Moving with the pace and momentum of a superb thriller, exploring ideas about language and information, as well as identity, this is ultimately a novel about the magnitude of love and the devastating effect of losing that love. “Paced ...
Author: Steven Hall
Publisher: Open Road + Grove/Atlantic
This genre-bending national bestseller is “a horror-dystopic-philosophical mash-up, drawing comparisons to Borges, The Matrix and Jaws” (The New York Times Magazine). Eric Sanderson wakes up in a house he doesn’t recognize, unable to remember anything of his life. A note instructs him to call a Dr. Randle, who informs him that he is undergoing yet another episode of memory loss, and that for the last two years—since the tragic death of his great love, Clio, while vacationing in Greece—he’s been suffering from an acute dissociative disorder. But there may be more to the story, or it may be a different story altogether. With the help of allies found on the fringes of society, Eric embarks on an edge-of-your-seat journey to uncover the truth about himself and escape the predatory forces that threaten to consume him. Moving with the pace and momentum of a superb thriller, exploring ideas about language and information, as well as identity, this is ultimately a novel about the magnitude of love and the devastating effect of losing that love. “Paced like a thriller, it reads like a deluge . . . Herman Melville meets Michael Crichton, or Thomas Pynchon meets Douglas Adams.” —San Francisco Chronicle “Rousingly inventive.” —The Washington Post “Unforgettable fiction.” —Playboy “A thriller that will haunt you.” —GQ “Sharp and clear . . . Writing on the edge of the form.” —Los Angeles Times “Huge fun, and I gleefully recommend it.” —Audrey Niffenegger, international–bestselling author of The Time Traveler’s Wife “Fast, sexy, intriguing, intelligent.” —Toby Litt
With the same white-knuckle thrills as Hall’s first novel, The Raw Shark Texts, Maxwell’s Demon is a freewheeling investigation into the magic power locked inside the alphabet, love through the looking glass, the bond between parents ...
Author: Steven Hall
Publisher: Canongate Books
'Deliciously diabolical' Chris Brookmyre 'Wickedly playful' M.R. Carey Thomas Quinn is having the strangest autumn . . . Nine years ago, his mentor Andrew Black wrote a million-copy-selling mystery novel – and then disappeared. Now could it be that Thomas is being stalked by the hero of Black’s book? And that new answerphone message sounds a lot like his own father. His father who has been dead for years. Thomas’s wife Imogen usually has the answers but she’s on the other side of the world. If he can just find Black, perhaps Thomas might start finding some answers . . . With the same white-knuckle thrills as Hall’s first novel, The Raw Shark Texts, Maxwell’s Demon is a freewheeling investigation into the magic power locked inside the alphabet, love through the looking glass, the bond between parents and children, and, at its heart, the quest for meaning in a chaotic and untidy world.
The Raw Shark Texts repeats the antagonism of the shark as a scrambling
machine in its own endless appropriating and ... However, just as Eric Sanderson
is not a given entity but rather a text-generated effect, so The Raw Shark Texts
Author: Kiene Brillenburg Wurth
Publisher: Fordham Univ Press
The contributors to this volume re-assess literary practice at the edges of paper, electronic media, and film. They show how the emergence of a new medium reinvigorates the book and the page as literary media, rather than announcing their impending death.
The Raw Shark Texts. NY: Cannongate, 2007. Hayles, N. Katherine. “Material
Entanglements: Steven Hall's The Raw Shark Texts as Slipstream Novel.” In
Science Fiction Studies 38 (2011): 115-132. IFL Science. “Schrodinger's Cat:
Author: Regina Rudaitytė
Publisher: Cambridge Scholars Publishing
The advent of the new age has alerted us to the conflicted nature of historical memory which defined the 20th century while simultaneously assaulting us with new historical upheavals that demand responsibility and critical consideration. As the historical text bears traces of the writing subject, the element of deception is remarkable, meaning historical memory easily lends itself to forgery and false and subjective projections. As such, how do we think about the past, about history, about memory, and how does memory function? Is history an objective account, a collection of dry, reliable facts? Is it an imaginative narrative, tinged with nostalgia, a projection of our wishful thinking, the workings of our subjective perceptions and attitudes, our states of mind? The essays in this volume focus on the relevance of the past to the present and future in terms of the shifting attitudes to personal and collective experiences that have shaped dominant Western critical discourses about history, memory, and nostalgia. The contributors here take issue with the epistemological, hermeneutic, ethical, and aesthetic dimensions of the representational practices through which we revisit and revise the meaning of the past.
