Relevant bibliographies by topics / Letter writing – Fiction; Invalids – Fiction

Academic literature on the topic 'Letter writing – Fiction; Invalids – Fiction'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Letter writing – Fiction; Invalids – Fiction"

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Nabutanyi, Edgar Fred. "Language, fiction, and heteropatriarchal critique in selected recent Ugandan short fiction." Sociolinguistic Studies 17, no. 1-3 (August 7, 2023): 141–58. http://dx.doi.org/10.1558/sols.23998.

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There is an emerging Ugandan queer writing tradition that adopts an activist stance to imagine an alternative Ugandan queer subjecthood beyond popular and polarising perspectives of this subjectivity that were instantiated by the Anti-Homosexuality Act of 2014. This emerging archive of Ugandan writing, often deploying the short fiction genre, weaves intricate tales of queer Uganda that sidestep the censorship of an ostracised sexuality deemed sinful, dangerous, and unUgandan to claim the agency and humanity of Ugandan homosexuals. While this archive of Ugandan queer short fiction has attracted significant critical attention from scholars such as Edgar Fred Nabutanyi (2017, 2018), Ken Junior Lipenga (2014) and Ben de Souza (2020), who focus on the political activism of these texts in Ugandan sexuality debates, little critical attention has been paid to how writers deploy sociolinguistic tools to empower their characters to author their agency and life experiences as same-sex loving Ugandans. Using sociolinguistic discursive tools, I refer to a textuality that includes illocutionary techniques such as letter writing, dialogue, and stream of consciousness that subversively empower excluded and muted subjects to articulate their essence and humanity. Deploying textual analysis of selected short stories, their analyses, and Ugandan queer theoretical treatises, I read Monica Arac de Nyeko’s ‘Jambula tree’ (2006) Beatrice Lamwaka’s ‘Pillar of love’ (2016) and Anthea Paleo’s ‘Picture frame’ (2013) using a sociolinguistic lens to unveil how the selected writers’ subversion of patriarchal tropes of an amorous letter, an ideal heterosexual family, and a romantic date critique the ostracisation of a sexual orientation.
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King, Don. "The Early Writings of Joy Davidman." Journal of Inklings Studies 1, no. 1 (April 2011): 47–67. http://dx.doi.org/10.3366/ink.2011.1.1.6.

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Joy Davidman’s place in the canon of twentieth century American literature deserves more attention than it has heretofore received. For instance, in her role in the late 1930’s as poetry editor for New Masses (the weekly voice of the Communist Party of the United States of America), Davidman published poets such as Langston Hughes, Margaret Walker, Alexander Bergman, and Aaron Kramer. At the same time, her poems in Letter to a Comrade (1938) touting a Communist agenda, while clearly written in the tradition of “proletarian literature,” are nonetheless well done; although a political agenda drives her selection of subject matter in these poems, they are not simply set pieces. She uses irony effectively and her imagery is evocative and striking. In fact, Davidman was very much a conscious craftswoman, spending the summers of 1938, 1940, 1941, and 1942 at the MacDowell Colony, a writers’ retreat in New Hampshire, where she honed her skills. For instance, her best piece of fiction, Anya (1940), is a direct result of her time at the colony. She understood the intellectual energy it takes to become an effective writer of poetry, fiction, and non-fiction, and she never backed away from hard work. Her commitment to writing—especially her voice, her rhetoric, her style, and the literary influences informing her work—merit more scholarly attention. In this essay I explore Davidman’s early devotion and commitment to the craft of writing; in addition, I evaluate the poems, fiction, and non-fiction she produced before she wrote for New Masses and published Letter to a Comrade.
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Bray, Joe. "The Letter‐Writing Manual and the Epistolary Novel." Journal for Eighteenth-Century Studies 47, no. 1 (March 2024): 15–29. http://dx.doi.org/10.1111/1754-0208.12930.

