Libri: "Romance novels (form)"

1

Diawara, Amarata. Amour haram. Bamako: Éditions Princes du Sahel, 2015.

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2

Couto, Mia. A varanda do frangipani: Romance. 2^a ed. Maputo: Ndjira, 1996.

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3

Art, Spiegelman, e Sikoryak R, a cura di. Skin deep: Tales of doomed romance. New York, N.Y., U.S.A: Penguin, 1992.

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4

Deborah, Cole, Hill Grace Livingston 1865-1947 e Alden Isabella Macdonald 1841-1930, a cura di. Grace Livingston Hill collection no. 3: Four complete novels, updated for today's reader. Uhrichsville, Ohio: Barbour Pub., 1999.

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5

1865-1947, Hill Grace Livingston, Cole Deborah e Alden Isabella Macdonald 1841-1930, a cura di. Grace Livingston Hill collection no. 1: Four complete novels, updated for today's readers / [edited and updated for today's readers by Deborah Cole]. Uhrichsville, Ohio: Barbour Pub., 1999.

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6

Deborah, Cole, Alden Isabella Macdonald 1841-1930 e Livingston C. M. Mrs, a cura di. Grace Livingston Hill collection no. 4: Four complete novels, updated for today's reader / Grace Livingston Hill ; [edited and updated for today's reader by Deborah Cole]. Uhrichsville, Ohio: Barbour Publishing, Inc., 1999.

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7

Adichie, Chimamanda Ngozi. Purple hibiscus: A novel. London: New York, 2004.

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8

Adichie, Chimamanda Ngozi. Purple hibiscus: A novel. Chapel Hill, NC: Algonquin Books of Chapel Hill, 2003.

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9

Ross, Deborah. The excellence of falsehood: Romance, realism, and women's contribution to the novel. Lexington, Ky: University Press of Kentucky, 1991.

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10

Adichie, Chimamanda Ngozi. Purple hibiscus: A novel by. 2^a ed. Toronto: Vintage Canada, 2013.

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11

Adichie, Chimamanda Ngozi. Purple hibiscus: A novel by. Chapel Hill: Algonquin Books of Chapel Hill, 2003.

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12

Triplette, Stacey. Chivalry, Reading, and Women's Culture in Early Modern Spain. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462985490.

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The Iberian chivalric romance has long been thought of as an archaic, masculine genre and its popularity as an aberration in European literary history. Chivalry, Reading, and Women’s Culture in Early Modern Spain contests this view, arguing that the surprisingly egalitarian gender politics of Spain’s most famous romance of chivalry has guaranteed it a long afterlife. Amadís de Gaula had a notorious appeal for female audiences, and the early modern authors who borrowed from it varied in their reactions to its large cast of literate female characters. Don Quixote and other works that situate women as readers carry the influence of Amadís forward into the modern novel. When early modern authors read chivalric romance, they also read gender, harnessing the female characters of the source text to a variety of political and aesthetic purposes.

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13

Nabokov, Vladimir Vladimirovich. Novels, 1955-1962. New York: Library of America, 1996.

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14

Saberhagen, Fred. Bram Stoker's Dracula: The Novel of the Film Directed by Francis Ford Coppola. London, UK: Pan Books, 1992.

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15

Cinquegrani, Alessandro, Francesca Pangallo e Federico Rigamonti. Romance e Shoah Pratiche di narrazione sulla tragedia indicibile. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-492-9.

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Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with the testimony’s experience. While storytelling strategies may help to involve the public by emotionally engaging with the story, the risks of altering the real meaning of the Holocaust are quite high: what we often label as a “story” is actually been an outrageous, documented mass-genocide. Furthermore, as the age gap between the present and the past generation progresses, also the collective awareness of Nazi crimes as a real fact gets compromised. This volume explores selected Holocaust narrations by contextualizing the historical, literary, and social influences those texts had in their unique points of view. Starting with some recent examples of Holocaust exploitation through social media, the first chapter explores the paradigm shift when the Holocaust became a cultural, fictional trend rather than a historical massacre. In the second chapter, the analysis examines postmodern representations of Holocaust and Nazi semantics through relevant examples taken from both American and European literature. The third chapter analyses Europe Central by William T. Vollman, as all the narratological and cultural issues considered in the previous two chapters are well outlined in this articulated novel, where the relationship between reality and its representation after the postmodernist period is largely investigated. In chapter four, an account is given of the connections and differences between the narratological category romance, as understood by Northrop Frye, and Holocaust narration features. In chapter five, those elements are used to consider the work of Italian Holocaust survivor and Jewish writer Primo Levi, as his narration around Auschwitz adopts some fictional tools and still refuses undemanding storytelling mechanisms. The sixth and final chapter examines the relevant novel Les Benviellants by Jonathan Littell, considering its Nazi genocide account through the antagonist’s perspective.

