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This book argues that during the Cold War modern political imagination was held captive by the split between two visions of universality reedom in the West versus social justice in the East by a culture of secrecy that tied national identity to national security. Examining post- 1945 American and Eastern European interpretive novels in dialogue with each other and with postfoundational democratic theory, The Underside of Politics brings to light the ideas, forces, and circumstances that shattered modernity's promises (such as secularization, autonomy, and rights) on both sides of the Iron Curtain. In this context, literary fictions by Kundera and Roth, Popescu and Coover, and DeLillo become global as they reveal the trials of popular sovereignty in the \"fog of the Cold War\" and trace the elements around which its world discourse or global picture is constructed: the atom bomb, Stalinist show trials, anticommunist propaganda, totalitarian terror, secret military operations, and political targeting.

Leili could not have imagined that arriving late to Islamic morals class would change the course of her life. But her arrival catches the eye of a young man, and a chance meeting soon draws Leili into a new circle of friends and artists. Gathering in the cafes of Tehran, these young college students come together to create an underground play that will wake up their generation. They play with fire, literally and figuratively, igniting a drama both personal and political to perform their play—just once. From the wealthy suburbs and chic coffee shops of Tehran to subterranean spaces teeming with drugs and prostitution to spiritual lodges and saints' tombs in the mountains high above the city, Last Scene Underground presents an Iran rarely seen. Young Tehranis navigate their way through politics, art, and the meaning of home and in the process learn hard lessons about censorship, creativity, and love. Their dangerous discoveries ultimately lead to finding themselves. Written in the hopeful wake of Iran's Green Movement and against the long shadow of the Iran-Iraq war, this unique novel deepens our understanding of an elusive country that is full of misunderstood contradictions and wonder.

This book considers why narrative realism in literature is seen as a 'full account' of 'real life' and the individual self. Unconventionally, Carnell shows that the formal conventions of narrative realism emerged in the seventeenth century in response to an explosion of partisan writings that put into play competing versions of political selfhood.

This book proposes a revisionist approach to democratic politics. Yaron Ezrahi focuses on the creative unconscious collective imagination that generates ever-changing visions of legitimate power and authority, which compete for enactment and institutionalization in the political arena. If, in the past, political authority was grounded in fictions such as the divine right of kings, the laws of nature, historical determinism and scientism, today the space of democratic politics is filled with multiple alternative social imaginaries of the desirable political order. Exposure to electronic mass media has made contemporary democratic publics more aware that credible popular fictions have greater impact on shaping our political realities than do rational social choices or moral arguments. The pressing political question in contemporary democracy is, therefore, how to select and enact political fictions that promote peace and how to found the political order on checks and balances between alternative political imaginaries of freedom and justice.

Is the historical novel the outmoded genre that some people imagine--form inseparable from romanticism, nationalism, and the nineteenth century? In this stimulating volume, Margaret Scanlan answers a convincing \"no,\" as she demonstrates the relevance of historical novels by well-known figures such as Anthony Burgess, John le Carr, Graham Greene, Doris Lessing, Iris Murdoch, and Paul Scott, as well as by less well established writers such as Joseph Hone and Thomas Kilroy. Scanlan shows what a skeptical, experimental approach to the relationship between history and fiction these writers adopt and how radically they depart from the mimetic conventions usually associated with historical novels. Drawing on contemporary historiography and literary theory, Scanlan defines the problem of writing historical fiction at a time when people see the subject of history as fragmentary and uncertain. The writers she discusses avoid the great events of history to concentrate on its margins: what interests them is history as it is experienced, usually reluctantly, by human beings who would rather be doing something else. The first section of the book looks at fictional representations of England's difficult history in Ireland; the second examines spies, aliens, and the loss of public confidence; and the third probes the theme of Apocalypse, nuclear or otherwise, and depicts the collapse of the British Empire as an instance of the greatly diminished importance of Western culture in the world. Originally published in 1990. ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

