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Edited by Max Saunders and Sara Haslam

The controversial British writer Ford Madox Ford is increasingly recognized as a major presence in early twentieth-century literature. He is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which was adapted by Tom Stoppard for the acclaimed 2012 television series, starring Benedict Cumberbatch.
This volume marks the centenary of The Good Soldier, with eighteen essays by established experts and new scholars. It includes groundbreaking work on the novel’s narrative technique, chronology, and genre; plus pioneering work considering the treatment of bodies and minds; eugenics; poison; and surveillance. Innovative comparative studies discuss Ford’s novel in relation to Henry James, Violet Hunt, H. G. Wells, Franz Kafka, Jean Rhys, David Jones, and Lawrence Durrell.

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Edited by Jason W. Stevens

This book explores the author’s award-winning novels while also engaging her non-fiction. As the first book devoted entirely to Robinson and to her diverse contributions to literature and scholarship, This Life, This World familiarizes readers with the major currents in her thought and moves scholarly dialogue into new theoretical directions. An interdisciplinary group, the contributors bring to their subject a diversity of perspectives—Romanticism, ecocriticism, medicine and literature, religion and literature, theology, American Studies, critical race theory, and feminist and gender studies—that reflects the amplitude and fecundity of Robinson’s art and thought. The book begins with an annotated timeline and concludes with a substantive written interview with Robinson wherein she reflects on her work and its reception. A tremendous resource for Robinson enthusiasts and for readers interested in the questions she raises in her fiction and non-fiction.

Scattered Letters

Translingual Poetics in Assia Djebar’s L’Amour, la fantasia

Michael Allan

, colonialism and gender, all of which Djebar stages so effectively in her writing. Donadey notes that Djebar “creates a multilingual palimpsest which both reflects the process of violent French colonization and subverts it linguistically by ‘arabiciz[ing] French.’” 10 Like a range of scholars both before and

Catherine Parayre

–356), notes that the affirmation of a troubadour heritage provides legitimacy to authors and a sense of continuity to readers. She identifies this heritage both within texts and in intertextual elements such as those defined in Gérard Genette’s Palimpsestes (1982). Closer to popular culture, Sylvan Chabaud

Richard McClelland

Garten als historiografisches Palimpsest in der Gegenwartsliteratur’ (65–74); Heribert Tommek, ‘Formen des Realismus im Gegenwartsroman. Ein konzeptueller Bestimmungsversuch’ (75–87); Christian Dawidowski, ‘Poetologien der Popliteratur im Wandel’ (88–100); Monika Schmitz-Emans, ‘Visuelle Romane und

Victoria Carpenter

Palimpsests and Networked Jewish Memory in the Works of Tununa Mercado and Karina Pacheco Medrano’, Partial Answers , 14:377–391, considers the works of Mercado and Pacheco Medrano as reactions to the past trauma and society’s response to it, using this reaction to inform their representations of Jewish

Khalid Lyamlahy

D. ’s legacies to memory through the representation of past and present Algeria. Maria Vendetti, ‘Transmitting Violence. The Scarred body in Assia Djebar’s Femmes d’Alger dans leur appartement ’, Francosphères , 5:151–166, reads the scarred body in two stories from D. ’s 1980 work as a palimpsest

Stephen David

Abstract

When the Nigeria-Biafra civil war ended in July 1970, the Commander in Chief of the Federal Army, General Yakubu Gowon, declared that there was “no victor no vanquished” and, consequently, drew an iron curtain on a painful historical moment. This closure foreclosed further engagements with the events of the war in a manner that imposed a “code of silence” on its historiography. However, in the face of this silence and the silencing of public remembrances, private remembrances have continued to bloom. And in recent times, these remembrance(s) have fertilized a virulent demand for secession. I argue that literary accounts of the conflict question its ‘closure’ through what I call ‘lack of return.’ Relying on Van der Merwe and Gobodo-Madikizela’s conception of narratives as spaces of healing, I engage in a close reading of one fictional account—Saro-Wiwa’s Sozaboy—and two memoirs—Achebe’s There Was a Country and Chukwurah’s The Last Train to Biafra—to examine how narratives of Biafra call attention to the persistent freshness of the wounds and trauma of the war by creating stories that lack denouement. I find that in these texts, the silencing of ordnance doesn’t herald a return home—whether spatially or mentally. Consequently, these stories could be read as palimpsests that reveal a need for spaces of narrative engagements, abreaction, and healing.

Reading Our Ruins

A Rough Sketch

Yvonne Adhiambo Owuor

, about the things we need to talk about in a world failing with such violence to make sense of itself. Perhaps, then, to be postcolonial is also to adhere to the notion of ‘Place as palimpsest’, that we are occupants of ‘multiple realities in one moment’. Ruins . These are palimpsests, matrices for