spb/wp30_uqo

1{2  "document_id": "lb_hotpotqa_a7c311f9f6423063e02c8236bdd83cc8059fcb9fe78b4fff",3  "family": "public_hotpotqa",4  "split": "test",5  "text": "Passage 1:\nNoah's Compass\nNoah's Compass is a novel by Anne Tyler first published in 2009 about a solitary 60-year-old man trying to come to terms with his own life. Critics agree that in this, Tyler's 18th novel, the author again treads familiar territory by setting her novel in Baltimore and by following the life of an inconspicuous man who has never realised his full potential.\n\nPlot summary\nOn the surface, Liam Pennywell leads an ordered, decent life. Once widowed and once divorced, with three grown-up daughters, he has just been dismissed from his teaching job and, for lack of funds, has moved to a smaller apartment on the outskirts of Baltimore. Toying with the idea of retiring altogether rather than going job hunting at his age, Pennywell is assaulted by a burglar on the very first night he stays at his new place. When he wakes up in hospital with a bandaged head, he cannot remember a thing about the attack.\nThe loss of memory disturbs him more than the crime itself. In a neurologist's waiting room he observes 38-year-old Eunice accompanying an ageing entrepreneur to his doctor's appointment and finds out that she is working for him as a \"rememberer\" or, as she herself puts it later, the old man's \"external hard drive.\" Intrigued by this occupation, Pennywell contrives a chance encounter with her, and eventually they strike up a relationship with each other.\nComplications in their love affair arise when his youngest daughter, 17-year-old Kitty, decides to move in with him, obviously because she expects to be enjoying more freedom than if she stayed with her mother; and when his middle daughter Louise makes a habit of dumping his four-year-old grandson Jonah at Pennywell's apartment for him to babysit. On top of that, Eunice turns out to be a married woman who, after Pennywell has found out, still does not want to let go of him.\nIn the end the police arrest the burglar—a juvenile delinquent whose mother has the cheek to ask Pennywell to serve as a character witness at her son's forthcoming trial. By then, Pennywell has made up with his eldest daughter Xanthe, who was bearing an old grudge against her father, has got rid of Eunice, and has got settled in at his new apartment. Also, he has started working as a zayde for Jewish preschool children.\n\nTitle\nThe novel takes its title from a discussion Pennywell has with his grandson about whether Noah was steering his ark, or just bobbing up and down in the flood. \"Noah didn't need to figure out directions, because the whole world was underwater and so it made no difference,\" he tells Jonah. “There wasn't anywhere to go. He was just trying to stay afloat.\"\n\nReviews\nWilliam Boot: \"Do I Have to Read Noah's Compass?\", www.thedailybeast.com (23 January 2010).\nKathleen Byrne: \"Families, They Suck You Up\",  The Globe and Mail (29 January 2010).\nElizabeth Day: \"Anne Tyler's Noah's Compass, The Observer (16 August 2009).\nKathryn Harrison: \"The Memory Thief\", The New York Times (3 January 2010) BR10.\nYvonne Zipp: \"Noah's Compass\", The Christian Science Monitor (5 January 2010).\nLinks to more reviews at  www.reviewsofbooks.com.\n\nSee also\n2009 in literature\nPassage 2:\nStanley Elkin\nStanley Lawrence Elkin (May 11, 1930 – May 31, 1995) was an American novelist, short story writer, and essayist. His extravagant, satirical fiction revolves around American consumerism, popular culture, and male-female relationships.\n\nBiography\nElkin was born to a Jewish family in Brooklyn, New York, and grew up in Chicago from age three onwards. He did both his undergraduate and graduate work at the University of Illinois at Urbana–Champaign, receiving a bachelor's degree in English in 1952 and a Ph.D. in 1961 for his dissertation on William Faulkner. During this period he was drafted and served in the U.S. Army from 1955 to 1957. In 1953 Elkin married Joan Marion Jacobson. He was a member of the English faculty at Washington University in St. Louis from 1960 until his death, and battled multiple sclerosis for most of his adult life. In 1968, he signed the \"Writers and Editors War Tax Protest\" pledge, vowing to refuse tax payments in protest against the Vietnam War.During his career, Elkin published ten novels, two volumes of novellas, two books of short stories, a collection of essays, and one (unproduced) screenplay. Elkin's work revolves about American pop culture, which it portrays in innumerable darkly comic variations. Characters and especially prose style take full precedence over plot. His language is extravagant and exuberant, baroque and flowery, taking fantastic flight from his characters' endless patter. \"He was like a jazz artist who would go off on riffs,\" said critic William Gass. In a review of George Mills, Ralph B. Sipper wrote, \"Elkin's trademark is to tightrope his way from comedy to tragedy with hardly a slip.\" About the influence of ethnicity on his work Elkin said he admired most \"the writers who are stylists, Jewish or not. Bellow is a stylist, and he is Jewish. William Gass is a stylist, and he is not Jewish. What I go for in my work is language.\"\nAlthough living in the Midwest, Elkin spent his childhood and teenage summers in a bungalow colony called West Oakland, on the Ramapo River in northern New Jersey not far from Mahwah, the home of Joyce Kilmer. This was a refuge for a close-knit group of several score families, mostly Jewish, from the summer heat of New York City and urban New Jersey. Elkin's writings placed in New Jersey were informed by this experience.Elkin won the National Book Critics Circle Award on two occasions: for George Mills in 1982 and for Mrs. Ted Bliss, his last novel, in 1995. The MacGuffin was a finalist for the 1991 National Book Award for Fiction. However, although he enjoyed high critical praise, his books have never enjoyed popular success. The 1976 Jack Lemmon film Alex & the Gypsy was based on Elkin's novella \"The Bailbondsman\".\nElkin died May 31, 1995, of a heart attack, twenty days after his 65th birthday. His manuscripts and correspondence are archived in Olin Library at Washington University in St. Louis. Elkin's literary legacy is represented by the literary agency headed by Georges Borchardt.\nHe has a star on the St. Louis Walk of Fame.