Ivan Jablonka’s History Is a Contemporary Literature offers highly innovative perspectives on the writing of history, the relationship between literature and the social sciences, and the way that both social-scientific inquiry and literary explorations contribute to our understanding of the world. Jablonka argues that the act and art of writing, far from being an afterthought in the social sciences, should play a vital role in the production of knowledge in all stages of the researcher’s work and embody or even constitute the understanding obtained. History (along with sociology and anthropology) can, he contends, achieve both greater rigor and wider audiences by creating a literary experience through a broad spectrum of narrative modes. Challenging scholars to adopt investigative, testimonial, and other experimental writing techniques as a way of creating and sharing knowledge, Jablonka envisions a social science literature that will inspire readers to become actively engaged in understanding their own pasts and to relate their histories to the present day. Lamenting the specialization that has isolated the academy from the rest of society, History Is a Contemporary Literature aims to bring imagination and audacity into the practice of scholarship, drawing on the techniques of literature to strengthen the methods of the social sciences.

Cowart presents a study of international historical fiction since World War II, with reflections on the affinities between historical and fictional narrative, analysis of the basic modes of historical fiction, and readings of a number of historical novels, including John Barth’s The Sot-Weed Factor, Marguerite Yourcenar’s Memoirs of Hadrian, Russell Hoban’s Riddley Walker, Margaret Atwood’s The Handmaid’s Tale, Giuseppe Tomasi Di Lampedusa’s The Leopard, D. M. Thomas’s The White Hotel, William Faulkner’s Go Down, Moses, and Umberto Eco’s The Name of the Rose. He proposes recognizing four modes of the historical novel: the past as a "distant mirror" of the present, fictions whose authors seek to pinpoint the precise historical moment when the modern age or some prominent feature of it came into existence, fictions whose authors aspire purely or largely to historical verisimilitude, and fictions whose authors reverse history to contemplate utopia and dystopia in the future. Thus, historical fiction can be organized under the rubrics: The Distant Mirror; The Turning Point; The Way It Was; and The Way It Will Be. This fourfold schema and his focus on postwar novels set Cowart’s work apart from previous studies, which have not devoted adequate space to the contemporary historical novel. Cowart argues that postwar historical fiction merits more extensive treatment because it is the product of an age unique in the annals of history—an age in which history itself may end.

In recent years controversy has surrounded the narrative turn in history and the historical turn in fiction. This book clarifies what is at stake, tracing connections between historiography and life-writing, arguing that the challenges posed in representing the past illuminate issues which are central to all literary narrative.

With close readings of more than twenty novels by writers including Ernest Gaines, Toni Morrison, Charles Johnson, Gloria Naylor, and John Edgar Wideman, Keith Byerman examines the trend among African American novelists of the late twentieth century to write about black history rather than about their own present. Employing cultural criticism and trauma theory, Byerman frames these works as survivor narratives that rewrite the grand American narrative of individual achievement and the march of democracy. The choice to write historical narratives, he says, must be understood historically. These writers earned widespread recognition for their writing in the 1980s, a period of African American commercial success, as well as the economic decline of the black working class and an increase in black-on-black crime. Byerman contends that a shared experience of suffering joins African American individuals in a group identity, and writing about the past serves as an act of resistance against essentialist ideas of black experience shaping the cultural discourse of the present. Byerman demonstrates that these novels disrupt the temptation in American society to engage history only to limit its significance or to crown successful individuals while forgetting the victims.

History, memory and trauma as well as their complex interrelations have been lying at the centre of interdisciplinary academic debates since the end of the previous century. These are also themes with which contemporary writers and other artists are increasingly preoccupied in their work. History, Memory, Trauma in Contemporary British and Irish Fiction is an attempt at analysing the relationship between history, memory and trauma in the selected novels of Pat Barker, Sebastian Barry, Kazuo Ishiguro and John Banville. The author examines the notion of memory in a variety of contexts: collective memory in the historical novels of Barker and Barry, individual memory as a foundation of the sense of self in the novels of Banville and Ishiguro, and traumatic memory in the novels of Barry and Ishiguro. By applying the theoretical framework of trauma studies to the work of those renowned writers, History, Memory, Trauma offers new interpretations of their novels. The author demonstrates that contemporary fiction moves beyond mere representation of trauma and engages the reader in the role of co-witness who enables the process of working through trauma.

Remaking History considers the ways that historical fictions of all kinds enable a complex engagement with the past. Popular historical texts including films, television and novels, along with cultural phenomena such as superheroes and vampires, broker relationships to ‘history’, while also enabling audiences to understand the ways in which the past is written, structured and ordered. Jerome de Groot uses examples from contemporary popular culture to show the relationship between fiction and history in two key ways. Firstly, the texts pedagogically contribute to the historical imaginary and secondly they allow reflection upon how the past is constructed as ‘history’. In doing so, they provide an accessible and engaging means to critique, conceptualize and reject the processes of historical representation. The book looks at the use of the past in fiction from sources including Mad Men, Downton Abbey and Howard Brenton’s Anne Boleyn, along with the work of directors such as Terence Malick, Quentin Tarantino and Martin Scorsese, to show that fictional representations enable a comprehension of the fundamental strangeness of the past and the ways in which this foreign, exotic other is constructed. Drawing from popular films, novels and TV series of recent years, and engaging with key thinkers from Marx to Derrida, Remaking History is a must for all students interested in the meaning that history has for fiction, and vice versa.

This collection of essays is dedicated to examining the recent literary phenomenon of the 'neo-historical' novel, a sub-genre of contemporary historical fiction which critically re-imagines specific periods of history.

What does it mean to call something “contemporary”? More than simply denoting what’s new, it speaks to how we come to know the present we’re living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Miéville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.

She plays the role of her life when kidnappers mistake her for a celebrity Those who know where she is don't value her life. Those who love her don't know she's missing. Who will pay for their mistake?

Critical introduction to the contemporary american novel focusing on contexts, key texts and criticism.