Fiction imagines for us a stopping point from which life can be seen as intelligible," asserts Joan Silber in The Art of Time in Fiction. The end point of a story determines its meaning, and one of the main tasks a writer faces is to define the duration of a plot. Silber uses wide-ranging examples from F. Scott Fitzgerald, Chinua Achebe, and Arundhati Roy, among others, to illustrate five key ways in which time unfolds in fiction. In clear-eyed prose, Silber elucidates a tricky but vital aspect of the art of fiction.

Time and the literary: the immediacy of information technology has supposedly annihilated both. Email, cell phones, satellite broadcasting seem to have ended the long-standing tradition of encoding our experience of time through writing. Paul de Man's seminal essay "Literary History and Literary Modernity" and newly commissioned essays on everything from the human genome to grammatical tenses argue, however that the literary constantly reconstructs our understanding of time. From eleventh-century France or a science-fiction future, Time and the Literary shows how these two concepts have been and will continue to influence each other.

The issues addressed in this volume include the limits of language and the need for linguistic form, the significance of creating.

Postmodern Time and Space in Fiction and Theory seeks to place the contemporary transformation of notions of space and time, often attributed to the technologies we use, in the context of the ongoing transformations of modernity. Bringing together examples of modern and contemporary fiction (from Defoe to DeLillo, Frankenstein to Finnegans Wake) and theoretical discussions of the modern and the post-modern, the author explores the legacy of modern transformations of space and time under five headings: “The Space of Nature”; “The Space of the City”; “Postmodern or Most Modern Time”; “The Time and Space of the Work of Art in the Age of Digital Reproduction”; and “Travel: from Modernity to...?”. These five essays re-examine the meanings of modernity and its aftermath in relation to the spaces and times of the natural, the urban and the media environment.

Jack Finney's beloved sequel to his classic, New York Times bestselling illustrated novel Time and Again. Simon Morley, whose logic-defying trip to the New York City of the 1880s in Time and Again has enchanted readers for twenty-five years, embarks on another trip across the borders of time. This time Reuben Prien at the secret, government-sponsored Project wants Si to leave his home in the 1880s and visit New York in 1912. Si's mission: to protect a man who is traveling across the Atlantic with vital documents that could avert World War I. So one fateful day in 1912, Si finds himself aboard the world's most famous ship...the Titanic.

The 50th anniversary edition of the beloved classic that Stephen King has called “THE great time-travel story.” Featuring a brand-new introduction by the New York Times bestselling author of Recursion, Blake Crouch. When advertising artist Si Morley is recruited to join a covert government operation exploring the possibility of time travel, he jumps at the chance to leave his mundane 20th-century existence and step into the past. But he also has another motivation for going back in time: a half-burned letter that tells of a mysterious, tragic death and ominously of “fire which will destroy the whole world.” Traveling to New York City in January 1882 to investigate, he finds a Manhattan teeming with a different kind of life, the waterfront unimpeded by skyscrapers, open-air markets packed with activity, Central Park bustling with horse drawn sleighs—a city on the precipice of great things. At first, Si welcomes these trips as a temporary escape but when he falls in love with a woman he meets in the past, he must choose whether to return to modern life or live in 1882 for good. “Pure New York fun” (Alice Hoffman, New York Times bestselling author), Time and Again is meticulous recreation of New York in the late nineteenth century, exploring the possibilities of time travel to tell an ageless story of love, longing, and adventure. Finney’s magnum opus has been a source of inspiration for countless science fiction writers since its first publication in 1970.