Bringing together leading scholars, artists, and publishers, Book Presence in a Digital Age offers a variety of perspectives on the past, present, and future of the book as medium, the complex relationship of materiality to virtuality, and ...
Author: Kiene Brillenburg Wurth
Publisher: Bloomsbury Publishing USA
Contrary to the apocalyptic pronouncements of paper media's imminent demise in the digital age, there has been a veritable surge of creative reimaginings of books as bearers of the literary. From typographic experiments (Mark Z. Danielewski's House of Leaves, Steven Hall's The Raw Shark Texts) to accordion books (Anne Carson's Nox), from cut ups (Jonathan Safran Foer's Tree of Codes) to collages (Graham Rawle's Woman's World), from erasures (Mary Ruefle's A Little White Shadow) to mixups (Simon Morris's The Interpretations of Dreams), print literature has gone through anything but a slow, inevitable death. In fact, it has re-invented itself materially. Starting from this idea of media plurality, Book Presence in a Digital Age explores the resilience of print literatures, book art, and zines in the late age of print from a contemporary perspective, while incorporating longer-term views on media archeology and media change. Even as it focuses on the materiality of books and literary writing in the present, Book Presence also takes into consideration earlier 20th-century "moments" of media transition, developing the concepts of presence and materiality as analytical tools to perform literary criticism in a digital age. Bringing together leading scholars, artists, and publishers, Book Presence in a Digital Age offers a variety of perspectives on the past, present, and future of the book as medium, the complex relationship of materiality to virtuality, and of the analog to the digital.
She considers the effects of early databases such as telegraph code books and confronts our changing perceptions of time and space in the digital age, illustrating this through three innovative digital productions—Steve Tomasula’s ...
Author: N. Katherine Hayles
Publisher: University of Chicago Press
“How do we think?” N. Katherine Hayles poses this question at the beginning of this bracing exploration of the idea that we think through, with, and alongside media. As the age of print passes and new technologies appear every day, this proposition has become far more complicated, particularly for the traditionally print-based disciplines in the humanities and qualitative social sciences. With a rift growing between digital scholarship and its print-based counterpart, Hayles argues for contemporary technogenesis—the belief that humans and technics are coevolving—and advocates for what she calls comparative media studies, a new approach to locating digital work within print traditions and vice versa. Hayles examines the evolution of the field from the traditional humanities and how the digital humanities are changing academic scholarship, research, teaching, and publication. She goes on to depict the neurological consequences of working in digital media, where skimming and scanning, or “hyper reading,” and analysis through machine algorithms are forms of reading as valid as close reading once was. Hayles contends that we must recognize all three types of reading and understand the limitations and possibilities of each. In addition to illustrating what a comparative media perspective entails, Hayles explores the technogenesis spiral in its full complexity. She considers the effects of early databases such as telegraph code books and confronts our changing perceptions of time and space in the digital age, illustrating this through three innovative digital productions—Steve Tomasula’s electronic novel, TOC; Steven Hall’s The Raw Shark Texts; and Mark Z. Danielewski’s Only Revolutions. Deepening our understanding of the extraordinary transformative powers digital technologies have placed in the hands of humanists, How We Think presents a cogent rationale for tackling the challenges facing the humanities today.
The Raw Shark Texts turns this situation into a narrative that takes as its founding
principle the fact that we live in a world wherein text is no longer contained on the
page and information lives invisibly and spreads virally . The novel explores ...