From abolition through the years just before the civil rights struggle began, African American women recognized that a mixed-race woman made for a powerful and, at times, very useful figure in the battle for racial justice. The Mulatta and the Politics of Race traces many key instances in which black women have wielded the image of a racially mixed woman to assault the color line. In the oratory and fiction of black women from the late 1840s through the 1950s, Teresa C. Zackodnik finds the mulatta to be a metaphor of increasing potency. Before the Civil War white female abolitionists created the image of the \"tragic mulatta,\" caught between races, rejected by all. African American women put the mulatta to diverse political use. Black women used the mulatta figure to invoke and manage American and British abolitionist empathy and to contest racial stereotypes of womanhood in the postbellum United States. The mulatta aided writers in critiquing the \"New Negro Renaissance\" and gave writers leverage to subvert the aims of mid-twentieth-century mainstream American culture. The Mulatta and the Politics of Race focuses on the antislavery lectures and appearances of Ellen Craft and Sarah Parker Remond, the domestic fiction of Pauline Hopkins and Frances Harper, the Harlem Renaissance novels of Jessie Fauset and Nella Larsen, and the little-known 1950s texts of Dorothy Lee Dickens and Reba Lee. Throughout, the author discovers the especially valuable and as yet unexplored contributions of these black women and their uses of the mulatta in prose and speech.

As the nineteenth century progressed into the twentieth, novels about politically active women became increasingly common. Until now, however, no one has studied this body of writing as a distinct tradition in American literature. In Romancing the Vote, Leslie Petty recovers this tradition and also examines how the fiction written about the women's rights and related movements contributed to the creation and continued vitality of those movements. Petty examines the novels as paradigms of feminist activism and reform communities and elucidates how they, whether wittingly or not, model ways to create similar communities in the real world. She demonstrates how the narratives provide insight into the hopes and anxieties surrounding some of the most important political movements in American history and how they encapsulate the movements' paradoxical blend of progressive and conservative ideologies. The major works discussed are Elizabeth Boynton Harbert's Out of Her Sphere (1871), Lillie Devereux Blake's Fettered for Life (1874), Henry James's The Bostonians (1886), Frances Ellen Watkins Harper's Iola Leroy (1892), Hamlin Garland's A Spoil of Office (1892), Marjorie Shuler's For Rent--One Pedestal (1917), Elizabeth Jordan's edited volume The Sturdy Oak (1917), and Oreola Williams Haskell's Banner Bearers: Tales of the Suffrage Campaigns (1920). Although these works discredit many traditional notions about gender and inspire their readers to seek fairness and equality for many American women, they often simultaneously perpetuate discriminatory ideas about other marginalized groups. They not only privilege the experiences of white women but also rely on widespread anxieties about racial and ethnic minorities to demonstrate the need for gender reform. By focusing on such tensions between conventional and unconventional ideas about gender, race, and class, Petty shows how the fiction of this period helps to situate first-wave feminism within a larger historical and cultural context.

Fénelon's Aventures de Télémaque, originally intended for the education of one man, the grandson of Louis XIV and future king of France, became, after its publication, one of the most widely read French texts, and one of the models of what contemporaries would call the \"political novel\". But why and how should we develop a narrative fiction in the margins of Homer, in order to help us think, imagine - and perhaps even practice - a different kind of modern politics? This book proposes a reading of Les Aventures de Télémaque in the light of this question. Œuvre d’abord destinée à l’éducation d’un seul, le petit-fils de Louis XIV et futur roi de France, les Aventures de Télémaque de Fénelon devient, après sa publication, un des textes français les plus largement diffusés et un des modèles de ce que les contemporains désigneront sous le nom de « roman politique ». Mais pourquoi et comment élaborer une fiction narrative en marge d’Homère pour donner à penser, à imaginer, et peut-être même à pratiquer, une autre politique moderne ? Ce livre propose une lecture du Télémaque à la lumière de cette question.

Reveals how novels of political estrangement have drawn on cultural narratives to capture the zeitgeist of the twentieth century and the disillusionment of modernism.