Literary Criticism

An authoritative edition of Oscar Wilde's critical writings shows how the renowned dramatist and novelist also transformed the art of commentary.

Though he is primarily acclaimed today for his drama and fiction, Oscar Wilde was also one of the greatest critics of his generation. Annotated and introduced by Wilde scholar Nicholas Frankel, this unique collection reveals Wilde as a writer who transformed criticism, giving the genre new purpose, injecting it with style and wit, and reorienting it toward the kinds of social concerns that still occupy our most engaging cultural commentators.

"Criticism is itself an art," Wilde wrote, and The Critical Writings of Oscar Wilde demonstrates this philosophy in action. Readers will encounter some of Wilde's most quotable writings, such as "The Decay of Lying," which famously avers that "Life imitates Art far more than Art imitates life." But Frankel also includes lesser-known works like "The American Invasion," a witty celebration of modern femininity, and "Aristotle at Afternoon Tea," in which Wilde deftly (and anonymously) carves up his former tutor's own criticism. The essays, reviews, dialogues, and epigrams collected here cover an astonishing range of themes: literature, of course, but also fashion, politics, masculinity, cuisine, courtship, marriage--the breadth of Victorian England. If today's critics address such topics as a matter of course, it is because Wilde showed that they could. It is hard to imagine a twenty-first-century criticism without him.

The Culture of Love interprets the sweeping change in loving that spanned a period when scientific discoveries reduced the terrors and dangers of sex, when new laws gave married women control over their earnings and their bodies, when bold novelists and artists shook off the prudishness and hypocrisy that so paralyzed the Victorians. As public opinion, family pressure, and religious conviction loosened, men and women took charge of their love. Stephen Kern argues that, in contrast to modern sex, Victorian sex was anatomically constricted, spatially confined, morally suspect, deadly serious, and abruptly over.

Kern divides love into its elements and traces profound changes in each: from waiting for love to ending it. Most revealing are the daring ways moderns began to talk about their current lovemaking as well as past lovers. While Victorians viewed jealousy as a foreign devil, moderns began to acknowledge responsibility for it. Desire lost its close tie with mortal sin and became the engine of artistic creation; women's response to the marriage proposal shifted from mere consent to active choice. There were even new possibilities of kissing, beyond the sudden, blind, disembodied, and censored Victorian meeting of lips.

Kern's evidence is mainly literature and art, including classic novels by the Brontës, Flaubert, Hugo, Eliot, Hardy, Forster, Colette, Proust, Mann, Joyce, Woolf, Lawrence, Hemingway, Fitzgerald, and Musil as well as the paintings and sculptures of Millais, Courbet, Gérôme, Rodin, Munch, Klimt, Schiele, Valadon, Chagall, Kandinsky, Kokoschka, Picasso, Matisse, and Brancusi. The book's conceptual foundation comes from Heidegger's existential philosophy, in particular his authentic-inauthentic distinction, which Kern adapts to make his overall interpretation and concluding affirmation of the value of authenticity: The moderns may have lost some of the Victorians' delicacy and poignancy, perhaps even some of their heroism, but in exchange became more reflective of what it means to be a human being in love and hence better able to make that loving more their very own.

A Dialogue of Voices was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

The work of the Russian theorist Mikhail Bakhtin, particularly his notions of dialogics and genre, has had a substantial impact on contemporary critical practices. Until now, however, little attention has been paid to the possibilities and challenges Bakhtin presents to feminist theory, the task taken up in A Dialogue of Voices. The original essays in this book combine feminism and Bakhtin in unique ways and, by interpreting texts through these two lenses, arrive at new theoretical approaches. Together, these essays point to a new direction for feminist theory that originates in Bakhtin-one that would lead to a feminine être rather than a feminine écriture.

Karen Hohne is an independent scholar and artist living in Moorhead, Minnesota. Helen Wussow is an assistant professor of English at Memphis State University.

Revelations on craft from a foundational scholar of Cormac McCarthy

Devotees of Cormac McCarthy's novels are legion, and deservedly so. Embracing Vocation, which tells the tale of his journey to become one of America's greatest living writers, will be invaluable to scholars and literary critics--and to the many fans--interested in his work.

Dianne C. Luce, a foundational scholar of McCarthy's writing, through extensive archival research, examines the first fifteen years of his career and his earliest novels. Novel by novel, Luce traces each book's evolution. In the process she unveils McCarthy's working processes as well as his personal, literary, and professional influences, highlighting his ferocious devotion to both his craft and burgeoning art. Luce invites us to see the fascinating evolution of an American author with a unique vision all his own. Until there is a full-on biography, this study, along with Luce's previous, Reading the World: Cormac McCarthy's Tennessee Period, is the finest available portrait of an American genius unfolding.

Faulknerista collects more than twenty years of critically influential scholarship by Catherine Gunther Kodat on the writings of one of the most important American authors of the twentieth century, William Faulkner. Initially composed as freestanding essays and now updated and revised, the book's nine chapters place Faulkner's work in the context of current debates concerning the politics of white authors who write about race, queer sexualities, and the use of the N-word in literature and popular culture. The Faulknerista of the title is a critic who tackles these debates without fear or favor, balancing admiration with skepticism in a manner that establishes a new model for single-author scholarship that is both historically grounded (for women have been writing about Faulkner, and talking back to him, since the beginning of his career) and urgently contemporary.

Beginning with an introduction that argues for the critical importance of women's engagement with Faulkner's fiction, through comparative discussions pairing it with works by Toni Morrison, Jean-Luc Godard, Quentin Tarantino, and David Simon, Faulknerista offers a valuable resource for students, scholars, and general readers, written in an accessible style and aimed at stimulating discussions of Faulkner's work and the rich interpretive challenges it continues to present.