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16

Hawthorne, Nathaniel. The scarlet letter: A romance. Franklin, TN: Dalmatian Press, 2011.

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17

Hawthorne, Nathaniel. The scarlet letter: A romance. 2^a ed. Peterborough, Ont: Broadview Press, 2004.

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18

Hawthorne, Nathaniel. The Scarlet Letter: A Romance. New York, N.Y: Penguin Books, 2003.

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19

Hawthorne, Nathaniel. The scarlet letter: A romance. Franklin Center, Pa: Franklin Library, 1985.

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20

Hawthorne, Nathaniel. The scarlet letter: A romance. New York: Knopf, 1992.

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21

Hawthorne, Nathaniel. The scarlet letter: A romance. San Diego: Harcourt Brace Jovanovich, 1986.

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22

Barr, Mike W. Camelot 3000: Continuing legends chronicled by Sir Thomas Mallory. New York, N.Y: Warner Books, 1988.

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23

Barr, Mike W. Camelot 3000. New York, NY: DC Comics, 1988.

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24

Skin Deep: Tales of Doomed Romance. Fantagraphics Books, 2001.

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25

Zatlin, Phyllis. The Novels and Plays of Eduardo Manet: An Adventure in Multiculturalism (Penn State Studies in Romance Literatures). Pennsylvania State University Press, 1999.

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26

Ferris, Ina. Historical Romance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0016.

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This chapter looks at historical romance. Late eighteenth-century historiography began to expand its purview to unofficial spheres of social, cultural, and private life typically cultivated by informal genres such as memoirs, biographies, and novels. The ‘matter’ of history was being increasingly redefined, and this had two key effects that bear on the question of historical romance. First, the ‘reframing’ of the historical field generated a marked reciprocity among the different historical genres in the literary field, as they borrowed material and tactics from one another; second, it led to a splintering albeit not displacement of ‘general’ history, as new branches of history writing took shape, notably that of literary history as a distinct form of history. Hence romance now denoted not only the realm of ‘fancy’ but a superseded literary form of renewed interest in the rethinking of the national past.

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27

Romance: A Novel (Collected Works of Ford Madox Ford). Classic Books, 2000.

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28

Hensley, Nathan K., e Philip Steer, a cura di. Ecological Form. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282128.001.0001.

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Victorian England was both the world’s first industrial society and its most powerful global empire. Ecological Form coordinates those facts to show how one version of the Anthropocene first emerged into visibility in the nineteenth century. Many of that era’s most sophisticated observers recognized that the systemic interconnections and global scale of both empire and ecology posed challenges best examined through aesthetic form. Using “ecological formalism” to open new dimensions to our understanding of the Age of Coal, contributors reconsider Victorian literary structures in light of environmental catastrophe; coordinate “natural” questions with social ones; and underscore the category of form—as built structure, internal organizing logic, and generic code—as a means for generating environmental and therefore political knowledge. Together these essays show how Victorian thinkers deployed an array of literary forms, from the elegy and the industrial novel to the utopian romance and the scientific treatise, to think interconnection at world scale. They also renovate our understanding of major writers like Thomas Hardy, George Eliot, John Ruskin, and Joseph Conrad, even while demonstrating the centrality of less celebrated figures, including Dinabandhu Mitra, Samuel Butler, and Joseph Dalton Hooker, to contemporary debates about the humanities and climate change. As the essays survey the circuits of dispossession linking Britain to the Atlantic World, Bengal, New Zealand, and elsewhere—and connecting the Victorian era to our own—they advance the most pressing argument of Ecological Form, which is that past thought can be a resource for reimagining the present.

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29

Ferris, Ina. Authorizing the Novel. A cura di Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.026.

