In Picaresque Fiction Today Luigi Gussago examines the development of the picaresque in contemporary Anglophone and Italian fiction. Far from being an extinct narrative form, confined to the pages of its original Spanish sources or their later British imitators, the tale of roguery has been revisited through the centuries from a host of disparate angles. Throughout their wanderings, picaresque antiheroes are dragged into debates on the credibility of historical facts, gender mystifications, rational thinking, or any simplistic definition of the outcast. Referring to a corpus of eight contemporary novels, the author retraces a textual legacy linking the traditional picaresque to its recent descendants, with the main purpose of identifying the way picaresque novels offer a privileged insight into our sceptical times. Cover illustration by Eugene Ivanov "Night Airing", 2007.

Exiled to the margins of society and surviving by his wits in the course of his wanderings, the picaro marks a sharp contrast to the high-born characters on whom previous Spanish literature had focused. In this illuminating book, Peter N. Dunn offers a fresh view of the gamut of sixteenth- and seventeenth-century Spanish picaresque fiction.

This critical interpretation of the origins of modern fiction follows the transformation of the picaresque novel over four centuries through the literature of Spain, France, England, Germany, Russia, and the United States. Blackburn uses for the first time the resources of myth criticism to demonstrate how the picaresque masterpieces of the Spanish Golden Age founded a narrative structure that was continued by Defoe, Smollett, Melville, Twain, and Mann. Originally published in 1979. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Since the sixteenth century, Western literature has produced picaresque novels penned by authors across Europe, from Alemán, Cervantes, Lesage and Defoe to Cela and Mann. Contemporary authors of neopicaresque are renewing this traditional form to express twenty-first-century concerns. Notwithstanding its major contribution to literary history, as one of the founding forms of the modern novel, the picaresque remains a controversial literary category, and its definition is still much contested. The Picaresque Novel in Western Literature examines the development of the picaresque, chronologically and geographically, from its origins in sixteenth-century Spain to the neopicaresque in Europe and the United States.

In Road-Book America, Rowland A. Sherrill explores how the old picaresque tradition, embodied in such novels as Henry Fielding's Tom Jones and Daniel Defoe's Moll Flanders, opens to include a number of recent American texts, both fiction and nonfiction. Sketching the socially marginal, ingenuous, travelling characters common to old and new versions of the genre, Road-Book America is a wide-ranging and sophisticated discussion of the "new American picaresque", exemplified by William Least HeatMoon's Blue Highways, John Steinbeck's Travels with Charley, James Leo Herlihy's Midnight Cowboy, Bill Moyers's Listening to America, E. L. Doctorow's Billy Bathgate, and hundreds of other narratives published in the past four decades. Open, resilient, adaptable, and perennially hopeful, the protagonist of the new American picaresque follows a therapeutic path for the alienated modern self and lays the groundwork for spiritual renewal.

In Alberto Álvaro Ríos’s new picaresque novel, momentous adventure and quiet connection brings twenty people to life in a small town in northern Mexico. A Good Map of All Things is home to characters whose lives are interwoven but whose stories are their own, adding warmth and humor to this continually surprising communal narrative. The stories take place in the mid-twentieth century, in the high desert near the border—a stretch of land generally referred to as the Pimería Alta—an ancient passage through the desert that connected the territory of Tucson in the north and Guaymas and Hermosillo in the south. The United States is off in the distance, a little difficult to see, and, in the middle of the century, not the only thing to think about. Mexico City is somewhere to the south, but nobody can say where and nobody has ever seen it. Ríos has created a whimsical yet familiar town, where brightly unique characters love fiercely and nurture those around them. The people in A Good Map of All Things have secrets and fears, successes and happiness, winters and summers. They are people who do not make the news, but who are living their lives for the long haul, without lotteries or easy answers or particular luck. Theirs is the everyday, with its small but meaningful joy. Whether your heart belongs to a small town in Mexico or a bustling metropolis, Alberto Álvaro Ríos has crafted a book that is overflowing with comfort, warmth, and the familiar embrace of a tightly woven community.

Wicks has made a number of important contributions to the study of the picaresque. . . . Wicks's book does not attempt to answer all questions posed by the term, but it provides the most comprehensive view to date on the issues in the picaresque debate. The first third of the book deals with a consideration of the picaresque as a genre, the role of the picaresque in literary scholarship, the value of a modal approach, and the nature of picaresque narrative. The difficulties raised in the chapter on the picaresque mode, for example, indicate how this approach, despite its flaws, can illuminate texts and contribute to the critical process. The remainder of the book includes brief but perceptive analyses of more than 60 picaresque works, from Alonso, mozo de muchos amos to the Woody Allen film, Zelig. The metacritical thrust and the extensive bibliography make this a true `theory and research guide.' A must for public and academic libraries. Choice Picaresque fiction, according to Wicks, is neither a historical episode in the development of the novel nor merely a phenomenon in the social and literary history of Spain, although both are important manifestations of this essential narrative form. It is, he contends, universal narrative structure and theme. His book describes and defines picaresque narrative with careful attention paid to its historical development as a genre and its persistent appeal as an archetypal narrative structure. Beginning with a definition and discussion of the basic picaresque narrative structure and theme, Part I considers the origins and development of a specific type of picaresque narrative in sixteenth and seventeenth century Spain--the picaresque novel. This is followed by a history of the term and its various interpretations by critics over the years. He then proposes a genre-construct of picaresque narrative, followed by an extensive bibliography of critical works. Part II explores the usefulness of generic awareness in the act of reading by describing sixty specific works of fiction which collectively illustrate the full narrative spectrum of the picaresque mode.

Analyses three important Latin American novels in an attempt to redefine the nature of the picaresque, especially in regard to the roles of spontaneous play and carnivalesque laughter.

The latest comic novel from Christopher Buckley, in which a hapless Englishman embarks on a dangerous mission to the New World in pursuit of two judges who helped murder a king. London, 1664. Twenty years after the English revolution, the monarchy has been restored and Charles II sits on the throne. The men who conspired to kill his father are either dead or disappeared. Baltasar “Balty” St. Michel is twenty-four and has no skills and no employment. He gets by on handouts from his brother-in-law Samuel Pepys, an officer in the king’s navy. Fed up with his needy relative, Pepys offers Balty a job in the New World. He is to track down two missing judges who were responsible for the execution of the last king, Charles I. When Balty’s ship arrives in Boston, he finds a strange country filled with fundamentalist Puritans, saintly Quakers, warring tribes of Indians, and rogues of every stripe. Helped by a man named Huncks, an agent of the Crown with a mysterious past, Balty travels colonial America in search of the missing judges. Meanwhile, on the other side of the Atlantic, Samuel Pepys prepares for a war with the Dutch that fears England has no chance of winning. Christopher Buckley’s enchanting new novel spins adventure, comedy, political intrigue, and romance against a historical backdrop with real-life characters like Charles II, John Winthrop, and Peter Stuyvesant. Buckley’s wit is as sharp as ever as he takes readers to seventeenth-century London and New England. We visit the bawdy court of Charles II, Boston under the strict Puritan rule, and New Amsterdam back when Manhattan was a half-wild outpost on the edge of an unmapped continent. The Judge Hunter is a smart and swiftly plotted novel that transports readers to a new world.