This thesis sees the literature about 'Mau Mau' as an ideal site for the examination of certain socially significant modes of interaction between 'nonfictional' discourses ('history', autobiography, 'social psychology' etc.) and fictional discourses (both 'serious' and 'popular'). It seeks to demonstrate some of the ways in which realist fiction'can be made to 'render visible' its constitutive invisible: i.e. to reveal the historical determinations of the particular configuration of (non-literary) ideological discourses which it 'works' to produce the representatlonalillusion. Part I consists of an Introduction which outlines the theory of ideology and the literary-critical theory informing the analYSis of the fiction. This is followed by an account of 'Mau Mau' as a historical phenomenon which examines available data relating to the 'causes' of the revolt, 'Mau Mau's' relationship to Kenya African Nationalism, the conduct of the campaign by both sides, and the social composition of the movement, and concludes with an account of various historical interpretations of 'Mau'Mau'. Part 11 consists of three chapters: the fi'rst attempts to. construct a general model of Kenyan colonial settler ideology (defined as a special variant of fascism); the second situates the colonial novels about 'Mau Mau' by Ruark, Huxley, Harding, Kaye, Sheraton, Stoneham and Thomas in relation to 'public' and 'pseudo-academic' articulations of this ideology; the third discusses a further group of novels -- by Cornish, Fazakerley, Target and Reid -- produced . in closer relationship with the dominant liberal ideology of the metropolis but all informed, to a greater or lesser extent, by the colonial mythology of 'Mau Mau'. Part III opens with a discussion of the social, political and economic factors determining the possible terrain of a 'new' dominant ideology appropriate to the neo-colonial conditions of post-Independence Kenya. There follows a chapter on novAls by Mwangi, Mangua and Wachira which are shown to have been produced within that dominant ideology and to have been significant attempts to give it 'concrete' fictional development. The final chapter examines the changing image of 'Mau Mau' in the fiction of Ngugi wa Thiong'o, focusing particular attention on A Grain of Wheat, which is seen as a 'crisis' text produced at a moment of transition between mutually exclusive problematics, and thus as an ideal site for an examination of.the 'dialectically productive' relationship between fiction and ideology.

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Press Anywhere is a collection of short stories that depicts the various inadequacies of the third millennium male. Each story concerns a man, a boy, or a family on the cusp of change. These characters, burdened by their family tragedies, try to shake off their histories and renew themselves. But, in one way or another, home always finds them. Set in a shared universe, some characters appear in multiple stories, including one boy who dreams of an unlikely superhero to save him from an abusive sibling, and a man determined to outlive a family curse.

Full is a novel.

Canary is a novel.

More Abundantly explores the complexities of addiction, pregnancy, and the search for personal salvation against the backdrop of a small Central Pennsylvania town. The novel weaves together the lives of Ruby Jean, a college student and part-time stripper grappling with an unexpected pregnancy, and a cast of characters each searching for their own form of redemption. / Master of Fine Arts / More Abundantly is a novel.

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1976. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 182-192).

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This collection consists of a critical preface and nine short stories. Extrapolating from the work and legacy of Michel Foucault, the preface theorizes a genre of “heterotopian fiction” as constitutive of a fundamentally ethical approach to narrative creativity, distinguishing its functional and methodological characteristics from works that privilege aesthetic, thematic, or technical artistry. The stories explore spaces of madness, alterity, incomprehensibility, and liminal experience. Collection includes the stories “Mexico,” “Civilizations without Boats,” The Widow’s Mother,” “Guys Like Us,” “Everything You’d Hoped It Would Be,” “A Concerned Friend,” “Crisis Hotline,” “Coast to Coast,” and “The Ghosts of Rich Men.”