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Misfit Forms re-interprets a series of choices that shaped the development of the British novel. Histories of the novel often situate the early nineteenth century as a culminating moment in the novel's “rise.” However, a look at the complicated junctions negotiated by the novel during the eighteenth century reveals not only achievements but also exclusions—paths less travelled. Pairing readings of novels by Defoe, Sterne, Gaskell, Hardy, and Charlotte Brontë with less familiar texts, including printer's manuals and grammar treatises, each chapter brings out an occluded mode. As argued in chapters 1 and 2, practices of typographical emphasis, and the correlated understanding of sensibility as sense-based communication of affect, offer different paradigms for relationship, desire, and pleasure than do the psychological idealizations of “transparent” typography and sympathetic identification. Chapter 3 shows that process-based cumulative narrative structures, declared primitive in relation to teleological plots, facilitate readerly pleasure in the representation of process, rather than subordinating means to ends. Chapter 4 argues that while most nineteenth-century novels privilege active curiosity and treat particulars as clues or signifiers, an alternative mode privileges passive wonder and presents particulars as singularities. Deleuze's theories of sexuality, minor language, singularity, and dynamic repetition help render these historical alternatives legible; they, in turn, invite us to reconstruct the novel's value as an arena for experience, as opposed to an epistemological tool.

Novel horizons analyses how narrative prose fiction developed during the English Restoration. It argues that following the reopening of the theatres in 1660, generic changes within dramatic texts occasioned an intense debate within prologues and introductions. This discussion about the poetics of a genre was echoed in the paratextual material of prose fictions: in translators’ introductions, authorial prefaces, and other accompanying material. In the absence of an official poetics that defined prose fiction, paratexts fulfilled this function and informed readers about the changing features of the budding genre. This study traces the piecemeal development of these generic boundaries and describes the generic competence of readers through the detailed analysis of paratexts and actual narrative prose fictions. Rather than trying to canonize individual Restoration novels, Novel horizons covers the surviving textual material widely, focusing on narrative prose fictions published between 1660 and 1710. Drawing on genre theories by Jacques Derrida and M.M. Bakhtin, the study follows an approach to genre that sees a textual corpus as an archive that projects into the future, thereby enabling later readers and writers to experiment with forms and themes. In addition to tracing the paratextual poetics of Restoration fiction, a substantial section of this book covers the state of the art of fiction-writing during the period. It discusses aspects such as character development, narrative point of view, and questions of fictionality and realism in order to describe how these features were first used in popular fiction at the time.

Today democracy has become fundamental. It extends increasingly deeply into everyday life; it grounds and limits our political thought and values. We can't think past or beyond it as a political or even as a social system. This is a sense in which we do indeed live at history's end. But this end is not a happy one, because the democratic system we now live in does not satisfy tests that we can legitimately put to it. In this situation, it is important to come to new terms with the fact that literature, at least until about 1945, was hostile to political democracy in particular. It continually attempted not just to resist democracy but to explore other ways of being democratic than those instituted politically. Today, Against Democracy argues, literature helps us not so much to imagine political and social possibilities beyond democracy as to understand how life might be lived simultaneously in and outside of democratic state capitalism. Drawing on political theory, intellectual history, and the techniques of close reading, Against Democracy offers new accounts of the ethos of refusing democracy, of literary criticism's contribution to that ethos, and of the history of conservative resistances to capitalism and democracy. It also proposes innovative interpretations of a range of writers, including Tocqueville, Disraeli, George Eliot, E. M. Forster, and Saul Bellow.

This book draws on Edward Said, Aamir Mufti, Jacques Derrida, and world-systems theory to address the institutionalized construct of “world literature” from its origins in Goethe and Marx to the present day.  It argues that through its history, this construct has served to incorporate if not annul local literatures and the concept of “local literature” itself, and to universalize the novel, the lyric poem, and the stage play as the only literary forms appropriate to modernity.  It demonstrates this thesis through a comparative reading of the reinscription of the classical Arabic-Islamic concept of “adab” as “literature” in the modern, European sense in Egypt, Turkey, and Iran in the 19^th to mid-20^th centuries.  It then turns to the Middle Eastern novel in the global contexts of its production, translation, circulation, and reception today.  Through new readings of novels and other literary works by Abdelrahman Munif, Naguib Mahfouz, Orhan Pamuk, Azar Nafisi, Yasmin Crowther, and Marjane Satrapi, and with reference to landmarks of Middle Eastern and world literary history ranging from the Mu‘allaqāt and Alf Layla wa Layla to Don Quixote, it argues that these texts—like “world literature” itself—are constitutively haunted by specters of the literary forms and traditions, of the life-worlds that they expressed, cast aside by modernity.  In the case of the Middle Eastern novel, it is adab and all that it encompassed in the classical Arab-Islamic world that is suppressed or othered, but that spectral, yet returns in new, genuinely worldly constellations of form.