Named one of the 50 best memoirs of the past 50 years by The New York Times Winner of the National Book Critics Circle Award “Among the great American literary memoirs of the past century . . . a riveting portrait of an era . . . Johnson captures this period with deep clarity and moving insight.” – Dwight Garner, The New York Times In 1954, Joyce Johnson’s Barnard professor told his class that most women could never have the kinds of experiences that would be worth writing about. Attitudes like that were not at all unusual at a time when “good” women didn’t leave home or have sex before they married; even those who broke the rules could merely expect to be minor characters in the dramas played by men. But secret rebels, like Joyce and her classmate Elise Cowen, refused to accept things as they were. As a teenager, Johnson stole down to Greenwich Village to sing folksongs in Washington Square. She was 21 and had started her first novel when Allen Ginsberg introduced her to Jack Kerouac; nine months later she was with Kerouac when the publication of On the Road made him famous overnight. Joyce had longed to go on the road with him; instead she got a front seat at a cultural revolution under attack from all sides; made new friends like Hettie and LeRoi Jones, and found herself fighting to keep the shy, charismatic, tormented Kerouac from destroying himself. It was a woman’s adventure and a fast education in life. What Johnson and other Beat Generation women would discover were the risks, the heartache and the heady excitement of trying to live as freely as the rebels they loved.
As the genre has exploded between the 1980s and the present, with novels about Ahab's wife, Huck Finn's father, and Mr. Dalloway, it has begun to embody the neoliberal commitments of subjective experience, individual expression, and agency.
By making the implied person indispensable to our understanding of literary form, this book offers a forward-looking avenue for contemporary narrative theory.
Beginning with E. M. Forster's landmark study of flat and round characters, this book is both a critical and writerly examination of the species: Why are certain minor characters so salient in readers' minds, and why are flat characters ...
A riveting and powerful story of an unforgiving time, an unlikely friendship and an indestructible love
Anonymous minor characters, relegated to the background of the early modern stage, have also been relegated to the background of scholarly engagement.
This approach paints fresh and enriched textual interpretation onto the canvases of Judith and the field of biblical studies alike. Envisioning the Book of Judith contains 29 illustrations in colour.
The Gospel of Mark includes a series of similar episodes in which he presents minor characters and their response to Jesus.
Dostoevsky and the Ethics of Narrative Form traces Dostoevsky’s indefatigable investigations into the ethical implications of his own formal choices.
This book examines seven pericopae of different minor characters, who appear suddenly in different settings and circumstances, interact with Jesus briefly, and then vanish quickly, leaving behind historical memories preserved by the Gospel ...
In superbly crafted writing that burns with intensity, award-winning author Markus Zusak, author of I Am the Messenger, has given us one of the most enduring stories of our time. “The kind of book that can be life-changing.” —The New ...