\n\nWorks\nNovels\nBoswell: A Modern Comedy (1964)\nA Bad Man (1967)\nThe Dick Gibson Show (1971)\nThe Franchiser (1976)\nThe Living End (novella) (1979) ISBN 978-0525070207\nGeorge Mills (1982)\nThe Magic Kingdom (1985)\nThe Rabbi of Lud (1987)\nThe MacGuffin (1991) ISBN 978-0671673246\nMrs. Ted Bliss (1995)\n\nStory collections\nCriers and Kibitzers, Kibitzers and Criers (1966)\nEarly Elkin (1985)\n\nNovella collections\nSearches and Seizures (1973) (U.K. title: Eligible Men (1974))\nVan Gogh's Room at Arles (1993)\n\nOther works\n\"A Prayer for Losers\", from the Why Work Series (edited by Gordon Lish) (1966)\nStanley Elkin's Greatest Hits (anthology; foreword by Robert Coover) (1980)\nThe Six-Year-Old Man (screenplay) (1987)\nPieces of Soap (collected essays) (1992)\n\nLimited editions\nThe First George Mills  (Part One of George Mills; 376 copies, all signed by Elkin and the illustrator, Jane E. Hughes) (1980)\nWhy I Live Where I Live (essay; 30 unnumbered copies) (1983)\nThe Coffee Room (radio play; 95 copies, all signed by Elkin and the illustrator, Michael McCurdy) (1987)\n\nAudio\n\"A Poetics for Bullies\", read by Jackson Beck, with comments by Elkin, in New Sounds in American Fiction, Program 10. (edited by Gordon Lish) (1969)\n\nAs editor\nStories From the Sixties (1971)\nThe Best American Short Stories 1980 (with Shannon Ravenel) (1980)\n\nAwards\n1995 – National Book Critics Circle Award for Mrs. Ted Bliss\n1994 – PEN Faulkner Award finalist for Van Gogh's Room at Arles\n1991 – National Book Award finalist for Fiction for The MacGuffin\n1982 – National Book Critics Circle Award for George Mills\nPassage 3:\nEarthly Possessions (novel)\nEarthly Possessions is a 1977 novel by Anne Tyler.  This, Tyler's seventh novel, followed Celestial Navigation and Searching for Caleb and preceded her award-winning novels Morgan's Passing, Dinner at the Homesick Restaurant, The Accidental Tourist, and Breathing Lessons.\n\nPlot\nThirty-five-year-old Charlotte Emory has felt trapped her whole life in Clarion, Maryland—first by her embarrassingly eccentric parents, then by her preacher-husband whom she married too young, and eventually by \"his variously afflicted brothers, a daughter who won't answer to her own name, a house full of refugees, an impossible clutter.\"  She finally decides to run away from it all, rid herself of her \"earthly possessions,\" and start over.  When she goes to the bank to withdraw funds for her escape, she gets taken hostage during a holdup.  Prison escapee Jake Simms forces Charlotte into a stolen car and they head for Florida.\n\"Earthly Possessions…contains a chilling portrait of a habitual criminal, Jake Simms, Jr., who blames every destructive and chaotic act of his own on someone else.  He kidnaps our heroine, the surpassingly amiable Charlotte Emory because while he was robbing a bank a bystander happened to produce a gun.  \"I could be clean free,\" he tells his victim, \"and you safe home with your kids by now if it wasn't for him.  Guy like that ought to be locked up.\"  As the chase continues, and the kidnapping lengthens into a kind of marriage, he persuades himself, \"it ain't me keeping you it's them.  If they would quit hounding me then we could go our separate ways…\"  This is perfect loser psychology, the mental technology of digging a bottomless pit; but Anne Tyler would have us believe that Jake is saved from falling in by the doll-like apparition of a wee seventeen-year-old girl he has impregnated, Mindy Callender.\"Jake Simms' mission—besides avoiding arrest—is to \"rescue\" Mindy from a \"home for wayward girls\" where she is preparing to have his child.  If Mindy is the essence of pure innocence, then Charlotte Emory is the earthbound mooring for this homeless couple—at least for a time.  One irony here is that, when she was taken hostage, Charlotte herself was in the process of withdrawing her savings to run away from her own family and home. This is not the first time Charlotte has intended to run away, with no real plan or expectations.  Charlotte has escaped one trap to find herself in another, but perhaps this \"adventure\" will provide her a new perspective.\n\nReviews\nIn 1977, John Leonard wrote, \"That part of Earthly Possessions spent on the road--gas stations and junk food--amounts to a Rabbit, Run without the Updike epiphanies. The rest is skillful flashback....I admit not being entirely sympathetic to the wry fatalism she proposes, to the notion that we travel enough in our heads to make leaving home almost redundant. Celestial Navigation (1974) and Searching for Caleb (1976) were more satisfying novels. But a taste of Anne Tyler, once acquired, is a splendid addiction.\"John Updike reviewed the novel in The New Yorker: \"Anne Tyler, in her seventh novel, 'Earthly Possessions', continues to demonstrate a remarkable talent and, for a writer of her acuity, an unusual temperament....Small towns and pinched minds hold room enough for her; she is at peace in the semi-countrified, semi-plasticized northern-Southern America where she and her characters live.  Out of this peace flow her unmistakable strengths—serene firm tone; her smoothly spun plots; her apparently inexhaustible access to the personalities of her imagining; her infectious delight in \"the smell of beautiful, everyday life\"; her lack of any trace of intellectual or political condescension—and her one possible weakness: a tendency to leave the reader just where she found him....Charlotte Emory...belongs to what is becoming a familiar class of Anne Tyler heroines: women admirably active in the details of living yet alarmingly passive in the large curve of their lives—riders on male-generated events, who nevertheless give those events a certain blessing, a certain feasibility.\"\n\nAdaptation for TV\nEarthly Possessions (TV) (1999) stars Susan Sarandon, Stephen Dorff, and Elisabeth Moss.  \"The eventual romance [between Jake and Charlotte is] an element invented for the movie. [It] doesn't disrupt the original sentiment of the story, but could easily have been left out without compromising the emotional development of the characters.\"\nPassage 4:\nSearching for Caleb\nSearching for Caleb is Anne Tyler's sixth novel.  It was originally published by Alfred A. Knopf in 1975.\n\nBook Description\nFrom The Boston Globe\nDuncan Peck has a fascination for randomness and is always taking his family on the move. His wife, Justine, is a fortune teller who can't remember the past. Her grandfather, Daniel, longs to find the brother who walked out of his life in 1912, with nothing more than a fiddle in his hand. All three are taking journeys that lead back to the family's deepest roots...to a place where rebellion and acceptance have the haunting power to merge into one....\n\nFrom the back of the April 1983 Berkley paperback edition\n\"Here is the heartbreaking and hilarious story of the Peck family - and a young woman's search for freedom, which leads her to the family's deepest roots.  From the ragtime era at the end of the 19th century to the years of change in the mid-1970s, it is about growing up and breaking away, rebellion and acceptance.  It is a haunting, human story that will live in your heart forever...\"\n\nFrom a 1976 review by Katha Pollitt in the New York Times\n\"When Duncan marries his cousin Justine, hitherto an ardent Peck, she begins to discover her own thirst for adventure.  