In Search of a Beautiful Freedom brings together the best work from Farah Jasmine Griffin's rich forays on music, Black feminism, literature, the crises of Hurricane Katrina and COVID-19, and the Black artists she esteems. She moves from evoking the haunting strength of Odetta and the rise of soprano popular singers in the 1970s to the forging of a Black women's literary renaissance and the politics of Malcolm X through the lens of Black feminism. She reflects on pivotal moments in recent American history--including the banning of Toni Morrison's Beloved--and celebrates the intellectuals, artists, and personal relationships that have shaped her identity and her work.

Featuring new and unpublished essays along with ones first appearing in outlets such as the New York Times and NPR, In Search of a Beautiful Freedom is a captivating collection that celebrates the work of "one of the few great intellectuals in our time" (Cornel West).

C.P. Curran first met James Joyce in a University College Dublin lecture hall in 1899, and the two quickly struck up an intense lifelong friendship. Curran was a model for the character Gabriel in Joyce's "The Dead" and was also one of the first people to reject a piece of Joyce's writing--the 1904 poem "The Holy Office," which Curran, as editor of St. Stephen's, lightheartedly deemed "an unholy thing." Curran even is mentioned by name in Ulysses, where Stephen Dedalus recalls that he owes him ten guineas. In 1968, Curran summed up his views of the seminal Modernist author in James Joyce Remembered. This year--the centennial anniversary of Ulysses' publication--University College Dublin Press is pleased to bring forth a new edition of this classic remembrance, edited by Curran's granddaughter and featuring sparkling new essays from a host of Joyce scholars, literary critics, architects, and historians.

This group of University College Dubliners takes a new look at Curran's work, delving into the Curran-Laird collection at the James Joyce Library to offer a singular portrait of the author and his inventive cohort of friends. The world of Joyce and Curran opens up, revealing little-known writing and episodes in political activism, during the Irish wars that flared up again in 1922 as Ulysses first began circulating, and the struggles against fascism that came to engulf Joyce's Paris. This highly illustrated tribute to a literary figurehead is perfect reading for Joyce neophytes, Bloomsday aficionados, and anyone interested in examining this watershed period of Irish history through an international lens.

Living Translation offers a powerful perspective on the work of distinguished thinker and writer Gayatri Chakravorty Spivak, revealing how, throughout her long career, she has made translation a central concern of the comparative humanities.

Starting with her landmark "Translator's Preface" to Jacques Derrida's Of Grammatology in 1976, and continuing with her foreword to Mahasweta Devi's Draupadi and afterword to Devi's Chotti MundaandHis Arrow, Spivak has tackled questions of translatability. She has been interested in interrogating the act of translation from the ground up and at the political limit. She sees at play at border checkpoints, at sites of colonial pedagogy, in acts of resistance to monolingual regimes of national language, at the borders of minor literature and schizo-analysis, in the deficits of cultural debt and linguistic expropriation, and, more generally, at theory's edge, which is to say, where practical criticism yields to theorizing in untranslatables. This volume also addresses how Spivak's institution-building as director of comparative literature at the University of Iowa--and in her subsequent places of employment--began at the same time. From this perspective, Spivak takes her place within a distinguished line-up of translator-theorists who have been particularly attuned to the processes of cognizing in languages, all of them alive to the coproductivity of thinking, translating, writing.

Myths are usually seen as stories from the depths of time--fun and fantastical, but no longer believed by anyone. Yet, as Philip Ball shows, we are still writing them--and still living them--today. From Robinson Crusoe and Frankenstein to Batman, many stories written in the past few centuries are commonly, perhaps glibly, called "modern myths." But Ball argues that we should take that idea seriously. Our stories of Dracula, Dr. Jekyll and Mr. Hyde, and Sherlock Holmes are doing the kind of cultural work that the ancient myths once did. Through the medium of narratives that all of us know in their basic outline and which have no clear moral or resolution, these modern myths explore some of our deepest fears, dreams, and anxieties. We keep returning to these tales, reinventing them endlessly for new uses. But what are they really about, and why do we need them? What myths are still taking shape today? And what makes a story become a modern myth?

In The Modern Myths, Ball takes us on a wide-ranging tour of our collective imagination, asking what some of its most popular stories reveal about the nature of being human in the modern age.

Mary Wollstonecraft's A Vindication of the Rights of Woman (1792) made a pioneering and durably influential argument for women's equality. Emerging from the turbulent decade of the French Revolution, her vindication delivered a systematic critique of the treatment of women across time and place. Drawing on extensive experience teaching and writing about Wollstonecraft, Susan J. Wolfson offers new insight into how Wollstonecraft's particular methods, style, and energy make this case for her readers.

Wolfson places this polemic in its political and literary contexts and in relation to Wollstonecraft's other works about political rights. She considers how Wollstonecraft balanced advocacy for the seemingly universal ideals of the French Revolution with analysis of the gendered exclusions in the vaunted rights of "man." This book pays particular attention to Wollstonecraft's literary craft, highlighting the force of her close reading. Wollstonecraft pinpointed the role of gendered phrases and concepts in political discourse, both in her opponents' metaphors and received ideas and in her own efforts to craft a new political language with which to defend women's capabilities. Wolfson reveals her as a pioneer in decoupling sex from gender and shows how she provided an enduring model of how to be a female intellectual. Sharing the excitement of reading Wollstonecraft's work with care for her literary as well as political genius, this book provides fresh perspectives both for first-time readers and those seeking a nuanced appreciation of her achievements.