Author: Cynthia Baron
Publisher: University of Michigan Press
"A significant contribution to the literature on screen performance studies, Reframing Screen Performance brings the study of film acting up to date. It should be of interest to those within cinema studies as well as general readers." ---Frank P. Tomasulo, Florida State University Reframing Screen Performance is a groundbreaking study of film acting that challenges the long held belief that great cinematic performances are created in the editing room. Surveying the changing attitudes and practices of film acting---from the silent films of Charlie Chaplin to the rise of Lee Strasberg's Actor's Studio in the 1950s to the eclecticism found in contemporary cinema---this volume argues that screen acting is a vital component of film and that it can be understood in the same way as theatrical performance. This richly illustrated volume shows how and why the evocative details of actors' voices, gestures, expressions, and actions are as significant as filmic narrative and audiovisual design. The book features in-depth studies of performances by Anjelica Huston, John Cusack, and Julianne Moore (among others) alongside subtle analyses of directors like Robert Altman and Akira Kurosawa, Sally Potter and Orson Welles. The book bridges the disparate fields of cinema studies and theater studies as it persuasively demonstrates the how theater theory can be illuminate the screen actor's craft. Reframing Screen Performance brings the study of film acting into the twenty-first century and is an essential text for actors, directors, cinema studies scholars, and cinephiles eager to know more about the building blocks of memorable screen performance. Cynthia Baron is Associate Professor of Film Studies at Bowling Green State University and co-editor of More Than a Method: Trends and Traditions in Contemporary Film Performance. Sharon Carnicke is Professor of Theater and Slavic Studies and Associate Dean of Theater at the University of Southern California and author of Stanislavsky in Focus.
—STEvEn HALL, AUTHor of THE rAw SHArK TExTS “Sincere, concise, and
interesting.” —TAo LIn, AUTHor of SHopLIfTInG from AmErICAn AppArEL And
EEEEE EEE EEEE p ainfully average and introverted Will finally has a bird. Her
name is ...
Author: Chris Killen
Publisher: Harper Collins
“A dark and beguiling meditation on the weight of being…so fresh it practically pings with energy…The Bird Room is seamlessly woven into a perfectly formed whole that fizzes with deadpan wit and cutting one-liners.” —The Independent An audacious and self-assured debut novel, The Bird Room by Chris Killen is sometimes darkly comic, sometimes painfully dramatic, and always entirely engaging. Reminiscent of other up-and-coming authors such as Tao Lin, Richard Milward, and Toby Litt, and with a spare and efficient style that belies the intricacies of the novel’s double narrative, The Bird Room is a dark, edgy tale of sex, love, and obsession.
These texts all evoke familiar genres to provide different perspectives on or create new visions of reality. Together, they provide a panorama of contemporary genre usage.
Author: Martina Allen
Publisher: Universitatsverlag Winter
Despite decades in the naughty corner of literary studies, genre has arguably become an increasingly central category to the production and interpretation of contemporary literature. 'GenReVisions' examines the scope of genre usage in Anglophone literature today and its effects on the construction of literary and extra-literary 'worlds'. Combining insights from pragmatics, cognitive poetics and constructivist philosophy, the first part of the study promotes a revision of received genre conceptions in favour of a new conceptual metaphor that foregrounds the discursive dimension of generic practices. The second part explores diverse forms of genre experimentation in three recent paradigmatic works: David Mitchell's 'Cloud Atlas', Salman Rushdie's 'The Ground Beneath Her Feet', and Steven Hall's 'The Raw Shark Texts'. These texts all evoke familiar genres to provide different perspectives on or create new visions of reality. Together, they provide a panorama of contemporary genre usage.
The Raw Shark Texts . club to put this debut onto the New York 978-1-4165-3239
-2 . $ 25 . gate , dist . by Grove / Atlantic . ISBN 978 Times best sellers list . A
mystery caper , this in - house favorite was 1-84195-911-5 . $ 24 . cheered by
Author: Melvil Dewey
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.