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AbstractThe relationship between real and fictional letters in the late seventeenth and early eighteenth centuries has been the source of much critical debate. Disagreement surrounds the extent to which the increasingly popular genre of the epistolary novel drew on the practices and techniques of actual correspondence. On the one hand are those who see epistolary fiction as developing out of real‐life letters, with some literary‐stylistic additions. On the other hand are those who reject this teleological approach in favour of one that emphasizes the functional versatility of the letter in the period, and the difficulty, if not impossibility, of drawing a distinction between its real and fictional incarnations. This relationship between real correspondence and epistolary fiction is brought into sharp focus by the genre of the letter‐writing manual, which rose sharply in popularity from the last two decades of the seventeenth century onwards. Concentrating on John Hill's The Young Secretary's Guide (1689), Thomas Goodman's The Experience's Secretary (1699), and G. F.'s The Secretary's Guide (1705), in particular, in this article, I suggest that the style of the letter‐writing manual from this period can, with caution, be compared with that of the epistolary novel. I pay particular attention to the ways in which letters in these manuals respond to and quote from each other and the often subtle ways in which they thus incorporate different voices. This polyvocality is taken further in Samuel Richardson's manual Familiar Letters (1741), which, as is well known, provided the raw material for his first novel Pamela; or Virtue Rewarded (1741). I demonstrate that some of the stylistic techniques which would prove crucial to the great epistolary novels of the later eighteenth century, including Richardson's, can be found, at least in embryonic form, in the letter‐writing manuals of the Restoration period.
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Bell, Erin. "Happy objects and cruel optimism in Carson McCullers’ story ‘Correspondence’." Short Fiction in Theory & Practice 9, no. 2 (October 1, 2019): 117–27. http://dx.doi.org/10.1386/fict_00005_1.

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This article discusses American author Carson McCullers’ 1942 short story titled ‘Correspondence’, in order to consider how the unique form of the epistolary short story amplifies themes of alienation and absence. Drawing upon contemporary affect theory as well as a close reading of the story, I consider how the letters in the text can be understood as what Sara Ahmed describes as ‘happy objects’, as well as how the process of letter writing becomes exemplary of Lauren Berlant’s theorization of cruel optimism. Based on her own disappointment with letters and letter writing, McCullers’ short text problematizes the act of writing letters and demonstrates the complexities of epistolary short fiction.
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Ngom, Ousmane. "Conjuring Trauma with (Self)Derision: The African and African-American Epistolary Fiction." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 1. http://dx.doi.org/10.19044/esj.2018.v14n2p1.

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All the female narrators of the three stories examined here – So Long a Letter, The Color Purple, and Letters from France – suffer serious traumas attributable to their male counterparts. Thus as a healing process, letter-writing is an exercise in trust that traverses the distances between the addresser and the addressee. Blurring the lines in such a way results in an intimate narration of trauma that reads as a stream of consciousness, devoid of fear of judgment or retribution. This paper studies the literary device of derision coupled with a psycho-feminist analysis to retrace the thorny, cathartic journey of trauma victims from self-hate to self-acceptance and self-agency.
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Venegas, José Luis. "Postal Insurgency: Letter Writing and the Limits of Mexican Nationalism in Gustavo Sainz’s Fiction." Hispanic Review 80, no. 2 (2012): 267–88. http://dx.doi.org/10.1353/hir.2012.0026.

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Albanese, Laurie Lico. "Note: The 1832 Cholera Epidemic and the Book Nathaniel Hawthorne Never Wrote." Nathaniel Hawthorne Review 47, no. 1 (May 1, 2021): 167–70. http://dx.doi.org/10.5325/nathhawtrevi.47.1.0167.

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Abstract On June 28, 1832, Nathaniel Hawthorne penned a letter to Franklin Pierce describing plans for a Northern tour through New York into Canada, a trip that he was forced to postpone due to the 1832 cholera outbreak in Montreal. Hawthorne intended to gather tales for The Story Teller on this ill-timed trip, but the trip was never made and the collection of interlinked traveling tales never published. The author of this note paper considers the cholera epidemic's impact on Hawthorne's writing life and how it reverberates through her own writing of historical fiction during the 2020 coronavirus pandemic.
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Oliveira, Viviane Cristina. "“Não precisas tirar a máscara” – Notas sobre a carta no jornal e o jornal na carta." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 1 (July 20, 2018): 153–79. http://dx.doi.org/10.17851/2358-9787.27.1.153-179.

