When SALON magazine went on-line with their first annual VIRGIN FICTION contest announcement, hundreds upon hundreds of entries poured into their offices. The rules: entrants must be under 35 and previously unpublished. Now, the results are in. From Iowa to Brooklyn to Texas and back again, a chorus of new voices evokes a remarkable range of emotional landscapes in prose that is sometimes witty, often piercing, and, in every moment, utterly original.

A confident and mesmerizing fiction debut, from the winner of the Plimpton Prize Set in the South, at the crossroads of a world that is both secular and devoutly Christian, April Ayers Lawson's stories evoke the inner lives of young women and men navigating sexual, emotional, and spiritual awakenings. In "The Negative Effects of Homeschooling," Conner, sixteen, accompanies his grieving mother to the funeral of her best friend, Charlene, a woman who was once a man. In "The Way You Must Play Always," Gretchen, who looks young even for thirteen, heads into her weekly piano lesson in nervous anticipation of her next illicit meeting with her teacher's brother, Wesley. Thin and sickly, wasting from a brain tumor, Wesley spends his days watching pornography and smoking pot, and yet Gretchen can only interpret his advances as the first budding of love. And in the title story, Jake grapples with the growing chasm between him and his wife, Sheila, who was still a virgin when they wed. At a cocktail party thrown by a wealthy donor to his hospital, he ponders the intertwining imperatives of marriage--sex and love, violation and trust, spirituality and desire--even as he finds himself succumbing to the temptations of his host. Self-assured and sensual, Virgin and Other Stories is the first work of a young writer of unusual mastery.

As the first encyclopedia solely devoted to the popular romance fiction genre, this resource provides a wealth of information on all aspects of the subject. Romance fiction accounts for a large share of book sales each year, and contrary to popular belief, not all of its readers are women: roughly 16 percent are men. This enormously popular genre continues to captivate people reading for pleasure, and it also commands a growing amount of academic interest. Included are alphabetically arranged reference entries on significant authors along with works, themes, and other topics. The articles are written by scholars, librarians, and industry professionals with a deep knowledge of the genre and so provide a thorough understanding of the subject. An index provides easy access to information within the entries, and bibliographies at the end of each entry, a general bibliography, and a suggested romance reading list allow for further study of the genre.

A comprehensive guide that defines the literature and the outlines the best-selling genre of all time: romance fiction. More than 2,000 romances are published annually, making it difficult for fans and the librarians who advise them to keep pace with new titles, emerging authors, and constant evolution of this dynamic genre. Fortunately, romance expert and librarian Kristin Ramsdell provides a definitive guide to this fiction genre that serves as an indispensible resource for those interested in it—including fans searching for reading material—as well as for library staff, scholars, and romance writers themselves. This title updates the last edition of Romance Fiction: A Guide to the Genre, published in 1999.While the emphasis is on newer titles, many of the important older classics are retained, keeping the focus of the book on the entire genre, instead of only those titles published during the last decade. Specific changes include new chapters on linked and continuing romances, a new section on "Chick Lit" in the Contemporary Romance chapter, an expansion of coverage on the alternative reality subset. This is THE romance genre guide to have.

A mesmerizing historical novel about the next generation of Tudor royals, filled with rich period detail, vividly drawn characters, and all the glamour and seduction of the fabled Tudor court—the second installation of the Tudor Legacy trilogy “Fantastic . . . [A] dramatic thriller complete with spies, battles, ruthless villains, and twists on historical events.”—RT Book Reviews Queen Elizabeth I remains sovereign of England and Ireland. For the moment, at least. An Irish rebellion is growing and Catholic Spain, led by the Queen’s former husband, King Philip, plans to seize advantage of the turmoil. Stephen Courtenay, eldest son of Dominic and Minuette, Elizabeth’s most trusted confidantes, has accepted a command in Ireland to quell the unrest. But the task will prove dangerous in more ways than one. The Princess of Wales, Elizabeth’s daughter, Anabel, looks to play a greater role in her nation, ever mindful that there is only one Queen of England. But how is Anabel to one day rule a country when she cannot even govern her own heart? Don’t miss any of Laura Andersen’s captivating Tudor Legacy trilogy: THE VIRGIN’S DAUGHTER • THE VIRGIN’S SPY • THE VIRGIN’S WAR

This Guide examines the key critical responses to Byatt's fiction (both her novels and short stories) tracing the wider debates about realism, postmodernism and feminism with which they engage. The Guide also explores the themes which are central to Byatt's work, such as her depiction of writer-figures and her conception of artistic vision.

What if James T. Kirk and Spock had a baby, left the Enterprise and moved to New Vulcan to live happily ever after? Fan fiction plots like this are a strong testament of fans' endless creativity. Not only do the authors invent their own storylines but they have developed a generic definition of content across fandoms according to the relationship present in the text. Classification is therefore profoundly related to gender and sexuality. Julia Elena Goldmann examines these generic structures and formulaic patterns comparatively in Star Trek and Supernatural fan fiction. She also focuses on the interplay of the concepts of gender, sexuality, relationships and depictions of family in these texts.

In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding “truths” by which to define the permanent “meaning” of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.

Focusing on the figure of the storyteller, this study breaks new ground in the approach to reading contemporary literature by identifying a growing interest in storytelling. For the last thirty years contemporary fiction has been influenced by theoretical discourses, textuality and writing. Only since the rise of postcolonialism have academic critics been more overtly interested in stories, where high theory frameworks are less applicable. However, as we move through various contemporary contexts engaging with postcolonial identities and hybridity, to narratives of disability and evolutionary accounts of group and individual survival, a common feature of all is the centrality of story, which posits both the idea of survival and the passing on of traditions. The Return of the Storyteller in Contemporary Fiction closely examines this preoccupation with story and storytelling through a close reading of six contemporary international novelists that are either about actual 'storytellers' or engage with the figure of the storyteller, revealing how death of the author has given birth to the storyteller.