For years the two careen through the small towns of Maryland and Virginia as Duncan quits one makeshift job for another…. Justine is pulled both forward and back: an amateur teller of fortunes who advises her clients always to go along with change, she remains in thrall to her own childhood.  And so, when Daniel decides to find his lost brother, Justine is the one who joins him.  For the old man the quest is a way of recapturing the past, but for Justine it becomes a search for the self she has mislaid.  The outcome is marvelously ironic, since the answers to her questions are themselves enigmatic.  Yet she emerges triumphant, her own woman at last.\"\n\nReviews\nIn his 1976 review in The New Yorker, John Updike wrote, “Funny and lyric and true, exquisite in its details and ambitious in its design…This writer is not merely good, she is wickedly good.”Katha Pollitt praised: \"Less perfectly realized than Celestial Navigation, her extraordinarily moving and beautiful last novel,Searching for Caleb is Tyler’s sunniest, most expansive book.  While etching with a fine, sharp wit the narrow-mindedness and pettishness of the Pecks, she lavishes on them a tenderness that lifts them above satire….Reading “Searching for Caleb,” one is constantly being startled by…gestures, words, wrinkles of thought and feeling that are at once revelatory and exactly right.  But at the center of Tyler’s characters is a private, mysterious core which is left, wisely, inviolate.  Ultimately this wisdom is what makes Tyler more than a fine craftsman of realistic novels.  Her complex, crotchety inventions surprise us, but one senses they surprise her too.\"\nPassage 5:\nAnne Tyler\nAnne Tyler (born October 25, 1941) is an American novelist, short story writer, and literary critic.  She has published twenty-four novels, including Dinner at the Homesick Restaurant (1982), The Accidental Tourist (1985), and Breathing Lessons (1988).  All three were finalists for the Pulitzer Prize for Fiction, and Breathing Lessons won the prize in 1989.  She has also won the Janet Heidinger Kafka Prize, the Ambassador Book Award, and the National Book Critics Circle Award.  In 2012 she was awarded The Sunday Times Award for Literary Excellence.  Tyler's twentieth novel, A Spool of Blue Thread, was shortlisted for the Man Booker Prize in 2015, and Redhead By the Side of the Road was longlisted for the same award in 2020. She is recognized for her fully developed characters, her \"brilliantly imagined and absolutely accurate detail\", her \"rigorous and artful style\", and her \"astute and open language.\"Tyler has been compared to John Updike, Jane Austen, and Eudora Welty, among others.\n\nEarly life and education\nEarly childhood\nThe oldest of four children, she was born in Minneapolis, Minnesota. Her father, Lloyd Parry Tyler, was an industrial chemist and her mother, Phyllis Mahon Tyler, a social worker.  Both her parents were Quakers who were very active with social causes in the Midwest and the South. Her family lived in a succession of Quaker communities in the South until they settled in 1948 in a Quaker commune in Celo, in the mountains of North Carolina near Burnsville. The Celo Community settlement was populated largely by conscientious objectors and members of the liberal Hicksite branch of the Society of Friends.  Tyler lived there from age seven through eleven and helped her parents and others care for livestock and organic farming.  While she did not attend formal public school in Celo, lessons were taught in art, carpentry, and cooking in homes and in other subjects in a tiny school house.  Her early informal training was supplemented by correspondence school.Her first memory of her own creative story-telling was of crawling under the bed covers at age three and \"telling myself stories in order to get to sleep at night.\"  Her first book at age seven was a collection of drawings and stories about \"lucky girls ... who got to go west in covered wagons.\" Her favorite book as a child was The Little House by Virginia Lee Burton.  Tyler acknowledges that this book, which she read many times during this period of limited access to books, had a profound influence on her, showing \"how the years flowed by, people altered, and nothing could ever stay the same.\" This early perception of changes over time is a theme that reappears in many of her novels decades later, just as The Little House itself appears in her novel Dinner at the Homesick Restaurant.  Tyler also describes reading Little Women 22 times as a child. When the Tyler family left Celo after four years to move to Raleigh, North Carolina, eleven-year-old Tyler had never attended public school and never used a telephone.  This unorthodox upbringing enabled her to view \"the normal world with a certain amount of distance and surprise.\"\n\nRaleigh, North Carolina\nTyler felt herself to be an outsider in the public schools she attended in Raleigh, a feeling that has followed her most of her life.  She believes that this sense of being an outsider has contributed to her becoming a writer: \"I believe that any kind of setting-apart situation will do [to become a writer].  In my case, it was emerging from the commune ... and trying to fit into the outside world.\" Despite her lack of public schooling prior to age eleven, Anne entered school academically well ahead of most of her classmates in Raleigh.  With access now to libraries, she discovered Eudora Welty, Gabriel García Márquez, F. Scott Fitzgerald, and many others.  Eudora Welty remains one of her favorite writers, and The Wide Net and Other Stories is one of her favorite books; she has called Welty \"my crowning influence.\" She credits Welty with showing her that books could be about the everyday details of life, not just about major events.  During her years at Needham B. Broughton High School in Raleigh, she was inspired and encouraged by a remarkable English teacher, Phyllis Peacock. \"Mrs. Peacock\" had previously taught the writer Reynolds Price, under whom Tyler would later study at Duke University.  Peacock would also later teach the writer Armistead Maupin.  Seven years after high school, Tyler would dedicate her first published novel to \"Mrs. Peacock, for everything you've done.\"\n\nDuke and Columbia Universities\nWhen Tyler graduated from high school at age sixteen, she wanted to attend Swarthmore College, a school founded in 1860 by the Hicksite branch of the Society of Friends.  However, she had won a full AB Duke scholarship to Duke University, and her parents pressured her to go to Duke because they needed to save money for the education of her three younger brothers.  At Duke, Tyler enrolled in Reynolds Price's first creative writing class, which also included a future poet, Fred Chappell.  