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On last animals and future bison

throughout nearly all of Asia and the Middle East, but are now found only in small pockets of territory, most notably in India, China and Russia, less than 10 per cent of their historical range. The wolf and grizzly bear used to range across almost all regions in Europe, Northern Asia and North America; almost no bears remain in Europe and the wolf has been eradicated in nearly all of its former territory in Europe and much of North America. How do we understand the condition of animals now that low populations and drastically diminished habitat ranges are the new norms

in Literature and sustainability
Coupland and space

former wife of O. J. Simpson, murdered together with another man, only weeks before the composition of this 4 August 1994 notebook. This distinctly dystopian view of what briefly became the most infamous North American suburb parallels the widespread contemporary antipathy for middle-class ways of life. Indeed, in an article on the ‘Brentwood Notebook’, David Hamers argues that one way of reading Coupland’s postmodern scrapbook is to see it as ‘a pessimistic argument in which a cultural diagnosis of postmodern pathology is linked up with a nostalgic desire for

in Douglas Coupland
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North American culture, whose leading exponents had always determined intellectual and artistic currents, constituted the prestigious vanguard and were generally seen as the arbiters of taste. Hence, by living in Europe (especially Paris) or the United States (especially New York), a Cuban writer had access to the ideas and models of that community and could thus be as up to date as possible with the latest fashions, and, ideally, aspire to gain recognition by that community (Kapcia, 2005). This emigration also included study abroad, bringing greater prestige than

in Literary culture in Cuba
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confines of this study to trace in sufficient detail the ways in which the grotesque takes on different aesthetic, political and social resonances within different cultural contexts. Evident in the famous example of the totem pole, the oftenpuzzling grotesqueness of which to European eyes belies its narrative capacity for indigenous people in North America, the grotesque (like Grotesque.indd 250 20/03/2013 09:24:35 Conclusion 251 cuisine) soon alerts us to the temporal and geographical localism of many of our aesthetic norms. Looking away from the grotesque for a

in The grotesque in contemporary British fiction
Swinburne’s journalism 1857–75

1867, while he was writing regularly for the Fortnightly Review, Swinburne’s original and percipient William Blake: A Critical Essay appeared, though dated 1868 (Swinburne 1868a ). It was reviewed the following February in the Fortnightly by a renowned North American critic, Moncure Conway who had high praise for Swinburne’s work: ‘In his hands words blossom again into the flowers from

in Algernon Charles Swinburne

criticism and gynesis , 17 even if many critics (feminist and otherwise) still fail to acknowledge the formal innovations of Lessing’s writing. Initially, many North American women academics were attracted by Lessing’s work precisely because of what Gayle Greene has called its ‘centering on women’s consciousness and concerns’. 18 Greene’s 1994 book, Doris Lessing: The Poetics of Change was written some time after the second wave of feminism in the 1960s and 1970s but she begins by noting that Lessing’s work presented ‘the malaise that produced the second wave of

in Doris Lessing
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Olson’s British contacts, travels and legacy

breath) from Twelfth Night (CPr, 245). Olson wrote an unpublished book on Shakespeare and he shared with Melville a fascination with the rhythms of early modern English and the literature that bears upon the European settlement of North America.2 In 1953 Olson was contacted by the English scholar Ronald Mason, who had appreciated Olson’s piece ‘The Materials and Weights of Herman Melville’ in the New Republic.3 A lively correspondence followed, in which Olson set out his quarrel with traditional syntax and emphasised the need to retain the pressure of the instant in

in Contemporary Olson

light, which she wants to capture on her canvas. In The Thing He Loves (2001), Wassell also focuses on a group of European and American artists who, fascinated by its cultural charm, decide to settle in the isle. In particular, the novel tells the story of Fleur York, a successful English painter, Gabriel Charles Phillips, a North American aspiring painter who used to spend the summers of his childhood in Ireland, and another North American Tony Daly, who wants to become a renowned painter. They all come to settle in the Irish valley of Glenfern and become part of the

in Literary visions of multicultural Ireland
Tourism, cross-cultural space, and ethics in Irish poetry

tourists’ presumed, phantasmal attire elicits the poet’s derision, and their shouts contrast with the stillness of his own muse. The ‘baseball caps’ may signal that the visitors are North American (Haughton, 2007: 277). This would interestingly implicate Mahon himself, since the book signals his return to Ireland after a lengthy stay in the US as (in the words of his preceding, book-length poem The Hudson Letter) ‘an undesirable resident alien’ (Mahon, 1999: 190). Certainly, there is an anxiety throughout the poem, including some less-than-subtle hints that Mahon may be

in Literary visions of multicultural Ireland
Coupland and narrative

brief encounters with a scarred but sublime North American landscape (SP, pp. 82–3). The Tyler of Generation X – on whom Coupland self-consciously based the narrator of his second novel – tells his older brother that he would abandon his highly conventional, materialist aspirations immediately if he were presented with a ‘plausible alternative’ (GX, p. 173). ‘Denarration’ or getting a life 65 Yet Shampoo Planet does not promote an ‘alternative’ authentic version of reality as somehow superior to the chemically enhanced world in which Tyler and his generation must

in Douglas Coupland