The place of the editor in literary production is an ambiguous and often invisible one, requiring close attention to publishing history and (often inaccessible) archival resources to bring it into focus. In The Art of Editing, Tim Groenland shows that the critical tendency to overlook the activities of editors and to focus on the solitary author figure neglects important elements of how literary works are acquired, developed and disseminated. Focusing on selected works of fiction by Raymond Carver and David Foster Wallace, authors who represent stylistic touchstones for US fiction of recent decades, Groenland presents two case studies of editorial collaboration. Carver's early stories were integral to the emergence of the Minimalist movement in the 1980s, while Wallace's novels marked a generational shift towards a more expansive, maximal mode of narrative. The role of their respective editors, however, is often overlooked. Gordon Lish's part in shaping the form of Carver's early stories remains under-explored; analyses of Wallace's fiction, meanwhile, tend to minimise Michael Pietsch's role from the creation of Infinite Jest during the mid-1990s until the present day. Drawing on extensive archival research as well as interviews with editors and collaborators, Groenland illuminates the complex and often conflicting forms of agency involved in the genesis of these influential works. The energies and tensions of the editing process emerge as essential factors in the creation of fictions more commonly understood within the paradigm of solitary authorship. The mediating role of the editor is, Groenland argues, inseparable from the development, form, and reception of these works.
Birkhead has combined ingenuity and perseverance to produce an evocative portrait of a great pioneer in the scientific study of birds' Literary Review Francis Willughby lived and thrived in the midst of the scientific revolution of the seventeenth century. Along with his Cambridge tutor John Ray, Willughby was determined to overhaul the whole of natural history and impose order on its complexity. It was exhilarating, exacting and exhausting work. Yet before Willughby and Ray could complete their monumental encyclopaedia of birds, Ornithology, Willughby died. In the centuries since, Ray's reputation has grown, obscuring that of his collaborator. Now, for the first time, Willughby's own story and genius are given the attention they deserve. Tim Birkhead celebrates how Willughby's endeavours set a standard for the way birds and natural history should be studied. Rich with glorious detail, The Wonderful Mr Willughby is a fascinating insight into a thrilling period of scientific history and a lively biography of a man who lived at its heart.
The place of the editor in literary production is an ambiguous and often invisible one, requiring close attention to publishing history and (often inaccessible) archival resources to bring it into focus. In The Art of Editing, Tim Groenland shows that the critical tendency to overlook the activities of editors and to focus on the solitary author figure neglects important elements of how literary works are acquired, developed and disseminated. Focusing on selected works of fiction by Raymond Carver and David Foster Wallace, authors who represent stylistic touchstones for US fiction of recent decades, Groenland presents two case studies of editorial collaboration. Carver's early stories were integral to the emergence of the Minimalist movement in the 1980s, while Wallace's novels marked a generational shift towards a more expansive, maximal mode of narrative. The role of their respective editors, however, is often overlooked. Gordon Lish's part in shaping the form of Carver's early stories remains under-explored; analyses of Wallace's fiction, meanwhile, tend to minimise Michael Pietsch's role from the creation of Infinite Jest during the mid-1990s until the present day. Drawing on extensive archival research as well as interviews with editors and collaborators, Groenland illuminates the complex and often conflicting forms of agency involved in the genesis of these influential works. The energies and tensions of the editing process emerge as essential factors in the creation of fictions more commonly understood within the paradigm of solitary authorship. The mediating role of the editor is, Groenland argues, inseparable from the development, form, and reception of these works.
The way we glow when having a great conversation, building off each other’s ideas, finding solutions we can all be satisfied with. The way we spark together when marching and chanting in protest. This is living democracy. Yes, the world looks bleak. Across our society there’s a mounting sense of desperation in the face of the climate crisis, gaping economic inequality and racial injustice, increasing threat of war, and a post-truth politics divorced from reality. Extinction is in the air. But what if the solutions to our ecological, social and political crises could all be found in the same approach? What if it was possible for us to not just survive, but thrive? In Living Democracy, Greens activist Tim Hollo offers bold ideas and a positive vision. It’s the end of the world as we know it, but it doesn’t have to be the end of the world. In fact, around the globe, people and communities are beginning an exciting new journey. This book will inspire you, inform you, and get you fired up to co-create our common future. A living democracy. 'Everyone who reads this book is generously invited to get involved in the project of our times.' – David Ritter 'A brilliant conversation and action kick-starter from a man who walks the talk.'– Christine Milne 'It’s pretty clear that the world we’ve known isn't working very well anymore; we need to reinvent it, and this book brims with good ideas about what that means!' – Bill McKibben 'A great vision for a bloodless coup of mutual aid and rule-governed anarchy.' – Tyson Yunkaporta 'A manual for making a new and better world that shows us, with lucidity, courage and compassion, that the tools for building that world are already in our hands.' – James Bradley 'I have been waiting for this book, and now that Tim Hollo has written it, I’ll be putting it in the hands of pretty much everyone I know.' – Danielle Celermajer 'Timely, vivid and urgent, this is a book that meets the challenges of our age head-on.' – Scott Ludlam 'A brilliant treatise for our future and based on a deep understanding of First Nations knowledge – Tim Hollo has given us so much with this beautifully written work.' – Tjanara Goreng Goreng
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