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I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.
Denning is a master. He mixes literary analysis, historical sleuthing, and some smart ideological excavation to see how dime novels—treated like trash by most scholars—were used by working men and women in 19th century America. They were creating a culture and their reading did all the things that culture does: helped them make sense of the world, gave them a place to pay with ideas, and invent myths and narratives for orientation. All while middle-class scolds told them they were reading “wrong.”
If you’ve ever loved a book that wasn’t good for you, or wanted to seriously think about something that wasn’t “serious,” this book is for you.
Mechanic Accents is a widely acclaimed study of American popular fiction and working-class culture. Combining Marxist literary theory with American labor history, Michael Denning explores what happened when, in the nineteenth century, working people began to read cheap novels and the ""fiction question"" became a class question. In a new afterword, Denning locates his study within the context of current debates on class and cultural studies.
I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.
The most common kind of book club in America is a Bible study. And while lots and lots of people have opinions about how you should read the Bible, or who is doing it wrong, no one delves into how real readers read the sacred text like James Bielo.
An ethnographer who is interested in American religion, Bielo is a careful and kind observer, who does everything he can to understand what people are doing when they read the Bible together. He takes you with him and you’ll see the world differently because he did.
Evangelical Bible study groups are the most prolific type of small group in American society, with more than 30 million Protestants gathering every week for this distinct purpose, meeting in homes, churches, coffee shops, restaurants, and other public and private venues across the country. What happens in these groups? How do they help shape the contours of American Evangelical life? While more public forms of political activism have captured popular and scholarly imaginations, it is in group Bible study that Evangelicals reflect on the details of their faith. Here they become self-conscious religious subjects, sharing the intimate details of life,…
I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.
Wolfgang Iser isn’t for the faint of heart. You don’t read him as much as wrestle. But in this work, the German theorist teaches you to watch for the ghost of the reader who haunts fiction, the one who isn’t quite there, but always right next to you, implied by the text as the intended audience, the ideal reader (who isn’t quite you).
He’s German and this is literary theory, so put away your phone, but if you can wrestle with Iser it will change forever how you read anything.
Like no other art form, the novel confronts its readers with circumstances arising from their own environment of social and historical norms and stimulates them to assess and criticize their surroundings. By analyzing major works of English fiction ranging from Bunyan, Fielding, Scott, and Thackeray to Joyce and Beckett, renowned critic Wolfgang Iser here provides a framework for a theory of such literary effects and aesthetic responses. Iser's focus is on the theme of discovery, whereby the reader is given the chance to recognize the deficiencies of his own existence and the suggested solutions to counterbalance them. The content and…
I'm a journalist and a historian who writes about how American evangelicals are complicated. I was trying to explain Left Behind in graduate school and I talked and talked about the theology in the book—all about the doctrines of the rapture, the antichrist, and the millennium. Then my professor said, “But it’s fiction, right? Why is it fiction? What are people doing when they read a novel instead, of say, a theological treatise?” I had no idea. But it seemed like a good question. That was the spark of Reading Evangelicals. But first, I had to read everything I could find about how readers read and what happens when they do.
I’m cheating a little here, but I made the rules and there’s a little clause in the rules I made that says I can break them as long as I announce that I am breaking them. Herewith, I announce.
This isn’t a book about readers. It’s a book about watchers—specifically the Dutch audience for the soap opera Dallas. But this book is so good and so wild, it changed forever the way I think about “reception,” including reading. I recommend this book all the time and if you want to understand the freedom and creativity of readers, you have to read it.
Dallas, one of the great internationally-screened soap operas, offers us first and foremost entertainment. But what is it about Dallas that makes that entertainment so successful, and how exactly is its entertainment constructed?
As a child and even as an adult, I’ve always been curious and stopped at nothing to seek out answers. Fast forward, I’ve been a clinical research professional for over 17 years so it’s no surprise that writing a How-To Book would come naturally. Having a passion for others took me on an altruistic journey of addressing my pain points and helping others address theirs. I hope at least one of these books will help you in becoming the best version of yourself!
Becoming a manager at an early age and now a nonprofit founder, I realize how important the statement ‘Relationship before Task’ is. While this book is used to sustain relationships of love, the lessons on how we invest emotionally in other areas of our life, including the workplace and friendships, is just as impactful. This book encourages me to give guidance, not ultimatums when making my needs known. Overall, this book is a reminder that being relationship-focused will bring us the love and/or significance that we’re looking for.
Through fun-filled presentations before a live audience, Gary Chapman helps you identify your personal love language. He also helps you understand the love language of your spouse.
I have always been fascinated by stories where everyday people are thrust into dangerous situations through no fault of their own. I’ve often wondered how I would react in such a situation. To me, it’s like going off to war. How would I react? Would I shrink away from danger or stand up like a man and do what I could to save myself and others around me? I’ve always found it interesting to write about everyday people who rise to the occasion and rely on their wits to extricate themselves from danger. I find myself rooting for them, urging them to find some inner strength they didn’t even know they had.
The first thing that drew me in was the format. The entire book, which is 466 pages long, is a response to a letter written on page one by the main character, Vivian. What a neat way to write a book.
