The importance of the ethics of form in literature has only recently gained broad recognition and has thus far been explored mainly from the position of moral philosophy and critical theory. Leona Toker develops a narratological approach to the subject, based on studying "reticence" in works of fiction. Reticence consists in narrative techniques through which writers create information gaps that build interest, enhance tension, and control the reader's comprehension of theme, character, and event. Using novels by Fielding, Austen, Dickens, Conrad, Forster, and Faulkner, Toker demonstrates how the withholding of information affects readers' attitudes, stimulates their reassessment, and leads to a self-critical reorientation—and how such manipulation of attention has specific ethical and aesthetic significance. Drawing on descriptive poetics, reader-response criticism, and information theory, Toker marks the parallel situations of the characters in the fiction she analyzes and of the readers who encounter it, and presents a novel approach to the issue of first and repeated readings. The inquiry into the twofold role of the reader opens the discussion of narrative techniques to ethical issues. Through her analysis of silences in representative works Toker makes a meaningful contribution to modern narrative study and offers new insights into a number of familiar novels. This well informed, sensitive, and judicious study will appeal to scholars interested in narrative theory and ethical criticism and to students of Faulkner and of the classical English novel.

Taking its title from a poem by Prince Edward Island poet Anne Compton, In the Interval of the Wave is a close study of diaries written by Prince Edward Island women in the nineteenth and early twentieth centuries. Women from both rural and urban regions of the Island recorded their lives in a genre that allowed them to play with the conventions of the language they knew. For busy farm wives, their quotidian language, syntax, and choice of topic appear simple, whereas for the urban elite like Margaret Gray Lord and Wanda Wyatt, the erudition of their diaries suggests a more leisured existence. Mary McDonald-Rissanen argues that the initial reception of the text - its physical appearance, handwriting, gaps, and flood of words - provides interesting insights for understanding the circumstances of Prince Edward Island women from times past. Intertextual readings of the diaries alongside other cultural artifacts such as paintings, histories, folk stories, and songs embellish the idiosyncratic diary discourse. Diaries enabled women to write their voices, create a subjective identity, and redefine their place in the world. In the Interval of the Wave exposes lives lived and recorded in a special moment and place never far from the rhythm of the sea.

While Plato recommended expelling poets from the ideal society, W. H. Auden famously declared that poetry makes nothing happen. The 19 contributions to the present book avoid such polarized views and, responding in different ways to the “ethical turn” in narrative theory, explore the varied ways in which narratives encourage readers to ponder matters of right and wrong. All work from the premise that the analysis of narrative ethics needs to be linked to a sensitivity to esthetic (narrative) form. The ethical issues are accordingly located on different levels. Some are clearly presented as thematic concerns within the text(s) considered, while others emerge through (or are generated by) the presentation of character and event by means of particular narrative techniques. The objects of analysis include such well-known or canonical texts as Biblical Old Testament stories, Mark Twain’s Huckleberry Finn, J. R. R. Tolkien’s The Lord of the Rings, Vladimir Nabokov’s Lolita, Jonathan Littell’s The Kindly Ones, Ann Radcliffe’s The Italian and Matthew Lewis’s The Monk. Others concentrate on less-well-known texts written in languages other than English. There are also contributions that investigate theoretical issues in relation to a range of different examples.

Poetics, the study of the making of literary works, regards the gospels as literature, in contrast to the historical-critical approach. Petri Merenlahti makes the case that poetics offers a vital critical tool to interpreting the gospels. But he argues that poetics must also be 'historical', as perceptions of literary form and value are not fixed, but evolve and develop from one time and culture to another. Merenlahti provides a comprehensive account of the development and the state of the art of poetics and narrative criticsm. Through scrupulous methodological discussion and detailed analysis of gospel narratives, he also offers a potentially highly productive future programme for historical poetics in gospel studies.

A unique anthology devoted to a single story–“Signs and Symbols” by Vladimir Nabokov–which exposes the way we read and interpret short stories.

A footprint materializes mysteriously on a deserted shore; a giant helmet falls from the sky; a traveler awakens to find his horse dangling from a church steeple. Eighteenth-century fiction brims with moments such as these, in which the prosaic rubs up against the marvelous. While it is a truism that the period's literature is distinguished by its realism and air of probability, Eighteenth-Century Fiction and the Reinvention of Wonder argues that wonder is integral to—rather than antithetical to—the developing techniques of novelistic fiction. Positioning its reader on the cusp between recognition and estrangement, between faith and doubt, modern fiction hinges upon wonder. Eighteenth-Century Fiction and the Reinvention of Wonder unfolds its new account of fiction's rise through surprising readings of classic early novels—from Daniel Defoe's Robinson Crusoe to Jane Austen's Northanger Abbey—and brings to attention lesser-known works, most notably Rudolf Raspe's Baron Munchausen's Narrative of His Marvellous Travels. In this bold new account, the eighteenth century bears witness not to the world's disenchantment but rather to wonder's relocation from the supernatural realm to the empirical world, providing a reevaluation not only of how we look back at the Enlightenment, but also of how we read today.

Through a remarkable blend of intellectual history, philosophical reading, and contemporary cultural analysis, Fruits of Sorrow explores the hidden dynamics at work when we try to make sense of suffering. Spelman examines the complex ways in which we try to redeem the pain we cause and witness. She also shows the way our responses are often more than they seem: how compassion can mask condescension; how identifying with others' pain often slips into illicit appropriation; how pity can reinforce the unequal relationship between those who cause and those who endure suffering.

The Encyclopedia of the Novel is the first reference book that focuses on the development of the novel throughout the world. Entries on individual writers assess the place of that writer within the development of the novel form, explaining why and in exactly what ways that writer is importnant. Similarly, an entry on an individual novel discusses the importance of that novel not only form, analyzing the particular innovations that novel has introduced and the ways in which it has influenced the subsequent course of the genre. A wide range of topic entries explore the history, criticism, theory, production, dissemination and reception of the novel. A very important component of the Encyclopedia of the Novel is its long surveys of development of the novel in various regions of the world.

More than being a volume about the philosophy of Bernard Harrison, this volume is about how Harrison conceptualizes the creation of the human world. One might be tempted to classify Harrison as a major voice in many diverse discussions—philosophy of literature, philosophy of language, philosophy of mind, color studies, epistemology, metaphysics, moral philosophy, philosophy of culture, Wittgenstein, antisemitism, and more—without recognizing a unifying strand that ties them together. Nothing could be farther from the truth. Harrison contests and destabilizes a persistent and misleading alignment of culture with subjectivity—whether found in unexamined distinctions between nature and culture or appearance and reality. His general aim has been to undermine the belief that human culture deals in smoke and mirrors, and that the only realities are those of extra-human nature. He emphasizes the paraxial foundation of meaning, and argues that the creative inventions of language and culture are as real as any extra-linguistic reality. While granting the existence of extra-human reality, he holds it to be, in itself, conceptually unorganised, but nevertheless cognitively accessible by way of sense-perception and physical manipulation. This volume offers new critical essays that examine Harrison’s corpus, written by distinguished voices in philosophy and literary studies. It bridges many of the abysses of conflicting opinion opened by the culture wars of the past half-century. Importantly, it includes an opening essay by Harrison that elucidates the unifying strand running through his variegated philosophical writings, and concludes with a chapter in which he replies to and reflects on the other critical essays herein.