Price was most impressed with the sixteen-year-old Tyler, describing her as \"frighteningly mature for 16,\" \"wide-eyed,\" and \"an outsider.\" Years later Price would describe Tyler as \"one of the best novelists alive in the world, ... who was almost as good a writer at 16 as she is now.\" Tyler took an additional creative writing course with Price and also studied under William Blackburn, who also had taught William Styron, Josephine Humphreys, and James Applewhite at Duke, as well as Price and Chappell.As a college student, Tyler had not yet determined she wanted to become a writer.  She loved painting and the visual arts.  She also was involved in the drama society in high school and at Duke, where she acted in a number of plays, playing Laura in The Glass Menagerie and Mrs. Gibbs in Our Town. She majored in Russian Literature at Duke—not English—and graduated in 1961, at age nineteen, having been inducted into Phi Beta Kappa.  With her Russian Literature background she received a fellowship to graduate school in Slavic Studies at Columbia University.Living in New York City was quite an adjustment for her.  There she became somewhat addicted to riding trains and subways: \"While I rode I often felt like I was ... an enormous eye taking things in, turning them over and sorting them out ... writing was the only way\" [to express her observations]. Tyler left Columbia graduate school after a year, having completed course work but not her master's thesis.  She returned to Duke, where she got a job in the library as a Russian bibliographer. It was there that she met Taghi Modarressi, a resident in child psychiatry in Duke Medical School and a writer himself, and they were married a year later (1963).\n\nCareer\nEarly writing and first publications\nWhile an undergraduate at Duke, Tyler published her short story \"Laura\" in the Duke literary journal Archive, for which she won the newly created Anne Flexner award for creative writing. In college and prior to her marriage, she wrote many short stories, one of which impressed Reynolds Price so that he later stated that it was the \"most finished, most accomplished short story I have ever received from an undergraduate in my thirty years of teaching.\"  \"The Saints in Caesar's Household\" was published in Archive also and won her a second Anne Flexner award.  This short story led to her meeting Diarmuid Russell, to whom Price had sent it with kudos.  Russell, who was an agent for both Reynolds Price and for Tyler's \"crowning influence\" Eudora Welty, later became Tyler's agent.While working at the Duke library—before and after marrying Modarressi—Tyler did continue to write short stories and started work on her first novel, If Morning Ever Comes.  During this period her short stories appeared in The New Yorker, The Saturday Evening Post, and Harpers.  After the couple moved to Montreal—Modarressi's U. S. visa had expired and they moved there so he could finish his residency—Tyler continued writing while looking for work.  Her first novel was published in 1964 and The Tin Can Tree was published the next year.  Years later she disowned both of these novels, as well as many of the short stories she wrote during this period.  She has even written that she \"would like to burn them.\"  She feels that most of this early work suffers from the lack of thorough character development and her failure to rework material repeatedly.\n\nA hiatus from writing: having babies, raising children—1965 to 1970\nIn 1965 (age 24), Tyler had her first child, a daughter they named Tezh.  Two years later a second daughter, Mitra, was born.  About this time, the couple moved to Baltimore, MD as Taghi had finished his residency and obtained a position at the University of Maryland Medical School. With the moves, the changes in jobs, and the raising of two young children, Tyler had little time or energy for writing and published nothing between 1965 and 1970. She settled comfortably in the city of Baltimore where she has remained and where she has set most of her subsequent novels.  Baltimore is generally considered to have a true mix of Southern and Northern culture. It also is an area of considerable Quaker presence, and Tyler eventually enrolled both her daughters in a local Friends school.  During this period she began writing literary reviews for journals, newspapers, etc. to provide the family with additional income; she would continue this employment until the late 1980s, writing approximately 250 reviews in total.  While this period was not productive for her writing career, Tyler does feel that this time enriched her spirit and her experience and in turn gave her subsequent writing greater depth, as she had \"more of a self to speak from.\"\n\nGrowing recognition as a novelist—1970 to 1980\nTyler began writing again in 1970 and had published three more novels by 1974—A Slipping-Down Life, The Clock Winder, and Celestial Navigation.  In her own opinion, her writing improved considerably during this period; with her children entering school, she was able to devote a great deal more focus to it than had been possible since she graduated from Duke.  With Celestial Navigation, Tyler began to get national recognition: Gail Godwin gave it a very favorable review in the New York Times Review of Books. While she is not proud of her first four novels, Tyler considers this fifth novel one of her favorites.  It was a difficult book to write she notes, since it required rewriting draft after draft to truly develop her understanding of the characters. John Updike gave a favorable review to her next novel, Searching for Caleb, writing: \"Funny and lyric and true, exquisite in its details and ambitious in its design ... This writer is not merely good, she is wickedly good.\" Afterwards he proceeded to take an interest in her work and reviewed her next four novels as well. Morgan's Passing (1980) won the Janet Heidinger Kafka Prize for Fiction and was nominated for both the American Book Awards and the National Book Critics Circle Award. Joyce Carol Oates gave it good review in Mademoiselle: \"Fascinating ... So unconventional a love story that it appears to take its protagonists themselves by surprise.\"\n\nNational recognition achieved\nWith her next novel, Tyler truly arrived as a recognized artist in the literary world. Tyler's ninth novel, Dinner at the Homesick Restaurant, which she considers her best work, was a finalist for the Pulitzer Prize, PEN/Faulkner Award, and the American Book Award for Fiction in 1983.  In his review in The New Yorker, John Updike wrote, \"Her art needed only the darkening that would give her beautifully shaped sketches solidity ... In her ninth novel, she has arrived at a new level of power.