In her letter to Vivian, Angela asks, “Vivian, what were you to my father?” It wasn’t the same old “telling” of a story, but Vivian’s detailed response from a historical perspective involving her experiences over the years in love, lust, glamour, and promiscuity and how these affected her life.
Vivian is in her 90s as she responds, and the story is told from her perspective as an old woman looking back on her life. I found myself rooting for her as she described her many struggles in her attempt to answer Angela’s question.
From the # 1 New York Times bestselling author of Eat Pray Love and The Signature of All Things, a delicious novel of glamour, sex, and adventure, about a young woman discovering that you don't have to be a good girl to be a good person.
"A spellbinding novel about love, freedom, and finding your own happiness." - PopSugar
"Intimate and richly sensual, razzle-dazzle with a hint of danger." -USA Today
"Pairs well with a cocktail...or two." -TheSkimm
"Life is both fleeting and dangerous, and there is no point in denying yourself pleasure, or…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
This is the book that started the Chica Lit subgenre (about thirty-something Latinas negotiating their lives, romances, and careers). I have many problems with it, but I like her humor and much of her making fun of stereotypes of Latinas is spot on. It also shows us the breadth of Latina lives, from the white, privileged Latina to the Afro-Latina struggling along. It’s the lynchpin of my book, since this is where it all started, for me and for the subgenre. It’s important to understand the messages popular Latinx literature gives us about gender and about Latinidad.
Alisa Valdés-Rodríguez's vibrant, can't-put-it-down novel of six friends--each one an unforgettable Latina woman in her late '20s--and the complications and triumphs in their lives
Inseparable since their days at Boston University almost ten years before, six friends form the Dirty Girls Social Club, a mutual support and (mostly) admiration society that no matter what happens to each of them (and a lot does), meets regularly to dish, dine and compare notes on the bumpy course of life and love.
Las sucias are:
--Lauren, the resident "caliente" columnist for the local paper, which advertises her work with the line "her casa…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
I also write about this book in my work. I again have problems with it, but it gives a kind of slice-of-life snapshot of Cuban life at that moment (around 2005), and especially about jineteras, or “jockeys,” women who supplement their income by going out with wealthy foreigners. Doing research on that book gave me a look at Cuba that was invaluable. And it is sometimes funny. It serves as a kind of coda to my book in that it reproduces many of the rhetorical moves of other chica lit but in a completely different setting.
Based on the wildly popular, semi-autobiographical "Havana Honey" series published by Salon.com, Dirty Blonde and Half-Cuban is a gritty portrait of one woman's determination to infiltrate modern Cuba and find the father she has never known.
While on her search, privileged American Alysia Briggs ends up broke and alone in Havana. She's then forced to adopt the life of the jineteras -- educated Cuban women who supplement a desperate income by accommodating sex tourists.
With an eye for detail and a razor wit, Lisa Wixon relates Alysia's journey and creates a love song to Cuba, a heartfelt tribute to a…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
As her title indicates, this book delves into the ways Latino/as are described, shaped, and marketed both to the United States and to themselves. Dávila, a social anthropologist, brilliantly exposes not just the workings of the neoliberal state on this process, but how marketing and demographic research by corporate interests shape the ways Latinas/os are commercialized not just with things like food but even with cities interested in “cleaning up” Latinx neighborhoods. My book looks at the way Latinx fiction does something of the same thing, including shaping the way Latinx poverty is seen as “inevitable” by these different players.
Both Hollywood and corporate America are taking note of the marketing power of the growing Latino population in the United States. And as salsa takes over both the dance floor and the condiment shelf, the influence of Latin culture is gaining momentum in American society as a whole. Yet the increasing visibility of Latinos in mainstream culture has not been accompanied by a similar level of economic parity or political enfranchisement. In this important, original, and entertaining book, Arlene Davila provides a critical examination of the Hispanic marketing industry and of its role in the making and marketing of U.S.…
As a university professor, I often teach popular women’s writing, and I realized that I needed to teach Latinx popular fiction as well. Women’s popular writing in the United States reflects but also shapes the way women see themselves in a global neoliberal world. After I had written an article on class and Chicanx and Latinx fiction, I also realized that class and race are key to thinking about how Latinas/Chicanas both create and follow market trends in an effort to “better” themselves in addition to showing how various Latinas/Chicanas see each other in terms of race, ethnicity, and gender.
Vallejo painstakingly lays out the way some Mexican Americans, usually the poorest of the minorities, struggle to make it into a specifically American middle class. She details how these Latinas/Latinos carefully shape themselves, and in turn are shaped by corporate and state interests, into an ethnicity that is for the most part deracinated and stripped of their more obvious “ethnic” attributes (as a small example, most drop the accent marks in their names). For my book, a look at the middle-class Latinx is a look at the desires and strivings of Latina writers and characters of Chica Lit.
Too frequently, the media and politicians cast Mexican immigrants as a threat to American society. Given America's increasing ethnic diversity and the large size of the Mexican-origin population, an investigation of how Mexican immigrants and their descendants achieve upward mobility and enter the middle class is long overdue. Barrios to Burbs offers a new understanding of the Mexican American experience.
Vallejo explores the challenges that accompany rapid social mobility and examines a new indicator of incorporation, a familial obligation to "give back" in social and financial support. She investigates the salience of middle-class Mexican Americans' ethnic identification and details how…
