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Table of Contents

  1. "It will make us friends": Cultural Reconciliation in Tom Stoppard's Indian Ink
  2. Richard Rankin Russell
  3. pp. 1-18
  4. DOI: https://doi.org/10.1353/jml.2004.0079
  5. restricted access
  1. Writing Tom Stoppard
  2. Ira Bruce Nadel
  3. pp. 19-29
  4. DOI: https://doi.org/10.1353/jml.2004.0077
  5. restricted access
  1. "Am I no better than a eunuch?" Narrating Masculinity and Empire in Ford Madox Ford's The Good Soldier
  2. Karen A. Hoffmann
  3. pp. 30-46
  4. DOI: https://doi.org/10.1353/jml.2004.0075
  5. restricted access
  1. Zeppelin Fictions and the British Home Front
  2. Ariela Freedman
  3. pp. 47-62
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  1. Two Borrowings in Pat Barker's Regeneration
  2. Alistair M. Duckworth
  3. pp. 63-67
  4. DOI: https://doi.org/10.1353/jml.2004.0072
  5. restricted access
  1. Briony's Stand Against Oblivion: The Making of Fiction in Ian McEwan's Atonement
  2. Brian Finney
  3. pp. 68-82
  4. DOI: https://doi.org/10.1353/jml.2004.0073
  5. restricted access
  1. Death in Venice and the Aesthetic Correlative
  2. Gary Chase Johnson
  3. pp. 83-96
  4. DOI: https://doi.org/10.1353/jml.2004.0076
  5. restricted access
  1. "A Disgrace to the Map of Israel": The Wilderness Journey of the Citizen-Soldier in Amos Oz's A Perfect Peace
  2. Ranen Omer-Sherman
  3. pp. 97-114
  4. DOI: https://doi.org/10.1353/jml.2004.0078
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  1. (Fill-in-the) Blank Fiction: Dennis Cooper's Cinematics and the Complicitous Reader
  2. Michele Aaron
  3. pp. 115-127
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  1. Editor's Introduction: Writing Life/Writing Fiction
  2. Paula Marantz Cohen
  3. pp. v-vi
  4. DOI: https://doi.org/10.1353/jml.2004.0071
  5. restricted access
  1. Contributors
  3. pp. 128-129
  4. DOI: https://doi.org/10.1353/jml.2004.0069
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