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The act of writing and reading fiction is a search for its center, its hidden meaning. In writing, the author constructs every element, rendering trees, buildings, and people with the knowledge that the final landscape is more than the sum of its parts. The reader engages with these details, mundane or extraordinary, in pursuit of the fiction’s center, its hidden meaning. The tension between the described and the center is what makes reading fiction compelling. The thesis describes a fictional underground city through narrative. Like all fictions, the thesis is based on both the fantastic and the author’s own experiences. The reader is not told everything about the city. Much of it remains (both figuratively and literally) in the dark. It is in the gaps, the narrative leaps that the reader is intended to fill with his or her own experiences and imaginings. In this way, the thesis seeks to evoke both the fantastic and the personal. For each reader a different reaction - for each reader a different center. The underground city is harsh urban condition; intended to provoke. Its dystopian framework is inspired by the works of architects Antonio Sant’Elia, Utskin + Broensky, and Superstudio, among others. Through drawings and narrative, these architects challenged the architectural zeitgeist of their time. Their work continues to provide a basis for reflection by providing an alternative reality, a new frame of reference. Through the fantastic, the unbuilt, it is possible to come to a better understanding of our own architectural experiences. / 0 / SPK / specialcollections@tulane.edu

Rat Mouth is a collection of fictional stories that speak to the absurdity of girlhood. These stories focus on the precarious situations women are put into when their physical bodies are valued more than their internal lives. / Includes bibliography. / Thesis (MFA)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

Grapes hold the flavors of the lands where they grow, and when you make wine from them, those flavors of the land come through. Tasting wine from a place you've been can bring you back to that place with aromas and notes indicative of that place. A bottle of wine changes every day, and how it will taste depends on the moment you choose to release it from the glass walls. I have a vested interest in wine, because it is a living thing. I am compelled to make wine because its characteristics are like personality traits. Although some of those characteristics are harsh at times, I appreciate them all. Each trait plays an important role in the balance, the overall personality. Like my own personality flaws, wine's harsh tones can smooth over time. My relationship with wine is constantly evolving, with every new varietal, vintage, batch and blend. Believe me, after some of the jobs I had before my first day at Su Vino, I cherish every moment of my winemaking career. My Whine, Your Wine is the story of how it all started.

This thesis presents a short history and description of the gaucho of Argentina and explores some of the literature that portrays the gaucho way of life.

Terlingua includes a scholarly foreword on illusion and reality in the writing of fiction. Five short stories are contained in this thesis. "Terlingua" relates the story of two students on a road trip who give a ride to a mysterious woman. "Zoology" is the first person narrative of a zoology graduate who picks up a socialite. "What about Sonoma?" is the story of two misfits whose affair comes to an end. "Losing Ground" examines a couple's relationship that changes because of the man's bowling injury and the woman's unexpected pregnancy. "The Jury Remembers Everything" is about a woman who becomes hesitant to marry her fiancé when she learns her mother may have once run away with a mortician. "Losing Ground" is a drama, and the other four stories are comedies.

This thesis investigates the ways in which the crime novel genre has been taken up and adapted in order to depict and grapple with ideas of justice in selected postcolonial contexts. It approaches this investigation through the figure of the 'returnee detective' in these texts and determines how this recurring figure is used to mediate the reader's understanding of civil conflict in the postcolonial world. What makes this trope so noteworthy, and merits investigation, is the way in which guilt and innocence (and their attendant associations of self and other) are forced into realignment by the end of colonial rule and the rise of civil conflict. In the context of civil war, crime becomes more insidious and intimate than the traditional mystery motif will allow. The returnee detective furthers this breakdown by performing the role of hybrid mediator within the text. The returnee figure is at once strange and familiar, lacking both the staunch sense of identity that is necessary in order to maintain the mystery of the 'other' and the objectivity to comfortably apportion blame to one side. Postcolonial fictions of crime set in the context of civil conflict thus emerge as belonging to a distinct category requiring a distinct critical approach. The primary texts are When We Were Orphans by Kazuo Ishiguro, Anil's Ghost by Michael Ondaatje, The Long Night of White Chickens by Francisco Goldman, Red Dust by Gillian Slovo and Crossbones by Nuruddin Farah. My theoretical framework combines genre theory and postcolonial theory. By combining two critical strands I demonstrate that the intimacy of civil war and the returnees' ambivalent attitudes to home and away unsettle crime genre conventions, producing a new form that challenges notions of morality, legitimacy and culpability.

The purpose of this study is to analyze fifteen junior novels as to the nature of the literary experience they offer. Such an analysis becomes significant to the teacher of high school English in view of the fact that many junior novels are being published, and school libraries are stocking their shelves with them in increasing numbers. One librarian states that in her library the percentage of junior novels in the total collection as grown from 11.4% in 1951 to 58% in 1956. She also states that "the English teacher, who is less apt to think terms of circulation figures, may question the literary value of much of the current output." / Typescript. / "June, 1959." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Dwight L. Burton, Professor Directing Paper. / Includes bibliographical references (leaf 59).

Literary contests have been quite popular in recent years among American publishers. Regardless of their merits, such contests have raised two questions for librarians charged with responsibilities for book selection. The first is whether such award winners are of sufficient merit as to justify immediate purchase as a result of their being the recipients of the publisher's prizes, or whether such titles should have the same slow, careful screening that is set up by the library policy for other new titles. The second question is whether other titles by prize-winning authors could be justified for purchase on the grounds that the authors had been proved of merit in their production of prize-winners, or whether the works other than their prize novels should be subjected to closed scrutiny. For these questions there have been no ready answers. In order to help answer the above questions a study has been made of one publisher's contest, analyzing the Atlantic Novel Prize winners together with a brief survey of later works of the recipients of that award. This study will attempt to show how both the later books by the Atlantic authors and the prize novels have been received immediately by the reviewers and how they have stood the test of time as revealed by their presence or absence in the standard selection aid. / Typescript. / "February, 1958." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Ruth H. Rockwood, Professor Directing Paper. / Includes bibliographical references (leaves 67-73).

"In the process of book selection, literary award winners are given careful scrutiny, but a work should not be automatically selected simply because it has won an award. The librarian should familiarize himself with the background of the award-making bodies and should find out as much as possible about the quality and desirability of their selections. Careful attention should be given to the critics and other literary authorities in order to insure the most worthwhile and suitable additions to the collection. Such an endeavor is the purpose of this paper, which specifically is a consideration of the Pulitzer Prize novels covering the period from 1944 through 1959. The scope of the appraisal was limited to this period because there is a previous work, a master's thesis by Charlotte Georgi of the University of North Carolina, which treated the field of fiction from the first award through 1943. Thirteen prize-winners have been chosen during this period, there having been three years in which no award was given. Since fiction is in great demand, in many libraries, it was decided that a study of the most prestigious award given for fiction in this country would be both interesting and valuable to the writer and that it would be somewhat of an aid to public librarians in their selections for this area of the collection. That is, it is hoped that the appraisal of these novels will furnish standards for selecting fiction"--Introduction. / Typescript. / "June, 1960." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 63-67).