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Walter Scott’s historical novel achieved unprecedented success, and almost single-handedly propelled the novel as a genre into the literary field. A potent synthesis of history, romance, theory, and antiquarianism, the Waverley Novels rewrote contemporary modes of historical and national romance through a thematic of the heterogeneity of historical time. They answered to a new historical sensibility in a post-Revolutionary era of expanding readership; helped to forge a new British national identity; and were instrumental in reconfiguring literary culture for their time.

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30

Knox-Shaw, Peter. The Reconstrual of Imagination and Romance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689414.003.0007.

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Emma has often convincingly been assigned to the “quixotic” novel, a genre much favored by the long eighteenth century and admired on occasion by Jane Austen herself. But whereas novels of this type invariably end with a joint renunciation of imagination and romance in deference to a greater realism, Emma shows imagination to be integral to an apprehension of the real world, and to require, for its fidelity, a principle long enshrined by romance. Austen’s understanding of imagination as both necessary and all-pervasive—held in common with a number of contemporary philosophers who built on David Hume’s analysis of the “productive” and “magical” faculty that underlay all perception—in no way lessened her sense of its ambivalence, and Emma shows how its work of construction is constantly undermined by received stereotypes as well as by insidious subterfuges of the self. The novel celebrates an empirical habit of mind, fortified by the virtue of benevolence.

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31

Radcliffe, Ann. The Romance of the Forest. A cura di Chloe Chard. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199539222.001.0001.

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The Romance of the Forest (1791) heralded an enormous surge in the popularity of Gothic novels, in a decade that included Ann Radcliffe’s later works, The Mysteries of Udolpho and The Italian. Set in Roman Catholic Europe of violent passions and extreme oppression, the novel follows the fate of its heroine Adeline, who is mysteriously placed under the protection of a family fleeing Paris for debt. They take refuge in a ruined abbey in south-eastern France, where sinister relics of the past - a skeleton, a manuscript, and a rusty dagger - are discovered in concealed rooms. Adeline finds herself at the mercy of the abbey’s proprietor, a libidinous Marquis whose attentions finally force her to contemplate escape to distant regions. Rich in allusions to aesthetic theory and to travel literature, The Romance of the Forest is also concerned with current philosophical debate and examines systems of thought central to the intellectual life of late eighteenth-century Europe.

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32

Quillen, C. L., e Ilene N. Lefkowitz. Read On … Romance. ABC-CLIO, LLC, 2014. http://dx.doi.org/10.5040/9798216004974.

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With thousands of romance novels published each year, librarians—especially those unfamiliar with or indifferent to the genre—can benefit from this well-organized, reference that offers scores of appeals-based read-alike lists for some of the most popular, contemporary romance fiction. As romance publishing continues to flourish, readers and readers’ advisors are faced with increasingly complex reading choices. This book helps adult and teen readers quickly find the books they love to read, identifies other titles with shared qualities for more reading suggestions, and provides librarians with carefully reviewed read-alike lists that they can use with confidence. Featuring romance novels published from 2000 to the present day, this useful guide offers you hundreds of reading suggestions covering a wide variety of themes from the most popular to the more obscure. Library professionals and romance fans C. L. Quillen and Ilene Lefkowitz use informal and sometimes whimsical terminology to create unique thematic lists that are targeted to the way romance readers think, offering such lively categories as “Rx for Love” and “Romancing the Stove.” The authors organize the titles into five sections according to language, setting, character, story, and mood. Subgenres covered include historical, regency, paranormal, and romantic suspense, making it simple for you to find recommended titles appropriate for your readers’ needs.

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33

Whitmarsh, Tim. How Greek Is the Greek Romance? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199742653.003.0017.

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In the light of the findings of this book, the ‘Hellenocentric’ romances of Chariton and Xenophon look less like a point of origin for the Greek romance and more an exception against the larger backdrop of an ongoing interest in cultural blending and intermarriage. This chapter looks briefly at Achilles Tatius’s Leucippe and Clitophon (second century CE) and Heliodorus’s Charicleia and Theagenes (fourth century CE), reading them in terms of continuation of the intercultural themes found in earlier, Hellenistic ‘novels’.

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34

Jane, Austen. Sense and Sensibility: Romance Novel. Independently Published, 2021.

