After the End of History: American Fiction in the 1990s

In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's "Mason & Dixon", Roth's "American Pastoral", Morrison's "Paradise", O'Brien's "In the Lake of the Woods", Didion's "The Last Thing He Wanted", Eugenides' "Middlesex", Lethem's "Fortress of Solitude", and DeLillo's "Underworld".

In this anthology, outstanding authorities present their assessments of literary madness in a variety of topics and approaches. The entire collection of essays presents intriguing aspects of the Dionysian element in literature.

This book visits vulnerability in contemporary British fiction, considering vulnerability in its relation to poetics, politics, ethics, and trauma. Vulnerability and risk have become central issues in contemporary culture, and artistic productions have increasingly made it their responsibility to evoke various types of vulnerabilities, from individual fragilities to economic and political forms of precariousness and dispossession.

The original CliffsNotes study guides offer expert commentary on major themes, plots, characters, literary devices, and historical background. The latest generation of titles in the series also feature glossaries and visual elements that complement the classic, familiar format.
In CliffsNotes on Of Mice and Men, you'll meet drifters Lennie and George and recount their peculiar difficulties and unusual bond. The CliffsNotes commentaries, summaries, and character analysis will show you why this sweet, sad, and moving American story is considered to be one of Steinbeck's greatest works.

"It is only the unimaginative who ever invents," Oscar Wilde once remarked. "The true artist is known by the use he makes of what he annexes, and he annexes everything." Converying a similar awareness, James Joyce observes in Finnegan's Wake that storytelling is in reality "stolen-telling," that art always involves some sort of "theft" or borrowing. Usually literary borrowings are so integrated into the new work as to be disguised; however, according to David Cowart, recent decades have seen an increasing number of texts that attach themselves to their sources in seemingly parasitic—but, more accurately, symbiotic—dependence.