“The end was near.” —Voices from the Zombie War The Zombie War came unthinkably close to eradicating humanity. Max Brooks, driven by the urgency of preserving the acid-etched first-hand experiences of the survivors from those apocalyptic years, traveled across the United States of America and throughout the world, from decimated cities that once teemed with upwards of thirty million souls to the most remote and inhospitable areas of the planet. He recorded the testimony of men, women, and sometimes children who came face-to-face with the living, or at least the undead, hell of that dreadful time. World War Z is the result. Never before have we had access to a document that so powerfully conveys the depth of fear and horror, and also the ineradicable spirit of resistance, that gripped human society through the plague years. Ranging from the now infamous village of New Dachang in the United Federation of China, where the epidemiological trail began with the twelve-year-old Patient Zero, to the unnamed northern forests where untold numbers sought a terrible and temporary refuge in the cold, to the United States of Southern Africa, where the Redeker Plan provided hope for humanity at an unspeakable price, to the west-of-the-Rockies redoubt where the North American tide finally started to turn, this invaluable chronicle reflects the full scope and duration of the Zombie War. Most of all, the book captures with haunting immediacy the human dimension of this epochal event. Facing the often raw and vivid nature of these personal accounts requires a degree of courage on the part of the reader, but the effort is invaluable because, as Mr. Brooks says in his introduction, “By excluding the human factor, aren’t we risking the kind of personal detachment from history that may, heaven forbid, lead us one day to repeat it? And in the end, isn’t the human factor the only true difference between us and the enemy we now refer to as ‘the living dead’?”
Some fifty years ago as a cub reporter, Barbree caught space fever the night that Sputnik passed over Albany, Georgia. On a double date where the couples actually did some star gazing, Barbree recognized that exploring space would become one of the most important stories of the century. Convinced that one day astronauts would walk on the moon, Barbree moved to the then sleepy ocean—side community of Cocoa Beach, right outside Cape Canaveral, and began reporting on rockets that soared, exploded, and fizzled. In the decades to come he witnessed a parade of history as space pioneers, hucksters, groupies and politicians participated in the greatest show of technology the world had ever seen. Besides many untold and amusing anecdotes — quite a few involving astronaut pranks, fast cars, swimming pools, and strong drinks — Barbree reveals the horror visited on the Cape when Apollo 1 burned, when the Challenger exploded and when Columbia broke into pieces.A warts and all account, this book nevertheless carries a compassionate and positive message. The men and women who conquered space were colorful and sometimes larger than life. They partied, got angry, made mistakes and committed their share of sins. But they were also genuine heroes with great commitment and love of country. With humor, insight and unmatched experience, Barbree brings them and the ever—changing world of the space program to vivid life.
Chinatwon, Vancouver, of the early 194Os provides the backdrop for this fresh, uplifting, award-winning first novel, told through the reminiscences of the three young children of an immigrant Chinese family. Jook-Liang is the "useless girl" of the family, who dreams of becoming Shirley Temple and escaping the rigid, old ways of China. Jung-Sum is the adopted middle son who triumphs over loss and prejudice through boxing, and soon finds himself grappling with a bewildering sexual attraction. Lastly, Sekky - the sickly youngest child - surprises the entire family by teaching them how to mourn, and how to go on living. Finally, there are the secrets and magic of two respected elders: Old Wong, "The Monkey King," whose past returns to threaten his present and Poh-Poh, or Grandmother, who is the heart and pillar of the family. Side by side, her three grandchildren survive hardships and heartbreaks with grit and humor, discovering a new land without forgetting their common ground.
"Social satire in the modern period is traditionally seen as a conservative genre in opposition to the experimental aesthetic of literary modernism. In Dark Humor and Social Satire in the Modern British Novel, Lisa Colletta challenges this prevailing view, arguing that the darkly humorous social satires of the interwar years in Britain display a deep ambivalence and a delight in disorder that denies the reader the comfort of a stable or totalizing critique. Combining analysis of canonical writers and those often overlooked - Virginia Woolf, Ivy Compton-Burnett, Evelyn Waugh, and Anthony Powell - Colletta draws on psychoanalytic theories of joke-work and gallows humor to make the claim that dark humor is a defining characteristic of Modernism. She deftly connects these writers through their humor and offers an innovative rereading of Modernist texts."--Jacket.
The Clark Lectures, sponsored by Trinity College of the University of Cambridge, have had a long and distinguished history and have featured remarks by some of England's most important literary minds. Leslie Stephen, T.S. Eliot, F.R. Leavis, William Empson and I.A. Richards have all given celebrated and widely influential talks as the keynote speaker. One of the Lectures' most important milestones came in 1927 when, for the first time, a novelist was invited to speak. E.M. Forster had recently published his masterpiece, A Passage to India, and rose to the occasion, delivering eight spirited and penetrating lectures on the novel. The decision to accept the lectureship was actually a difficult one for Forster, as he had deeply ambivalent feelings about the use of criticism. Although suspecting that criticism was somewhat antithetical to creation, and upset by the thought that time spent preparing for the lectures was time away from his own work, Forster accepted. His talks were witty and informal, and they consisted of sharp, penetrating bursts of insight rather than overly-methodical analysis. They were a great success. Published later as Aspects of the Novel, the ideas articulated in his lectures would gain widespread recognition and currency in twentieth century criticism.Of all the insights contained in Aspects of the Novel, none has been more influential or widely discussed than Forster's discussion of "flat" and "round" characters. So familiar by now as to seem commonplace, Forster's distinction is meant to categorize the different qualities of characters in literature and examine the purposes to which they are put. A "flat" character, according to Forster, can be summed up n a single sentence and acts as a function of only a few fixed character traits. "Round" characters are capable of surprise, contradiction, and change; they are representations of human beings in all of their complexity. Forster's aim, however, is not to elevate the round at the expense of the flat, although he admits that the round is on the whole always a more interesting creation. Instead, he argues that there are compelling artistic reasons for a novelist to employ flat characters. And there are unquestionably great novelists, such as Dickens, who use only flat characters.Yet it would be a mistake to reduce this book to its most famous line of argument. Aspects of the Novel also discusses the difference between story and plot, the characteristics of prophetic fiction, and narrative chronology. Throughout, Forster draws on his extensive readings in English, French and Russian literature, and discusses his ideas in reference to such figures as Joyce, Tolstoy, Dostoevsky, James, Sterne, Defoe and Proust.A landmark in literary criticism, Aspects of the Novel has also provoked its fair share of disagreement. There are many critics who take issue with Forster's method as well has his conclusions, but the extent to which this work has come under attack is in many ways just another measure of its vitality.