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Jane, Austen. Sense and Sensibility: Romance Novel. Independently Published, 2021.

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36

Whitmarsh, Tim. Romancing Semiramis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199742653.003.0018.

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This chapter discusses the romance of Ninus and Semiramis, the two great Mesopotamian rulers and city-founders. A papyrus from the first century CE seems to tell their story in the form of a romance. This chapter argues that their ‘romance’ may go all the way back to Ctesias’s Persica, so we may have here more evidence for intercultural romance—and indeed intercultural romance being copied and perhaps composed at the same time as Chariton’s and Xenophon’s novels were composed. But certainty is impossible.

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37

Ross, Deborah L. Excellence of Falsehood: Romance, Realism, and Women's Contribution to the Novel. University Press of Kentucky, 2021.

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Ross, Deborah L. Excellence of Falsehood: Romance, Realism, and Women's Contribution to the Novel. University Press of Kentucky, 2014.

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39

Connor, John T. Mid-Century Romance. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191953057.001.0001.

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Abstract Mid-Century Romance chronicles a revival of the historical novel at the intersection of British late modernism and international communist culture. It frames this mid-century renovation of the genre as a response to a national turn in world politics, and this turn as a function of realignment in the imperial and literary world-systems. Confronted with the turbulence of mid-century history, writers embraced the historical novel to float narratives of national becoming and to locate their readers in the pattern of social change. Many were mindful of the genre’s romantic-era history: they saw themselves following in the footsteps of Sir Walter Scott and his heirs in other countries, and they drew on the same rescued remains of primitive poetry and popular antiquities that romanticism first used to construct its versions of national identity, of national culture and tradition. The study shows how the impulse to salvage traces of ancestral culture and to press them to new purpose links the mid-century historical novel to the rise of two of the most important post-war critical and creative projects: history from below and magical realism. It argues for the period-centrality of the mid-century national-historical novel and situates its cast of British writers—the modernists Hope Mirrlees and Virginia Woolf, the communists Sylvia Townsend Warner and Jack Lindsay, the oddball modernist and onetime fellow traveller John Cowper Powys, and many others in less detail—in a comparative, transnational perspective.

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40

Murphet, Julian. Faulkner's Media Romance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190664244.001.0001.

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This book reassesses William Faulkner’s engagement with modern media technologies and transportation systems. It argues that Faulkner’s inveterate interest in figures of flight, automobiles, radio, phonographs, photographs, and other modern techno-media was secretly motivated by a profound and ongoing aesthetic tug of war in his writing. He resolved this tension between artistic modernism and the vanished worlds of antebellum romance by a recourse to tropes borrowed from the modern media system. These tropes masked his investment in romance materials, giving it a modern overlay, and allowed him to look critically upon the persistence of superannuated romance within the modern media ecology itself. This economical and generative strategy allowed Faulkner to “eat his cake and have it” as regards those romance materials and to make entirely novel moves in the rapidly changing form of the novel between 1929 and 1936.

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Pringle, Mary Beth. John Grisham. Greenwood Publishing Group, Inc., 1997. http://dx.doi.org/10.5040/9798400674563.

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With his seven legal thrillers, all published since 1989, John Grisham has won a huge following of readers and set a standard few contributors to the genre can match. Because of the success of his novels, the legal thriller is the most popular genre in American fiction today. In this study, Pringle explains how Grisham's legal thriller evolved from the thriller tradition and borrowed from the heroic romance novel, gothic novel, crime novel, and detective fiction. She shows how his novels examine contemporary social and legal problems that do not have simple solutions—ecology, ethnic relations, capital punishment, corporate greed, and health insurance—and how he depicts both the legal system and lawyers in their best and worst lights. Following a biographical chapter that focuses on Grisham's childhood in Arkansas, education, political career, and development as a writer, Pringle examines the legal thriller, its antecedents, and Grisham's contribution to the genre. An individual chapter is devoted to analysis of each of his novels. Each chapter synopsizes the novel, discusses its reception by critics, and features sections on plot development, character development, social/historical context and issues, and an alternative critical perspective from which to approach the novel, such as psychoanalytic theory or feminist criticism. The work includes a complete bibliography of Grisham's work, critical sources, and list of reviews of all of his novels. Because of Grisham's popularity with adults and young adults and the contemporary issues he raises, this study is valuable to students, book discussion group participants, and other interested readers, and is an essential purchase for school and public libraries.