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Resumo: Este artigo visa apresentar algumas reflexões sobre as relações entre a escrita epistolar, a ficção e o jornal instauradas em textos publicados por Aluísio Azevedo, Lúcio de Mendonça e Júlio Ribeiro em fins do século XIX no Brasil. A partir da leitura de suas obras Mattos, Malta ou Matta?, O marido da adúltera e Cartas sertanejas, respectivamente, busca-se tecer aproximações entre a carta e o jornal, de forma a destacar as confluências que marcam estes suportes de escrita cotidiana, bem como evidenciar certo diálogo instaurado por estes autores com os anônimos leitores das folhas diárias, diálogo que denota uma nova percepção política de seu tempo e um novo estilo literário, o naturalismo.Palavras-chave: carta; jornal; ficção.Abstract: This article aims to present reflections about the relations among epistolary writing, fiction and newspaper in the writings of Aluísio Azevedo, Lúcio de Mendonça and Júlio Ribeiro at the end of the 19th century in Brazil. Those reflections are based on the author’s pieces of writing Mattos, Malta ou Matta?, O marido da adúltera and Cartas sertanejas, respectively. We attempt to draw approximations between the letter and the newspaper so as to highlight the similarities of such daily life texts as well as to establish connections between these authors and their anonymous readers of daily news. Such connection evidences a new political perception at that time and a new literary style – naturalism.Keywords: letter; newspaper; fiction.
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Roger, Patricia M. "Taking a Perspective: Hawthorne's Concept of Language and Nineteenth-Century Language Theory." Nineteenth-Century Literature 51, no. 4 (March 1, 1997): 433–54. http://dx.doi.org/10.2307/2933854.

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This essay examines Hathorne's concept of language and the characteristic indeterminacy of his writing in the context of nieteenth-century language study. Recently, two opposing theoretical postionss have emerged to account for this indeterminacy-the deconstructionist view as exemplified by J. Hillis Miller's analysis of "The Minister's Black Veil" and the more historical and political view that Jonathan Arac Takes in "The Politics of The Scarlet Letter." I argue that although Hawthorne's indeterminacy may invite a deconstructionist analysis, it is a product of his historical context, not ours, and although, as Arac argues. Hawthornes's indeterminacy may be connected to a politics of avoidance, it more directly arises out of the linguistic and philosophical issues being debated by his contemporaries. In his Notebooks and his fiction Hawthorne responds to these issues by experimenting with possible relations between literal and figurative meanings and with the role played by perspective in determining these meanings. In order to show the interaction bertweenn Hawthorne's writing and the context of mindineteenth-century language study, I first briefly outline this context; then, using examples from his Notebooks. I describe Hawthorne's concept of language; and finally, with "Rappaccini's Daughter" as an example. I show how in his fiction Hawthorne experiments with the language theories of his contemporaries.
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Cheira, Alexandra. "“Mocking Eternities”: Writing Beyond the Ending of Possession, or A.S. Byatt’s Intersections between Academia, Literary Criticism, and Fiction." American, British and Canadian Studies 40, no. 1 (June 1, 2023): 80–103. http://dx.doi.org/10.2478/abcsj-2023-0008.