\" Her tenth novel, The Accidental Tourist, was awarded the National Book Critics Circle Award for Fiction in 1985, the Ambassador Book Award for Fiction in 1986, and was a finalist for the Pulitzer Prize in 1986. It was also made into a 1988 movie starring William Hurt and Geena Davis. The critical and commercial success of the film further increased the public awareness of her work.  Her 11th novel, Breathing Lessons, received the Pulitzer Prize for Fiction in 1989 and was Time magazine's \"Book of the Year\".  It was adapted into a 1994 TV movie, as eventually were four other of her novels.Since her Pulitzer Prize with Breathing Lessons, Tyler has written 13 more novels; many have been Book of the Month Club Main Selections and have become New York Times Bestsellers. Ladder of Years was chosen by Time as one of the ten best books of 1995.  A Patchwork Planet was a New York Times Notable Book (1999).  Saint Maybe (1991) and Back When We Were Grownups (2001) were adapted into TV movies in 1998 and 2004, respectively. In her 2006 novel Digging to America, she explored how an immigrant from Iran, who has lived in the U. S. for 35 years, deals with her \"outsiderness,\" perspectives with which Tyler is familiar due to her marriage to Iranian psychiatrist Taghi Mohammad Modarressi.\nIn addition to her novels, Tyler has published short stories in The New Yorker, The Saturday Evening Post, Redbook, McCall's, and Harper's, but they have never been published as a collection.  Her stories include \"Average Waves in Unprotected Waters\" (1977), \"Holding Things Together\" (1977), and \"Teenage Wasteland\" (1983).  Between 1983 and 1996, she edited three anthologies: The Best American Short Stories 1983, Best of the South, and Best of the South: The Best of the Second Decade.\n\nPersonal life\nIn 1963, Tyler married Iranian psychiatrist and novelist Taghi Mohammad Modarressi. Modarressi, 10 years her senior, had left Iran and his family as a political refugee at age 25. After a year and a half internship in Wichita, Kansas, he obtained a residency in child psychiatry at Duke University Medical School. There he met Tyler and discovered their common interest in literature. Modarressi had written two award-winning novels in Persian and so was quite an accomplished writer himself. He later wrote three more novels, two of which Tyler helped to translate to English (The Book of Absent People and The Pilgrim's Rules of Etiquette). In the 1980s, Modarressi founded the Center for Infant Study in Baltimore and the Cold Spring Family Center Therapeutic Nursery in Pimlico, Maryland, which dealt with children who had experienced emotional trauma.  Modarressi died in 1997 at the age of 65, from lymphoma.\nTyler and Modarressi had two daughters, Tezh and Mitra. Both share their mother's interest in, and talent for, painting. Tezh is a professional photographer, and an artist who works primarily in oils,  who painted the cover of her mother's novel, Ladder of Years. Mitra is a professional illustrator working primarily in watercolors. She has illustrated seven books, including two children's books co-authored with Tyler (Tumble Tower and Timothy Tugbottom Says No!).Tyler resides in the Roland Park neighborhood of Baltimore, Maryland, where most of her novels are set.  Today tourists can even take an \"Anne Tyler tour\" of the area.  For some time she was noteworthy among contemporary best-selling novelists, for she rarely granted face-to-face interviews nor did book tours nor made other public appearances.  In 2012 she broke with this policy and gave her first face-to-face interview in almost 40 years; subsequently, Mark Lawson interviewed her on BBC Radio in 2013 about her approach to writing. In 2015, she discussed her 20th novel, A Spool of Blue Thread, in a live radio interview with Diane Rehm and callers on The Diane Rehm Show.\n\nWriting style, influences, and philosophy\nTyler's novels have been reviewed and analyzed by numerous fellow authors, scholars and professional critics. The summary that follows of the nature of her work relies upon selected descriptions and insights by a limited number of the many distinguished literati who have reviewed her works.  Also Tyler herself has revealed much about her own writing through interviews.  Although she has refused to participate in face-to-face interviews until very recently, she has participated in numerous e-mail interviews over the years.  These e-mail interviews have provided material for biographies, journal articles, reader's guides, and instructional materials.\n\nClassification of her literature\nTyler has occasionally been classified as a \"Southern author\" or a \"modern American author.\"  The Southern category apparently results from the fact that she grew up and went to college in the South.  Also she admired and/or studied under well-known Southern authors Eudora Welty and Reynolds Price. In a rare interview with The New York Times, Tyler cited Eudora Welty as a major literary influence: \"Reading Eudora Welty when I was growing up showed me that very small things are often really larger than the large things\".  However, poet and author Katha Pollitt notes, \"It is hard to classify Anne Tyler's novels.  They are Southern in their sure sense of family and place but lack the taste for violence and the Gothic that often characterizes self-consciously southern literature.  They are modern in their fictional techniques, yet utterly unconcerned with contemporary moment as a subject, so that, with only minor dislocations, her stories could just as well have taken place in twenties or thirties.\"It is also difficult to classify Tyler in terms of themes; as she herself notes, \"I don't think of my work in terms of themes.  I'm just trying to tell a story.\"  Tyler goes on to say, \"Any large 'questions of life' that emerge in my novels are accidental—not a reason for writing the novel in the first place but either (1) questions that absorb my characters, quite apart from me, or (2) on occasion, questions that may be thematic to my own life at the moment, even if I'm not entirely aware of them. Answers, if they come, come from the characters' experiences, not from mine, and I often find myself viewing those answers with a sort of distant, bemused surprise.\"\n\nCharacters and detailed descriptions\nIn Tyler's works, the characters are the driving forces behind the stories and the starting point for her writing:  \"I do make a point of writing down every imaginable facet of my characters before I begin a book, trying to get to know them so I can figure out how they'll react in any situation ... My reason for writing now is to live lives other than my own, and I do that by burrowing deeper and deeper ... till I reach the center of those lives.\"The magic of her novels starts with her ability to create those characters in the reader's mind through the use of remarkably realistic details.  