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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman e Stephanie Sandler. Prose Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0019.

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This chapter considers the prose genres that developed in the period and their relative artistic success and limitations, recognizing that poetry had been much more open to innovation than prose. Forms such as the memoir (fictional as well as real), autobiography, letter writing, the allegorical novel, and the short story conform to the general pattern of literary norms adapted from European models. The chapter explains that a gap opened between literary fiction in translation and novels written in Russia, arguing that Russian writers chose not to emulate the contemporary European novel, revising instead picaresque and quixotic fictions associated with the seventeenth century and the romance tradition.

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Campbell, Josie P. John Irving. Greenwood, 1998. http://dx.doi.org/10.5040/9798400674570.

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One of America's most noted contemporary novelists, John Irving has created a body of fiction of extraordinary range, moving with ease from romance to fairytale to thriller. Although his fiction follows in the tradition of the great 19th-century world novelists, he is a quintessential American writer—his novels are laced with broad humor, farce, and absurd situations. He does not hesitate to tackle the troubling issues that have faced our nation in the past few decades, such as war, racism, sexism, abortion, violence, and AIDS. This study offers a clear, accessible reading of Irving's fiction. It analyzes in turn all of his novels fromSetting Free the Bears(1968) to his newest novelA Widow for One Year(1998). It also provides the reader with a complete bibliography of Irving's fiction, as well as selected reviews and criticism. Following a biographical chapter on Irving's life, an overview of his fiction explores his work in light of his literary heritage and use of a variety of genres. Each of the following chapters examines an individual novel:Setting Free the Bears(1968),The Water-Method Man(1972),The 158-Pound Marriage(1973),The World According to Garp(1976),The Hotel New Hampshire(1981),The Cider House Rules(1985),A Prayer for Owen Meany(1989),A Son of the Circus(1994), andA Widow for One Year(1998). The discussion of each novel includes sections on plot and character development, thematic issues, and a new and fresh critical approach from which to read the novel. Campbell explores the great moral range in Irving's novels. She shows that all his novels deal with a character's quest to discover the self, a journey of raw energy that touches us because we recognize it as our own. This study will help readers to appreciate the experimental fiction that is Irving's trademark and his ability to capture the essence of American life in the last part of the twentieth century.

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Dalziell, Tanya. The Colonial Romance Novel to 1950. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0014.

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This chapter discusses the colonial romance novel. For an author such as Scottish-born Hume Nisbet, who was living in London during the late nineteenth and early twentieth centuries, desperately trying to ward off crushing poverty, writing romance fiction was one means to generate a modest income. Having toured Australia and the Pacific in 1886, Nisbet tapped into what was a growing literary market: the colonial romance novel. The colonies not only lent themselves as exotic locales for ‘old’ stories; they were also envisioned as the sites at which values of empire—sexual, economic, epistemological, racial—were, at times, not entirely secure, and romance could be re-imagined. Developments in printing and distribution of the written word and the shift away from the lending libraries that promoted and relied upon the triple-decker novel structure of the Victorian romance were also important in the formation of the colonial romance novel.

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Kinoshita, Sharon. Romance in/and the Medieval Mediterranean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0011.

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This chapter expands the traditional classification of medieval French romance by proposing ‘Mediterranean’ as a thematic category alongside ‘Antique’ and ‘Breton’. In addition to their geographical setting, ‘Mediterranean’ romances feature themes such as sea voyages, merchants, pirates, mutable identities, and the changes of fortune occasioned by the hazards of maritime travel. Floire et Blancheflor, first attested in French c.1150 and subsequently translated into many languages, provides the focal point for a discussion of medieval romance that draws inspiration from Peregrine Horden and Nicholas Purcell’s 2000 study, The Corrupting Sea. The second part of the chapter tests the longue durée of the Mediterranean thematic by examining the Hellenistic romance Callirhoe. The close parallels between the two texts, corresponding to Mikhail Bakhtin’s description of the Greek novel of adventure, also allows an assessment of their divergences as reflections of the shift from a late antique to a high medieval context.

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Lynch, Deidre. Early Gothic Novels and the Belief in Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0010.

