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Conrad's fiction often focuses on luck, particularly on moral luck--those happenings that exceed our control but affect our standing in the world nonetheless. Such luck has a key bearing on the moral intelligibility of plot and character in Lord Jim. This is a novel that supports two sides of a paradox: morality should and should not be influenced by the vagaries of luck. There is no obvious resolution to this double vision in Conrad and it leads him to question the coherence of morality as a general system. He also doubts--however paradoxically--its basic fairness. If luck is all-pervasive, then justice itself is unjust.

A short story is presented.

Dr. Gabor Maté's In the Realm of Hungry Ghosts and Eden Robinson's short story \"Contact Sports\" and subsequent novel Blood Sports can be read as critiques of the War on Drugs and its slogan, Just Say No. This essay examines how Maté's and Robinson's discussions of addiction and drug culture in Vancouver's Downtown Eastside reflect Bernard Williams's and Thomas Nagel's conception of moral luck.

The words \"Asian American film\" might evoke a painfully earnest, low-budget documentary or family drama, destined to be seen only in small film festivals or on PBS (Public Broadcasting Service). In her groundbreaking study of the past fifty years of Asian American film and video, Jun Okada demonstrates that although this stereotype is not entirely unfounded, a remarkably diverse range of Asian American filmmaking has emerged. Yet Okada also reveals how the legacy of institutional funding and the \"PBS style\" unites these filmmakers, whether they are working within that system or setting themselves in opposition to its conventions. Making Asian American Film and Videoexplores how the genre has served as a flashpoint for debates about what constitutes Asian American identity. Tracing a history of how Asian American film was initially conceived as a form of public-interest media, part of a broader effort to give voice to underrepresented American minorities, Okada shows why this seemingly well-intentioned project inspired deeply ambivalent responses. In addition, she considers a number of Asian American filmmakers who have opted out of producing state-funded films, from Wayne Wang to Gregg Araki to Justin Lin. Okada gives us a unique behind-the-scenes look at the various institutions that have bankrolled and distributed Asian American films, revealing the dynamic interplay between commercial and state-run media. More than just a history of Asian Americans in film,Making Asian American Film and Videois an insightful meditation on both the achievements and the limitations of institutionalized multiculturalism.

In addition to the dialogically complex scenario of Raskolnikov's crime and punishment, the novel contains the possibilities of crime without punishment and punishment without crime. [...]Porfiry Petrovich says of Raskolnikov: \"I thought: now the man will come, will come of himself, and very soon; if he's guilty, he'll certainly come. [...]reflecting man's limitless capacity for good and evil, the novel's polyphonic world juxtaposes a variety of crime-and-punishment scenarios.

A recent explosion of publishing activity by a wide range of talented writers has placed Asian American literature in the limelight. As the field of Asian American literary studies gains increasing recognition, however, questions of misreading and appropriation inevitably arise. How is the growing body of Asian American works to be read? What holds them together to constitute a tradition? What distinguishes this tradition from the \"mainstream\" canon and other \"minority\" literatures? In the first comprehensive book on Asian American literature since Elaine Kim's ground-breaking 1982 volume, Sau-ling Wong addresses these issues and explores their implications for the multiculturalist agenda. Wong does so by establishing the \"intertextuality\" of Asian American literature through the study of four motifs--food and eating, the Doppelg,nger figure, mobility, and play--in their multiple sociohistorical contexts. Occurring across ethnic subgroup, gender, class, generational, and historical boundaries, these motifs resonate with each other in distinctly Asian American patterns that universalistic theories cannot uncover. Two rhetorical figures from Maxine Hong Kingston'sThe Woman Warrior, \"Necessity\" and \"Extravagance,\" further unify this original, wide-ranging investigation. Authors studied include Carlos Bulosan, Frank Chin, Ashley Sheun Dunn, David Henry Hwang, Lonny Kaneko, Maxine Hong Kingston, Joy Kogawa, David Wong Louie, Darrell Lum, Wing Tek Lum, Toshio Mori, Bharati Mukherjee, Fae Myenne Ng, Bienvenido Santos, Monica Sone, Amy Tan, Yoshiko Uchida, Shawn Wong, Hisaye Yamamoto, and Wakako Yamauchi.

The political correlative to the aesthetic critique usually maintains that by employing melodramatic conventions Chartist and working-class writers put entertainment before principle, lowering themselves to popular, market expectations rather than radicalizing those conventions and expectations. Here, Breton challenges this line of criticism by examining the special circumstances and meanings in the Chartist and working-class ideologeme of the deus ex machina.

\"In The Joy Luck Club [Amy] Tan organizes her material in terms of a generational contrast by segregating stories of mothers and their daughters...While the daughters' stories usually involve their mothers, the mothers' stories tend to feature a distinct life, involving rather rigid family experiences in old China and their current relationship to their American daughters. By using the perspectives of both mothers and daughters, Tan initially seems to solve what Linda Hunt, examining Maxine Hong Kingston, describes as a basic problem for a Chinese-American woman: 'being simultaneously insider (a person who identifies strongly with her cultural group) and outsider (deviant and rebel against that tradition), she cannot figure out from which perspective to speak'...Thus, as in [Kingston's The Woman Warrior ], the object of 'confrontation' for a daughter [in The Joy Luck Club ] is often the mother, 'the source of authority for her and the most single powerful influence from China.'\" (Critique) This analysis of Tan's The Joy Luck Club examines ways in which \"mother-daughter tensions\" serve as both \"the articulation of the women's movement\" and \"the means of specifying the distinctness of Chinese and Chinese-American culture.\"

In an interview, John Kessel, an award-winning science fiction writer, discusses a number of aspects of his novel \"Good News from Outer Space.\"