As early as 1976, Pollitt described her skill in this way: \"Tyler [is] polishing brighter and brighter a craft many novelists no longer deem essential to their purpose: the unfolding of character through brilliantly imagined and absolutely accurate detail.\"  Twelve years later, Michiko Kakutani, in her review of Breathing Lessons, extolled \"her ability to select details that reveal precisely how her characters feel and think\" and her \"gift for sympathy, for presenting each character's case with humor and compassion.\"  Kakutani later went on to note that \"each character in Saint Maybe has been fully rendered, fleshed out with a palpable interior life, and each has been fit, like a hand-sawed jigsaw-puzzle piece, into the matrix of family life.\" Carol Shields, also writing about her characters, observes: \"Tyler has always put her characters to work. Their often humble or eccentric occupations, carefully observed and threaded with humor, are tightly sewn to the other parts of their lives, offering them the mixed benefit of tedium and consolation, as well as a lighted stage for the unfolding of their dramatic selves. She also allows her men and women an opportunity for redemption.\"Tyler has clearly spelled out the importance of her characters to her stories:  \"As far as I'm concerned, character is everything. I never did see why I have to throw in a plot, too.\"  In an earlier (1977) interview, she stated that \"the real joy of writing is how people can surprise one. My people wander around my study until the novel is done. It's one reason I'm very careful not to write about people I don't like. If I find somebody creeping in that I'm not really fond of, I usually take him out.\"  Pollitt had even earlier noted how Tyler's characters seem to take on a life of their own that she doesn't seem to totally control: \"Her complex, crotchety inventions surprise us, but one senses they surprise her too.\"\n\nRealism through details\nJust as Tyler is difficult to categorize as a novelist, it is also challenging to label her style. Novelist Cathleen Schine describes how her \"style without a style\" manages to pull the reader into the story: \"So rigorous and artful is the style without a style, so measured and delicate is each observation, so complex is the structure and so astute and open the language, that the reader can relax, feel secure in the narrative and experience the work as something real and natural -- even inevitable.\"  The San Francisco Chronicle made a similar point: \"One does not so much read a Tyler novel as visit it. Her ability to conduct several conversations at once while getting the food to the table turns the act of reading into a kind of transport.\"  Reviewer Tom Shone put it this way: \"You're involved before you ever notice you were paying attention.\" Joyce Carol Oates, in her review of The Amateur Marriage, perhaps described the phenomenon best: \"When the realistic novel works its magic, you won't simply have read about the experiences of fictitious characters, you will have seemed to have lived them; your knowledge of their lives transcends their own, for they can only live in chronological time. The experience of reading such fiction when it's carefully composed can be breathtaking, like being given the magical power of reliving passages of our own lives, indecipherable at the time of being lived.\"\n\nFocus on family and marriage\nWhile Tyler herself does not like to think of her novels in terms of themes, numerous reviewers and scholars have noted the importance of family and marriage relationships to her characters and stories. Liesl Schillinger summarized: \"Taken together, the distinct but overlapping worlds of her novels have formed a Sensurround literary record of the 20th century American family—or, at least, of the proud but troubled archetypal families that ... interested her most.\" New York Times critic Michiko Kakutani has been reviewing Tyler's novels for over 25 years. She has frequently noted Tyler's themes with regard to family and marriage. Reviewing Noah's Compass, Kakutani states that \"the central concern of most of this author's characters has always been their need to define themselves in terms of family — the degree to which they see themselves as creatures shaped by genetics, childhood memories and parental and spousal expectations, and the degree to which they are driven to embrace independent identities of their own.\". This is an example of where Anne Tyler got some of her characteristics from, being able to be independent and get to know herself through her writing.\nReviewing Saint Maybe, Jay Parini describes how Tyler's characters must deal with \"Ms. Tyler's oddball families, which any self-respecting therapist would call 'dysfunctional' ...  An inexplicable centripetal force hurls these relatives upon one another, catches them in a dizzying inward spiral of obligation, affection and old-fashioned guilt—as well as an inexpressible longing for some perfect or \"normal\" family in a distant past that never really was.  Almost every novel by Anne Tyler begins with a loss or absence that reactivates in the family some primordial sense of itself.\" Larry McMurtry wrote, \"in book after book, siblings are drawn inexorably back home, as if their parents or (more often) grandparents had planted tiny magnets in them which can be activated once they have seen what the extrafamilial world is like. ... sooner or later a need to be with people who are really familiar – their brothers and sisters – overwhelms them.\"Novelist Julia Glass has similarly written about Tyler's characters' families: \"What makes each story distinctive is the particular way its characters rebel against hereditary confines, cope with fateful crises or forge relationships with new acquaintances who rock their world.\"  In the same way, Glass mentions the frequent role of marriage struggles in her work: \"Once again, Tyler exhibits her genius for the incisive, savory portrayal of marriage, of the countless perverse ways in which two individuals sustain a shared existence.\"  McMurtry puts it this way, \"The fates of [Tyler's] families hinge on long struggles between semiattentive males and semiobsessed females. In her patient investigation of such struggles, Miss Tyler has produced a very satisfying body of fiction.\n\nPassage of time and the role of small, chance events\nThe role of the passage of time and its impact on Tyler's characters is always present.  The stories in many of her novels span decades, if only by flashbacks.  Joyce Carol Oates emphasized the role of time in this manner: \"[Tyler's novels] move at times as if plotless in the meandering drift of actual life, it is time itself that constitutes \"plot\": meaning is revealed through a doubling-back upon time in flashes of accumulated memory, those heightened moments which James Joyce aptly called epiphanies. The minutiae of family life can yield a startling significance seen from the right perspective, as Tyler shows us.