture. It engages with work by key authors including Iain Sinclair, Don DeLillo, Kathy Acker, Bret Easton Ellis, Chris Kraus, Percival Everett, David Foster Wallace, Colson Whitehead, Anne Billson, Hari Kunzru, Barbara Browning, Teju Cole, Ben Lerner, Tao Lin, Nell Zink, Joshua Cohen, Sheila Heti, and Garth Risk Hallberg.

This book examines the experience of time functions in a specific set of British novels to reveal the persistence of the utopian imagination in the twenty-first century. Through close textual analysis, Edwards develops a new strategy of reading such anticipatory 'fictions of the not yet', including novels by Hari Kunzru, Maggie Gee, David Mitchell, Ali Smith, Jim Crace, Joanna Kavenna, Grace McCleen, Jon McGregor, and Claire Fuller. Read in the context of the philosophical category of non-contemporaneity, these novels reveal a significant new direction in twenty-first-century fiction. Their formal inventiveness and suggestively non-mimetic encounters with otherwise realist narrative representations of contemporary experience open up a realm of utopian possibility that shines through in moments of temporal alterity: glimpses of the future, redeemed strands of past hopes, and alternative social worlds already alive in the present.

This book discusses contemporary British poetry in the context of metamodernism. The author argues that the concept of metamodernist poetry helps to recalibrate the opposition between mainstream and innovative poetry, and he investigates whether a new generation of British poets can be accurately defined as metamodernist. Antony Rowland analyses the ways in which contemporary British poets such as Geoffrey Hill, J. H. Prynne, Geraldine Monk and Sandeep Parmar have responded to the work of modernist writers as diverse as T. S. Eliot, H. D. and Antonin Artaud, and what Theodor Adorno describes as the overall enigma of modern art.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

This study of contemporary Irish expatriate fiction offers a boldly original world-facing rather than nation-focused overview of the contemporary Irish novel. Chapters examine how Irish narrative deals with the United States in a time of declining global hegemony, a rising China and Asia, a thwarted and turbulent Global South, and a European Union that has decisively reshaped Ireland in the last half century. The author argues that in a late capitalist world defined by volatile economic and cultural globalizations, the Irish novel is struggling to imagine new ways to narrate the country's relationship to the world capitalist system and to find new place for Irish writing in the world literary system. Looking at a rapidly-changing Ireland in a rapidly-changing international order, Joe Cleary offers new readings of novels by Colm Tóibín, Anne Enright, Joseph O'Neill, Deirdre Madden, Mary Costello, Naoise Dolan, Aidan Higgins, Colum McCann, Ronan Sheehan and Ronan Bennett.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

Drawing on a rich array of twenty-first-century speculative fiction, this book demonstrates how the commodification of life through biotechnology has far-reaching implications for how we think of personhood, agency, and value. Sherryl Vint argues that neoliberalism is reinventing life under biocapital. She offers new biopolitical figurations that can help theoretically grasp and politically respond to a distinctive twenty-first-century biopolitics. This book theorizes how biotechnology intervenes in the very processes of biological function, reshaping life itself to serve economic ends. Linking fictional texts with material examples, Biopolitical Futures in Twenty-First-Century Speculative Fiction shows how these practices are linked to new modes of exploitative economic relations that cannot be redressed by human rights. It concludes with a posthumanist reframing of the value of life that grounds itself elsewhere than in capitalist logics, a vision that, in a Covid age, might become fundamental to a new politics of ecological relations.

This book discusses contemporary British poetry in the context of metamodernism. The author argues that the concept of metamodernist poetry helps to recalibrate the opposition between mainstream and innovative poetry, and he investigates whether a new generation of British poets can be accurately defined as metamodernist. Antony Rowland analyses the ways in which contemporary British poets such as Geoffrey Hill, J. H. Prynne, Geraldine Monk and Sandeep Parmar have responded to the work of modernist writers as diverse as T. S. Eliot, H. D. and Antonin Artaud, and what Theodor Adorno describes as the overall enigma of modern art.

In Unseen City: The Psychic Lives of the Urban Poor, Ankhi Mukherjee offers a magisterial work of literary and cultural criticism which examines the relationship between global cities, poverty, and psychoanalysis. Spanning three continents, this hugely ambitious book reads fictional representations of poverty with each city's psychoanalytic and psychiatric culture, particularly as that culture is fostered by state policies toward the welfare needs of impoverished populations. It explores the causal relationship between precarity and mental health through clinical case studies, the product of extensive collaborations and knowledge-sharing with community psychotherapeutic initiatives in six global cities. These are layered with twentieth- and twenty-first-century works of world literature that explore issues of identity, illness, and death at the intersections of class, race, globalisation, and migrancy. In Unseen City, Mukherjee argues that a humanistic and imaginative engagement with the psychic lives of the dispossessed is key to an adapted psychoanalysis for the poor, and that seeking equity of the unconscious is key to poverty alleviation.