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Abstract In 1995, a two-page-long letter signed by Professor Maud Michell-Bailey – which furthermore enclosed two original poems by Christabel LaMotte – prefaced a special edition on women poets in the academic journal Victorian Poetry. The letter and poems invite a critical return to Possession, since they are a complex game in which made-up characters come to life and actual people are fictionalized. They also raise significant theoretical issues while appearing to break free from the limitations imposed by what Victorian Poetry editor Linda Hughes has correctly described as “overdetermined readings, simplification, distortion” (6). In doing so, they masterfully create a parodic and intertextual dialogue in an inverted mirror game that blurs the lines between the real and the imagined and invites the reader to engage in an active participation. When combined, Maud’s letter and LaMotte’s poems offer an intriguing look at the fruitful fusion of A.S. Byatt's critical and literary imagination. Therefore, this article explores Byatt’s intersections between academia, literary criticism, and fiction by analysing her metafictional discourse on fictional Victorian poems vis-à-vis the real contemporary academic journal in which they were published.
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Dissertations / Theses on the topic "Letter writing – Fiction; Invalids – Fiction"

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Gubernatis, Catherine. "The epistolary form in twentieth-century fiction." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1184950116.

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Rotunno, Laura Elizabeth. "Readdressed : correspondence culture and nineteenth century British fiction /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099627.

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Den, Hartog Jacqueline M. "A "wild and ambiguous medium" letters and epistolary fictions in early America, 1780-1830 /." 2006. http://etd.nd.edu/ETD-db/theses/available/etd-06292006-131817/.

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Books on the topic "Letter writing – Fiction; Invalids – Fiction"

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Jones, Christianne C. Paula's letter. Minneapolis, Minn: Picture Window Books, 2006.

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Martin, Ann M. Chain letter. New York: Scholastic, 1993.

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Inches, Alison. Corduroy writes a letter. New York: Viking, 2002.

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Martin, Ann M. Chai n letter. New York: Scholastic, 1993.

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1946-, Pool Gail, ed. Other people's mail: An anthology of letter stories. Columbia: University of Missouri Press, 2000.

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Danziger, Paula. P.S. Longer letter later. New York: Scholastic Press, 1999.

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Tsuji, Hitonari. Daihitsuya. Tōkyō: Kairyūsha, 2004.

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Sundin, Sarah. With every letter. Waterville, Maine: Thorndike Press, 2013.

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Sundin, Sarah. With every letter: A novel. Grand Rapids, MI: Revell, 2012.

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Avalos, Cecilia. Mi propia carta. Cleveland, Ohio: Modern Curriculum, 1991.

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Book chapters on the topic "Letter writing – Fiction; Invalids – Fiction"

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Rotunno, Laura. "Mr Micawber, Letter-Writing Manuals, and Charles Dickens’s Literary Professionals." In Postal Plots in British Fiction, 1840–1898, 45–68. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137323804_2.

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Akkerman, Nadine. "Women’s Letters and Cryptological Coteries." In The Oxford Handbook of Early Modern Women's Writing in English, 1540-1700, 547–62. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198860631.013.31.

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Abstract This chapter analyses how women used both branches of cryptology: cryptography and steganography. Cryptography was not the prerogative of diplomats; before 1642, elite letter writers, male and female, employed cryptography socially, to create a sense of intimacy amongst a select circle of correspondents, one that encompassed a communal sense of privacy. A ciphered letter broadcasts its deceptive intent in the numbers or symbols staring blankly at the reader, whether they are the actual recipient or an interceptor. Letter writers were, in effect, compelled to try their hand at steganography, the creation of fictional discourses, to avoid detection. In illustrating another layer of ‘fiction in the archives’, this chapter casts letter writers as literary authors, showing cryptology to be a polysemous linguistic technique that women employed for many reasons, ranging from forming and maintaining fragile social networks across enemy lines and borders to ensuring secret communications remained just that: secret.
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DODU, Alexandra. "ÉLENA. PHANARIOTES ET ROUMAINS, LE MOTIF DE LA LETTRE DANS LE PREMIER ROMAN FRANCOPHONE." In Scriitori români de expresie străină. Écrivains roumains d’expression étrangère. Romanian Authors Writing in Foreign Tongues, 57–68. Pro Universitaria, 2021. http://dx.doi.org/10.52744/9786062613242.05.