\"  With regard to those minutiae, Tyler herself comments: \"As for huge events vs. small events: I believe they all count.  They all reveal character, which is the factor that most concerns me ... It does fascinate me, though, that small details can be so meaningful.\"Kakutani described Saint Maybe in a similar manner: \"Moving back and forth among the points of view of various characters, Ms. Tyler traces two decades in the lives of the Bedloes, showing us the large and small events that shape family members' lives and the almost imperceptible ways in which feelings of familial love and obligation mutate over the years.\"  Again in her review of Breathing Lessons, Kakutani perceives that \"she is able, with her usual grace and magnanimity, to chronicle the ever-shifting covenants made by parents and children, husbands and wives, and in doing so, to depict both the losses – and redemptions – wrought by the passage of time.\"\nTyler herself further weighs in upon how small events can impact relationships: \"I love to think about chance -- about how one little overheard word, one pebble in a shoe, can change the universe ... The real heroes to me in my books are first the ones who manage to endure.\"\n\nCriticism\nTyler is not without her critics.  The most common criticism is that her works are \"sentimental,\" \"sweet,\" and \"charming and cosy.\"  John Blades, literary critic for the Chicago Tribune, skewered The Accidental Tourist (as well as all her earlier novels) as \"artificially sweet\" and \"unrealistic.\"  The Observer's Adam Mars-Jones stated, in his review of The Amateur Marriage: \"Tyler seems to be offering milk and cookies.\"  Kakutani has also occasionally bemoaned a \"cloying cuteness,\" noting that \"her novels—with their eccentric heroes, their homespun details, their improbable, often heartwarming plots—have often flirted with cuteness.\"In a 2012 interview, Tyler responded to such criticisms: \"For one thing I think it is sort of true. I would say piss and vinegar for [Philip] Roth and for me milk and cookies. I can't deny it ... [However] there's more edge under some of my soft language than people realize.\"  Because almost all of Tyler's work covers the same territory—family and marriage relationships—and are located in the same setting, she has come under criticism for being repetitive and formulaic.  Reviewing The Patchwork Planet, Kakutani states: \"Ms. Tyler's earlier characters tended to be situated within a thick matrix of finely nuanced familial relationships that helped define both their dreams and their limitations; the people in this novel, in contrast, seem much more like lone wolves, pulled this way and that by the author's puppet strings ... Ms. Tyler's famous ability to limn the daily minutiae of life also feels weary and formulaic this time around ... As for the little details Ms. Tyler sprinkles over her story ... they, too, have a paint-by-numbers touch. They add up to a patchwork novel that feels hokey, mechanical ... and yes, too cute.Tyler has also been criticized for her male characters' \"Sad Sack\" nature and their \"lack of testosterone.\"  Tyler has disagreed with this criticism: \"Oh that always bothers me so much.  I don't think they are wimps.  People are always saying we understand you write about quirky characters, and I think, isn't everybody quirky? If you look very closely at anybody you'll find impediments, women and men both.\"\n\nWork habits\nOver the last couple of decades, Tyler has been quite forthcoming about her work habits—both in written articles and in interviews.  She is very disciplined and consistent about her work schedule and environment.  She starts work in the early morning and generally works until 2 pm.  Since she moved to the Roland Park neighborhood of Baltimore, she has used a small, orderly corner room in her house, where the only distractions are the sounds of \"children playing outside and birds.\"  She has noted that at the beginning of her day, taking the first step—that is, entering her corner room—can be difficult and daunting.  She begins her writing by reviewing her previous days' work and then by sitting and staring off into space for a time.  She describes this phase of writing as an \"extension of daydreaming,\" and it focuses on her characters.Over the years Tyler has kept files of note cards in which ideas and observations have been recorded.  Characters, descriptions, and scenes often emerge from these notes.  She says the act of putting words to paper for her is a \"very mechanical process,\" involving a number of steps: (1) writing first in long hand on unlined paper, (2) revising long hand versions, (3) typing the entire manuscript, (4) re-writing in long hand, (5) reading into a tape-recorder while listening for \"false notes,\" (6) playing back into a stenographer's machine using the pause button to enter changes.  She can be quite organized, going so far as to map out floor plans of houses and to outline the chronology of all the characters in a given novel.In 2013, Tyler gave the following advice to beginning writers: \"They should run out and buy the works of Erving Goffman, the sociologist who studied the meaning of gesture in personal interactions.  I have cause to think about Erving Goffman nearly every day of my life, every time I see people do something unconscious that reveals more than they'll ever know about their interiors.  Aren't human beings intriguing? I could go on writing about them forever.\"\n\nBibliography\nNovels\nIf Morning Ever Comes (1964)\nThe Tin Can Tree (1965)\nA Slipping-Down Life (1970)\nThe Clock Winder (1972)\nCelestial Navigation (1974)\nSearching for Caleb (1975)\nEarthly Possessions (1977)\nMorgan's Passing (1980)\nDinner at the Homesick Restaurant (1982)\nThe Accidental Tourist (1985)\nBreathing Lessons (1988)\nSaint Maybe (1991)\nLadder of Years (1995)\nA Patchwork Planet (1998)\nBack When We Were Grownups (2001)\nThe Amateur Marriage (2004)\nDigging to America (2006)\nNoah's Compass (2009)\nThe Beginner's Goodbye (2012)\nA Spool of Blue Thread (2015)\nVinegar Girl (2016)\nClock Dance (2018)\nRedhead by the Side of the Road (2020)\nFrench Braid (2022)\n\nOther\nTumble Tower (1993) A children's book illustrated by her daughter Mitra Modarressi\nTimothy Tugbottom Says No! (2005) A children's book illustrated by Mitra Modarressi\n\nUncollected stories\nAlthough Tyler's short stories have been published in The New Yorker, The Saturday Evening Post, Redbook, McCall's, and Harper's, they have not been published as a collection. Her stories include:\n\n\"A Street of Bugles,\" The Saturday Evening Post, November 30, 1963\n\"Dry Water,\" The Southern Review, Spring 1965\n\"I'm Not Going to Ask You Again,\" Harper's, September 1965\n\"As the Earth Gets Old,\" The New Yorker, October 29, 1966\n\"The Genuine Fur Eyelashes,\" Mademoiselle, January 1967\n\"The Tea-Machine,\" The Southern Review, Winter 1967\n\"The Feather Behind the Rock,\" The New Yorker, August 12, 1967\n\"Who Would Want a Little Boy?