This volume is a pioneering study in the theory and history of the imitation of music in fiction and constitutes an important contribution to current intermediality research. Starting with a comparison of basic similarities and differences between literature and music, the study goes on to provide outlines of a general theory of intermediality and its fundamental forms, in which a more specialized theory of the musicalization of (narrative) literature based on contemporary narratology and a typology of the forms of musico-literary intermediality are embedded. It also addresses the question of how to recognize a musicalized fiction when reading one and why Sterne's Tristram Shandy, contrary to what has been previously said, is not to be regarded as a musicalized fiction. In its historical part, the study explores forms and functions of experiments with the musicalization of fiction in English literature. After a survey of the major preconditions for musicalization - the increasing appreciation of music in 18th and 19th-century aesthetics and its main causes - exemplary fictional texts from romanticism to postmodernism are analyzed. Authors interpreted are De Quincey, Joyce, Woolf, A. Huxley, Beckett, Burgess and Josipovici. Whilst the limitations of a transposition of music into fiction remain apparent, experiments in this field yield valuable insights into mainly a-mimetic and formalist aesthetic tendencies in the development of more recent fiction as a whole and also show to what extent traditional conceptions of music continue to influence the use of this medium in literature. The volume is of relevance for students and scholars of English, comparative and general literature as well as for readers who take an interest in intermediality or interart research.

The study of contemporary fiction is a fascinating yet challenging one. Contemporary fiction has immediate relevance to popular culture, the news, scholarly organizations, and education – where it is found on the syllabus in schools and universities – but it also offers challenges. What is ‘contemporary’? How do we track cultural shifts and changes? The Routledge Companion to Twenty-First Century Literary Fiction takes on this challenge, mapping key literary trends from the year 2000 onwards, as the landscape of our century continues to take shape around us. A significant and central intervention into contemporary literature, this Companion offers essential coverage of writers who have risen to prominence since then, such as Hari Kunzru, Jennifer Egan, David Mitchell, Jonathan Lethem, Ali Smith, A. L. Kennedy, Hilary Mantel, Marilynne Robinson, and Colson Whitehead. Thirty-eight essays by leading and emerging international scholars cover topics such as: • Identity, including race, sexuality, class, and religion in the twenty-first century; • The impact of technology, terrorism, activism, and the global economy on the modern world and modern literature; • The form and format of twenty-first century literary fiction, including analysis of established genres such as the pastoral, graphic novels, and comedic writing, and how these have been adapted in recent years. Accessible to experts, students, and general readers, The Routledge Companion to Twenty-First Century Literary Fiction provides a map of the critical issues central to the discipline, as well as uncovering new perspectives and new directions for the development of the field. It is essential reading for anyone interested in the past, present, and future of contemporary literature.

A magical love story, inspired by the legend of a woman who vanished from Grand Central Terminal, sweeps readers from the 1920s to World War II and beyond. “Readers who enjoyed Audrey Niffenegger’s The Time Traveler’s Wife will be enchanted.”—Publishers Weekly “I utterly loved this clever, charming, hopeful tale of true love against all odds.”—Ariel Lawhon, New York Times bestselling author of I Was Anastasia On a clear December morning in 1937, at the famous gold clock in Grand Central Terminal, Joe Reynolds, a hardworking railroad man from Queens, meets a vibrant young woman who seems mysteriously out of place. Nora Lansing is a Manhattan socialite and an aspiring artist whose flapper clothing, pearl earrings, and talk of the Roaring Twenties don’t seem to match the bleak mood of Depression-era New York. Captivated by Nora from her first electric touch, Joe despairs when he tries to walk her home and she disappears. Finding her again—and again—will become the focus of his love and his life. As thousands of visitors pass under the famous celestial blue ceiling each day, Joe and Nora create a life of infinite love in a finite space, taking full advantage of the “Terminal City” within a city. But when the construction of another landmark threatens their future, Nora and Joe are forced to test the limits of their freedom—and their love. Praise for Time After Time “I’ll never again set foot in Grand Central Terminal without looking over my shoulder for Nora and Joe, or marveling at the station itself—a backdrop as intriguing as the love story that unfolds beneath its star-studded ceiling.”—Georgia Hunter, New York Times bestselling author of We Were the Lucky Ones “In lively prose set against the fascinating history of Grand Central . . . Grunwald asks a compelling question: How long would we stay in one place [for love]?”—Time “The spectacular Lisa Grunwald has written a classic story of fate, true love, art, and chance with truth and beauty. You will want to share it with every reader you know.”—Adriana Trigiani, New York Times bestselling author of Tony’s Wife

Science Fiction and Fantasy Literature, A Checklist, 1700-1974, Volume one of Two, contains an Author Index, Title Index, Series Index, Awards Index, and the Ace and Belmont Doubles Index.