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Women’s Literature is a field still insufficiently explored in the Romanian cultural space. The honor of having written the first feminine francophone Romanian novel belongs to Constance de Dunka for her book Éléna. Phanariotes and Romanians (1862). The novel, acclaimed in France at the time of its publication, was nevertheless considered by the Romanians to be a minor work (Dunka was even accused of plagiarism). The structure of this novel, which is built upon discoveries, falsifications and thefts of letters, is analyzed here on the basis of the conceptual categories proposed by Jacques Merceron in his book Le message et sa fiction - namely, on the basis of the categories of “the false letter,” “the lying letter” and “the substitute letter.”
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Kreyling, Michael. "Eudora Welty and Mystery." In Eudora Welty and Mystery, 31–50. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496842701.003.0002.

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Eudora Welty says, in a letter to Kenneth Millar, that she read James M. Cain’s crime fiction late (and had “fun” with it)—in the 1970s—decades after her mother (a devoteé of the “Golden Age”) read, and disapproved of, him and his writing. This chapter ventures that noir is constant but evolving, and that Welty the daughter was a member of the age of Chandler and the hardboiled aesthetic. She need not like or dislike noir or its practitioners, but she could and did adapt it to the currents of her fiction. Noir’s familiar elements (misogyny, road and car culture, gestating violence, ultimate doom) are re-mixed in her work. So it is with Welty’s novella The Ponder Heart and her short story “No Place For You, My Love.” We read Welty in the tradition of the detective novel, and hardly know it.
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Cummings, Brian. "Glyph." In Bibliophobia, 387–406. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192847317.003.0024.

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The glyph of writing—the written mark on the page—contains a profound paradox. The chapter begins with a discussion of ‘indecipherable scripts’. Some of these, famously, have been deciphered—such as hieroglyphics in the nineteenth century and Linear B in the twentieth; some, like Polynesian Rongorongo remain a baffling mystery. What do we mean by ‘decipherment’ in relation to writing? The chapter goes on to examine Poe’s story ‘The Purloined Letter’ and its philosophical application in Lacan and Derrida; and the historical ramifications of decipherment in treason trials, especially in the deployment of torture from the Reformation to the French Revolution, from imperial China to Guantánamo. The book concludes with a meditation on the idea of the glyph in modernism, in Levi and in Anselm Kiefer, in James Joyce’s Finnegans Wake and the late fiction of Samuel Beckett, to suggest that writing always contains an unfathomable mystery.
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Como, James. "4. Fame." In C. S. Lewis: A Very Short Introduction, 46–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198828242.003.0004.

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‘Fame’ discusses C. S. Lewis’s work through the 1940s and the rise of his vocation as an apologist. It considers The Screwtape Letters (1942) and his vastly popular BBC talks (which were all to be consolidated and edited by Lewis as Mere Christianity, 1952). Amid prodigious letter writing, he continues the tradition of walking tours with Warren and others from the 1930s and converses with the Inklings. His thoughts on Milton’s Paradise Lost are discussed along with his ideas on the difference between primary and secondary epics. The Abolition of Man, The Great Divorce, and his cosmic mythological fiction—Out of the Silent Planet, Perelandra, and That Hideous Strength—are also considered.
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Kopley, Emily. "Woolf and the Thirties Poets." In Virginia Woolf and Poetry, 243–74. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198850861.003.0008.

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Studying Woolf’s relationship with the British male poets who first came to public attention in the 1930s clarifies tensions of the time concerning gender, generations, and, especially, literary form. The poetry of W. H. Auden, Cecil Day-Lewis, John Lehmann, Louis MacNeice, and Stephen Spender provoked Woolf’s criticism in large part for a reason that has received little attention, Woolf’s competition with poetry. This spirit of competition was not matched by the 1930s poets themselves. While Woolf’s criticism prompted the poets’ counter-arguments, Woolf’s fiction stirred only the young poets’ admiration, and in some cases imagination, both in her lifetime and after. This chapter looks at Woolf’s “A Letter to a Young Poet,” the poets’ response to Woolf in letters, poetry, and criticism, Woolf’s essay “The Leaning Tower” (1941), and the poets’ writing on Woolf after her death.
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Cunningham, Rodger. "Writing on the Cusp :Double Alterity and Minority Discourse in Appalachia." In The Future of Southern Letters, 41–53. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195097818.003.0004.

