"This book presents the LIST Paradigm to help educators "unlock" literature with four keys to culture: Language, Identity, Space, and Time. The text includes teaching strategies, classroom examples, and texts by writers of color"--

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.

In this book, Parent puts together a history of representations of the 1944 mutiny in Senegal. Combining firsthand analysis of the works and their intertextual interactions as well an external perspective, Parent engages with history, literature, film, poetics, and politics and highlights the importance of remembering the past.

The linguistically innovative aspect of Francophone African literature has been recognized and studied from a variety of angles over recent decades, yet little attention has been paid to what happens to such literature when it is translated into another language. Taking as its corpus all sub-Saharan Francophone African texts that have ever been published in English, this book explores the ways in which translators approach innovative features such as African-language borrowings, neologisms and other deliberate manipulations of French, depictions of sociolinguistic variation, and a variety of types of wordplay. The implications of their translation decisions are drawn out with reference to the broader significances that are often accorded to postcolonial literature, and earlier critics' calls for a decolonized translation practice are explored from both a practical and theoretical angle. These findings are used to push towards a detailed investigation of the postcolonial turn in translation studies, drawing on the work of key postcolonial theorists such has Homi K. Bhabha and Gayatri Spivak. This is a timely and incisive critical assessment of contemporary discourses on the ethics and politics of translation.

Contemporary literature encompasses so many genres, literary forms, and themes that it would seem almost impossible to identify a unifying thread between them. Yet in the tradition established by literary heavyweights who came before, modern writers of all stripes and backgrounds have continued to entertain and to confront the social, cultural, and psychological realities of the times—including everything from racial identity to war to technology—with their own flair and insight. The diversity of authors profiled herein—from Toni Morrison to Sylvia Plath to Stephen King to David Foster Wallace—attests to the scope and complexity of modern society.

"God's Bits of Wood is a fictionalized account of the Dakar-Niger train strikes which took in the 1940s. The novel looks at both the political and personal sacrifices the strikers and their families made. The political power is portrayed here as the strikers try to win back pensions, annual paid vacations, and family allowances from the Europeans. The novel can be seen as a shift of power between the African strikers and their European bosses. The Europeans have the political process and violence as a leverage of power, which they use both insistently and mindlessly. One of the European delegates for the railway company accidentally shoots young boys who are playing along the tracks. The delegate isn't charged with their murders. The Europeans also prevent the strikers and their families from having access to water. Yet the strikers also have the masses as their power. The strikers gain powerful allies in their own women. In the beginning of the novel, the women are not told the details of the strike, though they are asked to support their men. Only the small child, Ad'jibid'ji, shows any interest and insists that her grandfather take her to a meeting of the strikers. Yet as the novel continues, the women become more and more involved in the strike. This is because the strike has hit home to them in a literal way. There is no water nor food to eat. The women and children begin to starve. The women suffer in silence until they begin to fight back. Two of the more striking sequences in the novel are the siege between the women of N'Diayene and the policemen who have come to arrest Ramatoulaye, and leads to the burning down of the village, and the march the women go on to Dakar to protest their treatment and to support the strikers. The strike breaks down the barriers which cause inequality between men and women, black and white." -- from www.associatedcontent.com (Oct. 22, 2010).

Praise for the print edition:"...a useful and engaging reference to the vast world of the novel in world literature."

Collected interviews with the African filmmaker who directed Black Girl, Mandabi, Xala, Ceddo, Faat Kine, and Moolaade