More related to historiography
Raimundo Silva is a middle-aged, celibate clerk, proofing manuscripts for a respectable publishing house. Fluent in Portuguese, he has been assigned to work on a standard history of the country, and the twelfth-century king who laid siege to Lisbon. In a moment of subversive daring, Raimundo decides to change just one single word of text—a capricious revision that completely undoes the past. When discovered, his insolent disregard for facts appalls his employers—save for his new editor, Maria Sara. She suggests that Rainmundo take his transgressions even further.
Through Rainmundo and Maria’s eyes, what transpires is an alternate view of history and a colorful reinvention of a debatable truth. It’s a serpentine journey through time where past and present converge, fact becomes myth, and fiction and reality blur—especially for Rainmundo and Maria themselves, who begin to find themselves erotically drawn to each other.
“Walter Mitty has nothing on Raimundo Silva . . . this hypnotic tale is a great comic romp through history, language and the imagination.” —Publishers Weekly
Translated by Giovanni Pontiero
What if -- by stroke of fortune -- you could start afresh, could wipe away that catastrophic blunder in your past? And to what lengths would you go to establish that in fact you'd done nothing wrong at all? After an accident robs Hazel of three years' worth of memory, just such an opportunity is granted to Jonathan, undone by his betrayal of this woman, whom he professes to love above all. While he begins to rewrite their history, two other misfits -- an American sojourner and a luckless English actress -- knock about London, each of them haunted by indelible memories they would much rather forget. Eventually their hopes of redemption draw them toward Jonathan's house, where Hazel has become a virtual prisoner . . .
Replete with compelling characters and extravagantly plotted, The Missing World weaves together these separate quests for love and truth in a manner both thrilling and, ultimately, revealing about our imperfect lives.
During Stalin's purges, Nicholas Rubashov, an aging revolutionary, is imprisoned and psychologically tortured by the party he has devoted his life to. Under mounting pressure to confess to crimes he did not commit, Rubashov relives a career that embodies the ironies and betrayals of a revolutionary dictatorship that believes it is an instrument of liberation.
A seminal work of twentieth-century literature, Darkness At Noon is a penetrating exploration of the moral danger inherent in a system that is willing to enforce its beliefs by any means necessary.
Darkmans is a very modern book, set in Ashford [a ridiculously modern town], about two very old-fashioned subjects: love and jealousy. It's also a book about invasion, obsession, displacement and possession, about comedy, art, prescription drugs and chiropody. And the main character? The past, which creeps up on the present and whispers something quite dark - quite unspeakable - into its ear.
The third of Nicola Barker's narratives of the Thames Gateway, Darkmans is an epic novel of startling originality.
In Pasto, south Colombia, where the good doctor plies his trade, the Feast Day of the Holy Innocents is dawning. A day for pranks, jokes and soakings ... Water bombs, poisoned empanaditas, ground glass in the hog roast - anything goes.
What better day to commission a float for The Black and White Carnival that will explode the myth of El Libertador once and for all? One that will lay bare the massacres, betrayals and countless deflowerings that history has forgotten.
But in Colombia you question the founding fables at your peril. At the frenzied peak of the festivities, drunk on a river of arguardiente, Doctor Justo will discover that this year the joke might just be on him.
In the first part, two chapters discuss the philosophy behind the connection between fiction and history, whether history is fiction, and the distinction between the past and history. Part two goes on to discuss the relationship between history and literature using case studies such as Virginia Woolf and Charles Dickens. Part three looks at television and film (as well as other media) through case studies such as the film Welcome to Sarajevo and Soviet and Australian films. Part four considers a particular theme that has prominence in both history and literature, postcolonial studies, focusing on the issues of fictions of nationhood and civilization and the historical novel in postcolonial contexts. Finally, the fifth section comprises two interviews with novelists Penelope Lively and Adam Thorpe and discusses the ways in which their works explore the nature of history itself.
The place is Salem, Massachusetts, in 1692, an enclave of rigid piety huddled on the edge of a wilderness. Its inhabitants believe unquestioningly in their own sanctity. But in Arthur Miller's edgy masterpiece, that very belief will have poisonous consequences when a vengeful teenager accuses a rival of witchcraft—and then when those accusations multiply to consume the entire village.
First produced in 1953, at a time when America was convulsed by a new epidemic of witch-hunting, The Crucible brilliantly explores the threshold between individual guilt and mass hysteria, personal spite and collective evil. It is a play that is not only relentlessly suspenseful and vastly moving but that compels readers to fathom their hearts and consciences in ways that only the greatest theater ever can.
"A drama of emotional power and impact" —New York Post