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Abstract In a very bad review of a very good book of short stories from West Virginia, Diane McWhorter of Birmingham, Alabama, wrote in the New York Times Book Review: [Pinckney] Benedict’s characters are the new lost generation from the border states. Working the not-long-sodded subdivisions, his literary elders gave us the first wave, a postrural sub-bourgeoisie Mr. Benedict’s people are the skulls they see in their Sears mirrors; his turf is the dismal sludge underneath the cartoon strokes of Al Capp’s Dogpatch .... On the cusp of two vital American cultures-the northerly one devoted to the making of money, the other to the making of myth-the border country has little of either. (13) As I said in a letter in reply to this review: Come now. Can any group in this country other than Appalachian mountain people be subjected to this sort of ethnic slur by a national magazine in 1987? To be sure, you’ve laudably tried to have the book reviewed by a native of the same region. Alas-with the Steinberg map behind your eyelids, you’ve handed it over to a Deep Southerner who proceeds to air all her region’s standard prejudices against what she self-revealingly calls “the border country:’ ... The sad thing is that while “two vital American cultures” join hands over the presumably moribund form of”moonshine America” whenever something like this comes along to confirm their interlocking prejudices, the “national” literary world remains nearly unaware of the burgeoning of writing within the region in the past generation. There is an enormous amount of first-rate poetry and fiction by native Appalachians of all backgrounds which fits neither century-old convention-pastoral idyll or
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Robertson, Fiona. "Walter Scott." In Literature of the Romantic Period, 221–45. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711209.003.0011.

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Abstract As the most prolific author of his day and the most influential novelist of the nineteenth century, Scott attracted extensive critical commentary for many decades. At the end of the Victorian period, however, his critical fortunes went into apparently irreversible decline. Their recent revival, stimulated by new developments in criticism and theory, has made Scott the focus of some of the most innovative and most illuminating scholarship in contemporary Romantic studies; and this revaluation has important implications for the study of the Romantic period as a whole. The range of Scott ‘s writing is in itself a challenge to narrower notions of Romanticism. He was prolific in all the major modern literary forms: famous first as a poet and ballad collector; a respected literary reviewer and editor; an influential supporter of Scottish theatre and a less influential dramatist; a letter-writer of very high quality and the keeper of one of literature ‘s greatest personal journals; a historian and biographer, most notably of Napoleon; the author of a highly successful series of historical works for children; and, most importantly of all, an innovative writer of historical fiction. The most central of marginalized figures, Scott requires critics to reconsider traditional configurations of the period and its characteristic literary modes.
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Rowson, Martin. "How old is Frank?" In The Literary Detective, 506–10. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780192100368.003.0072.

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Abstract Middle-aged readers will take heart from the fact that Walter Scott did not publish his first novel until the age of 43, with Waverley (1814). Once started, the Wizard of the North made up for lost time, writing eighteen novels in ten years. Churning out three- and four-deckers at his factory rate of production (and he did much else than write novels) meant that Scott was occasionally obliged to be rough and ready in the finer points of construction. His fiction is speckled with piddling errors for his pedantic editor (‘Dr Dryasdust’, as Scott called the genus) to clear up. On his part, Scott did not fret about his slips, seeing them as a small tax to be paid for his speed of composition. Rob Roy (1817) has a lot of narrative errors: the hero crosses over an historically yet-to-be-built bridge to reach the inn at Aberfoil where so many exciting events occur; he attends an historically yet-to-be-built church in Glasgow; and reads yet-to-be-published books. One possible explanation is that the narrator’s memory may not be all it once was. Old men forget, and they embellish what they dimly remember. This explanation would be more convincing, however, if we knew exactly what was going on in Frank’s life as he tells his story, and how old he actually is. In fact, we have only the sketchiest portrait of the narrator in old age (if it is old age). We apprehend that he is telling the adventures of his early youth by letter to his friend Will Tresham, and that all ends happily with his marriage to Die Vernon. But since then, we gather, great
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