This is a comprehensive and definitive study of the Man Booker Prize-winning novelist Howard Jacobson. It offers lucid, detailed and nuanced readings of each of Jacobson’s novels, and makes a powerful case for the importance of his work in the landscape of contemporary fiction. Focusing on the themes of comedy, masculinity and Jewishness, the book emphasises the richness and diversity of Jacobson’s work. Often described by others as ‘the English Philip Roth’ and by himself as ‘the Jewish Jane Austen’, Jacobson emerges here as a complex and often contradictory figure: a fearless novelist; a combative public intellectual; a polemical journalist; an unapologetic elitist and an irreverent outsider; an exuberant iconoclast and a sombre satirist. Never afraid of controversy, Jacobson tends to polarise readers; but, love him or hate him, he is difficult to ignore. This book gives him the thorough consideration and the balanced evaluation that he deserves.
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Charles Robert Maturin and the haunting of Irish Romantic fiction
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This book addresses the intriguing incongruity between naming Charles Robert Maturin as a 'well-known' author of the Romantic period and the lack of any real critical analysis of his works in the past thirty years. The central thesis of the book is that Maturin's novels provide the key to a new understanding of Irish national fiction as a peculiarly haunted form of literature. Specifically, it argues that Maturin's too often overlooked body of fiction forcefully underscores the haunting presence of the past and past literary forms in early nineteenth-century Irish literature. It is a presence so often omitted and/or denied in current critical studies of Irish Romantic fiction. The book represents a project of ghost-hunting and ghost-conjuring. It investigates the ways in which Maturin's fourth novel attempts to build on the ruins of the Irish nation by describing the fissures produced by religious sectarianism in the country. The book makes use of the rarely consulted correspondence between Maturin and the publisher Archibald Constable. It does this to emphasise the manner in which Maturin's completion of his novel, Melmoth the wanderer was at all times crowded by, and, indeed, infiltrated with, his work on competing texts. These include books of sermons, Gothic dramas, short stories, and epic poems interspersed with prose narrative.
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Open Graves, Open Minds
Representations of Vampires and the Undead from the Enlightenment to the Present Day
The Open Graves, Open Minds project discussed in this book relates the undead in literature, art and other media to questions concerning gender, technology, consumption and social change. The story of vampires, since their discovery in eighteenth-century Europe, is one of transformations and interbreedings of genre, which mediate shifts in ways of knowing and doubting. It is marked by metamorphoses of the vampire itself, from monstrous to sympathetic, but always fascinatingly Other. Certain tropes, such as optical figures, and particularly that of reflection, recur throughout, calling attention to the preoccupation with epistemology in vampire narratives. The book focuses on various aspects of these themes as the story unfolds to the present day. It shows how the persona of Lord Byron became an effective vehicle for the vampire of fiction as a transformed Gothic mode, and grapples with the figure of the non-reflecting vampire who casts no shadow, moving deftly between Dracula and Wilde's Dorian Gray and the 'vampire painting' and installations of the contemporary artist David Reed. The book gives a luminous account of early vampire cinema as a 'Kingdom of shadows', and explores the undead at the interface, where knowing becomes problematic: 'unsettlement'. The book also unearths the folklore roots of vampire fiction and offers a glimpse of how contemporary writers adapt the perennial figure.
This book explores a number of Alan Moore's works in various forms, including comics, performance, short prose and the novel, and presents a scholarly study of these texts. It offers additional readings to argue for a politically charged sense of Moore's position within the Gothic tradition, investigates surreal Englishness in The Bojeffries Saga, and discusses the doppelganger in Swamp Thing and From Hell. Radical environmental activism can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse. The book presents Christian W. Schneider's treatment of the apocalyptic in Watchmen and a reassessment of the significance of liminality from the Gothic tradition in V for Vendetta. It explores the relationship between Moore's work and broader textual traditions, placing particular emphasis on the political and cultural significance of intertextual relationships and adaptations. A historically sensitive reading of From Hell connects Moore's concern with the urban environment to his engagement with a range of historical discourses. The book elucidates Moore's treatment of the superhero in relation to key Gothic novels such as The Castle of Otranto and presents an analysis of the nexus of group politics and survival in Watchmen. The book also engages in Moore's theories of art, magic, resurrections, and spirits in its discourse A Small Killing, A Disease of Language, and the Voice of the Fire. It also explores the insight that his adaptations of H.P. Lovecraft, which are laced with heterocosms and bricolage, can yield for broader understandings of his forays into the occult.