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This chapter looks at Gothic novels. A Gothic Romance or even ‘a Gothic Story’ may be one thing, but a Gothic Novel is something else again. Though that term has been retrospectively applied to a body of macabre, sensational, ghost-infested fiction from the late eighteenth century only since the early twentieth, in its suggestion of a perverse hybridizing of the outmoded and the up-to-date it aptly captures the transgressiveness these fictions represented for their original critics. More directly than the contemporary fictions that aspired to be life-like and observe the norms of probability, Gothic novels foreground that peculiar mental gymnastics that since the eighteenth century has enabled readers to participate in a secular culture industry ‘which invites the subtle and supple deployment of belief’. In this sense, by helping to define the frontiers of the fictive, the Gothic mode did not interrupt the rise of the novel, but instead completed it.

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Guy, Adam. The nouveau roman and Writing in Britain After Modernism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198850007.001.0001.

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This book shows the centrality of the nouveau roman to the literary culture of postwar Britain. Emerging in the mid–late 1950s in France, the nouveau roman grouped together a range of writers committed to innovation in the novel, such as Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon. Transferred to a different national context, the nouveau roman became a focal point for debates in Britain about realism, modernism, and the end of empire. The nouveau roman and the Novel in Britain After Modernism draws on extensive research into archival and periodical sources in order to tell the story of the nouveau roman’s dissemination and reception in Britain. It also looks at postwar writers working in Britain so as to gauge the impact of the nouveau roman in novels of the 1960s and 1970s. Whether in translations of Nathalie Sarraute’s writing by Maria Jolas (one of the founders of the interwar little magazine transition), or in the conservative critiques of the nouveau roman levelled by the circle around C. P. Snow, the question of the legacies of European high modernism is always in view. But equally, for writers like Brian W. Aldiss, Christine Brooke-Rose, Eva Figes, B. S. Johnson, Alan Sheridan, Muriel Spark, and Denis Williams, the nouveau roman also provided the source of aesthetic innovations that could exceed the modernist account of the new. This book uncovers a neglected history of the postwar British literary field, with continuing relevance for contemporary innovative writing.

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Turner, Richard C. Ken Follett. Greenwood Publishing Group, Inc., 1996. http://dx.doi.org/10.5040/9798400675591.

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Ken Follett had the purest of motives when he began writing fiction: he did it for the money. But after ^IEye of the Needle^R catapulted him to success and secured his reputation as a master of the spy thriller, he both built on that success with other spy thrillers and experimented equally successfully with other genres such as the family saga and the historical romance. This is the first full-length study of his work and it includes individual examinations of each of his major novels, from Eye of the Needle (1978) to A Place Called Freedom (1995), as well as his early novels. Following a chapter on Follett's life and career, Turner discusses in depth Follett's early novels and his one nonfiction work, On the Wings of Eagles. A genre chapter examines Follett's use of historical settings and his use of the genres of spy thriller, saga, and historical romance in his novels. The rest of the study is devoted to an individual examination of each of his novels in turn, with subsections on plot, character, theme, point of view, and literary devices. Turner also offers an alternative critical approach to reading each novel, such as psychoanalytical, Marxist, or reader response, to give the reader another perspective from which to read and discuss it. A complete bibliography of Follett's fiction, general criticism and biographical sources, and listings of reviews of all the novels examined in the study completes the work. The only study of one of the best-selling writers today, who appeals to adults and young adults alike, this is a key purchase for schools and public libraries.

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Sabor, Peter. ‘Moral Romance’ and the Novel at Mid-Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0035.

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This chapter discusses several developments pertaining to the phenomenon of ‘moral romance’ as well as the state of the novel at mid-century. The 1740s were a pivotal decade for the novel in English, particularly because of the rivalry between Samuel Richardson and Henry Fielding. Both writers notably disparaged conventional ideas about romance. In addition, the chapter explores moral romance in Sarah Fielding's The Adventures of David Simple (1744). It shows that, although she uses the phrase ‘Moral Romance’ so diffidently in her short-lived Advertisement, Sarah Fielding has more to say about romance- and novel-writing within David Simple itself. Finally, the chapter considers the state of the novel at mid-century.

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Purple Hibiscus A Novel. HarperPerennial, 2008.

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