What can we learn about authorship through a reading of a writer’s archive? Collections of authors’ manuscripts and correspondence have traditionally been used in ways that further illuminate the published text. JoAnn McCaig sets out to show how archival materials can also provide fascinating insights into the business of culture, reveal the individuals, institutions, and ideologies that shape the author and her work, and describe the negotiations that occur between an author and the cultural marketplace. Using a feminist cultural studies approach, JoAnn McCaig “reads in” to the archives of acclaimed Canadian short story writer Alice Munro in order to explore precisely how the terms “Canadian,” “woman,” “short story,” and “writer” are constructed in her writing career. Munro’s correspondence with mentor Robert Weaver, agent Virginia Barber, publishers Doug Gibson and Ann Close, and writer John Metcalf tell a fascinating story of how one very determined and gifted writer made her way through the pitfalls of the culture business to achieve the enviable authority she now claims. McCaig’s discussion of her own difficulties with obtaining copyright permission for the book raises important questions about freedom of scholarly inquiry and about the unforeseen difficulties and limitations of archival research. Despite these difficulties, McCaig’s reading of the Munro archives succeeds in examining the business of culture, the construction of the aesthetic, and the impact of gender, genre, nationality, and class on authorship. While on one level telling the story of one author’s career — the progress of Alice Munro, so to speak — the book also illustrates how cultural studies analysis suggests ways of opening up the rich but underutilized literary resource of authorial archives to all researchers.
If there ever was a time and place to explore the territory of mature women and their journeys this would be the time. The subjects of sex, passion, confidence in JoAnn McCaig's An Honest Woman are beautifully played out against society's stereotypes of women as they age and as they confront the truths of themselves outside the societal frameworks in which they have been boxed. There are metafictional elements turned loose in this novel. First, there is an intensely self-conscious narrator and second, there are characters who live inside fictional worlds and travel outside those worlds for intense real-life encounters. Their storytelling draws attention to themselves as both living, breathing people but also fleshed-out fictional world characters. The structure of the novel is complex, layered, and interwoven. There are several narrators, stories within stories, and writers making things up and fantasizing while living real (albeit fictional) lives. There are literary allusions galore and cameo appearances by thinly disguised famous authors. It can all get a little crazy, so McCaig has provided a few support materials: an infographic that maps out the different characters, and relationships and authorships, a fairly detailed table of contents, a few postscripts, and a couple of appendices. Watch for symbols that indicate that the narrator has lapsed into fantasy and for when she returns to her "real" life, such as it is. That said, An Honest Woman has enough grounded familiar plot lines to keep a general reader interested and layered ambiguities to keep the well-read interested. While there is some undermining of traditional literary conventions, there is nothing lost in McCaig's exploration of the relationship between literature and life. The novel is humorous, and sometimes really funny; it is also a smart and warm and moving read.
Written by and for Nurse Practitioners from a unique collaborative perspective, Primary Care: A Collaborative Practice, 4th Edition, prepares you to provide care for all of the major disorders of adults seen in the outpatient setting. Evidence-based content reflects the latest guidelines for primary care of hundreds of conditions, including hypertension, diabetes, and sexually transmitted infections. Now in full color, the 4th Edition includes chapters on emerging topics such as genetics, obesity, lifestyle management, and emergency preparedness. Combining a special blend of academic and clinical expertise, the author team provides a practical text/reference that promotes a truly collaborative primary care practice. Comprehensive, evidence-based content incorporates the latest standardized guidelines for primary care in today's fast-paced, collaborative environment. Unique! A collaborative perspective, reflecting the key roles of NPs, MDs, PAs, PharmDs, and others, promotes seamless continuity of care. A consistent format from chapter to chapters facilitates learning and clinical reference value. Diagnostics and Differential Diagnosis boxes provide a quick reference for diagnosing disorders and helping to develop effective management plans. Physician Consultation icons highlight situations or conditions in which consultation is either recommended or necessary. Emergency Referral icons identify signs and symptoms that indicate the need for immediate referral to an emergency facility. Co-management with Specialists discussions help you provide truly collaborative care in the outpatient setting. Complementary and alternative therapies are addressed where supported by solid research evidence.
What can we learn about authorship through a reading of a writer’s archive? Collections of authors’ manuscripts and correspondence have traditionally been used in ways that further illuminate the published text. JoAnn McCaig sets out to show how archival materials can also provide fascinating insights into the business of culture, reveal the individuals, institutions, and ideologies that shape the author and her work, and describe the negotiations that occur between an author and the cultural marketplace. Using a feminist cultural studies approach, JoAnn McCaig “reads in” to the archives of acclaimed Canadian short story writer Alice Munro in order to explore precisely how the terms “Canadian,” “woman,” “short story,” and “writer” are constructed in her writing career. Munro’s correspondence with mentor Robert Weaver, agent Virginia Barber, publishers Doug Gibson and Ann Close, and writer John Metcalf tell a fascinating story of how one very determined and gifted writer made her way through the pitfalls of the culture business to achieve the enviable authority she now claims. McCaig’s discussion of her own difficulties with obtaining copyright permission for the book raises important questions about freedom of scholarly inquiry and about the unforeseen difficulties and limitations of archival research. Despite these difficulties, McCaig’s reading of the Munro archives succeeds in examining the business of culture, the construction of the aesthetic, and the impact of gender, genre, nationality, and class on authorship. While on one level telling the story of one author’s career — the progress of Alice Munro, so to speak — the book also illustrates how cultural studies analysis suggests ways of opening up the rich but underutilized literary resource of authorial archives to all researchers.
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