\" Ladies Home Journal, May 1968\n\"The Common Courtesies,\" McCall's, June 1968—and The O. Henry Prize Stories 1969\n\"With All Flags Flying,\" Redbook, June 1971—and The O. Henry Prize Stories 1972\n\"Spending,\" Shenandoah, Winter 1973\n\"The Base-Metal Egg,\" The Southern Review, Summer 1973\n\"Neutral Ground,\" Family Circle, November 1974\n\"Half-Truths and Semi-Miracles,\" Cosmopolitan, December 1974\n\"A Knack for Languages,\" The New Yorker, January 13, 1975\n\"The Artificial Family,\" The Southern Review, Summer 1975\n\"The Geologist's Maid,\" The New Yorker, July 28, 1975\n\"Some Sign That I Ever Made You Happy,\" McCall's, October 1975\n\"Your Place Is Empty,\" The New Yorker, November 22, 1976—and Best American Short Stories 1977\n\"Holding Things Together\", The New Yorker, January 24, 1977\n\"Average Waves in Unprotected Waters,\" The New Yorker, February 28, 1977\n\"Foot-Footing On,\" Mademoiselle, November 1977\n\"Uncle Ahmad,\" Quest, November–December 1977\n\"Teenage Wasteland,\" Seventeen, (1983)\n\nFilm adaptations\nThe Accidental Tourist (1988)\nBreathing Lessons (TV) (1994)\nSaint Maybe (TV) (1998)\nA Slipping-Down Life (1999)\nEarthly Possessions (TV) (1999)\nBack When We Were Grownups (TV) (2004)\n\nAwards\nTyler has been a member of the American Academy of Arts and Letters since 1983.for Morgan's Passing (1980):\n\nJanet Heidinger Kafka Prize for Fiction\nnominated, American Book Award for Fiction\nnominated, National Book Critics Circle Award for Fictionfor Dinner at the Homesick Restaurant (1982):\n\nFinalist, Pulitzer Prize for Fiction\nFinalist, PEN/Faulkner Award\nFinalist, American Book Award for Fictionfor The Accidental Tourist (1985):\n\n1985 National Book Critics Circle Award for Fiction\n1986 Ambassador Book Award for Fiction\nFinalist, Pulitzer Prize for Fictionfor Breathing Lessons (1988):\n\nPulitzer Prize for Fiction (1989)\nTime's \"Book of the Year\"for Ladder of Years (1995):\n\nFinalist, The Orange Prize for Fiction 1996for Digging to America (2006):\n\nFinalist, The Orange Prize for Fiction 2007for A Spool of Blue Thread (2015):\n\nFinalist, The Man Booker Prize 2015\nFinalist, The Baileys Women's Prize for Fiction 2015for Redhead By the Side of the Road (2020):\n\nLonglist, The Man Booker Prize 2020for Lifetime achievement:\n\nFinalist, The Man Booker International Prize 2011\nThe Sunday Times Award for Literary Excellence 2012\nPassage 6:\nDinner at the Homesick Restaurant\nDinner at the Homesick Restaurant is a 1982 novel by Anne Tyler, set in Baltimore, Maryland. It is Tyler's ninth novel. In 1983 it was a finalist for the Pulitzer Prize, the National Book Award, and the PEN/Faulkner Award. Tyler considers it her best work.\nThe book follows the lives of three siblings: Cody, Ezra, and Jenny, and explores their experiences and recollections of growing up with their mother, Pearl, after the family is deserted by their father, Beck. The novel ends with Pearl's funeral, and a surprise occurrence.\nThe novel examines how siblings may share the same events yet experience them differently; e.g. Cody remembers his childhood as a harsh time. He blames himself for his father abandoning him and considers himself left to the mercy of an angry mother who favors Ezra. Meanwhile, Ezra remembers his childhood fondly and creates a nostalgic family-themed restaurant.\n\nPlot\nPearl Tull is a rigid perfectionist. She has three children with her husband, traveling salesman Beck, who abandons the family. After Beck leaves, Pearl struggles to maintain a front as if nothing is wrong at all. Cody, the oldest, is wild and adventurous, but is envious of his brother Ezra, who he believes is Pearl's favorite. As they grow up, this plays out in endless pranks. Ezra is passive, and never tries to get back at Cody. He is nurturing and sweet, traits that often interest Cody's girlfriends, furthering Cody's resentment. Ezra goes to work at a restaurant, which he later manages and ultimately inherits, while Cody becomes a wealthy and successful efficiency expert. When Ezra becomes engaged to Ruth, his star cook, Cody becomes obsessed with luring her away, and ultimately succeeds, but his marriage to Ruth is not easy. Ezra never recovers, and remains at home with Pearl; he is a caregiver, both for Pearl and his customers, but this is underlain by sadness.\nJenny is the third child and the most scholarly of the Tulls, but in college, she marries on an impulse with unhappy results. Only in her third marriage to a man with six children whose wife has abandoned him does she find stability in family life and in her successful, if harried, career as a pediatrician.\nA recurring scene in the novel involves Ezra's unsuccessful attempts to bring the family together for a meal at his \"Homesick Restaurant\", reflecting his desire to unite and mend the family. At Pearl's funeral, Beck returns to the family for the first time. However, they  never seem to be able to get through a single dinner without conflict, this time with Cody facing down his father, causing Beck to leave in the middle of the dinner. Ultimately, the entire family searches the town to find Beck, eventually bringing him back to the restaurant to finish their meal together.\n\nReviews\nBenjamin DeMott, wrote in his 1982 New York Times book review:  \"Dinner at the Homesick Restaurant is a book to be settled into fully....Funny, heart-hammering, wise, it edges deep into truth that's simultaneously (and interdependently) psychological, moral and formal - deeper than many living novelists of serious reputation have penetrated, deeper than Miss Tyler herself has gone before. It is a border crossing....\n\"On its face Dinner at the Homesick Restaurant is a book about the costs of parental truancy. None of the three Tull children manages to cut loose from the family past; each is, to a degree, stunted; each turns for help to Pearl Tull in an hour of desperate adult need; and Pearl's conviction that something's wrong with each of them never recedes from the reader's consciousness. But no small measure of the book's subtlety derives from its exceptional - and exceptionally wise, the word bears repeating - clarity about the uselessness of cost accounting in human areas such as these....The behavior and feelings of all three are linked somehow with the terrible, never-explained rupture: their father's disappearance....But it's also the case that what is best in each of these people, as in their mother, has its roots in the experience of deprivation that they jointly despise...We arrive at an understanding that the important lessons taught by adversity never quite make themselves known to the consciousness of the learners - remain hidden, inexpressible.\n\"What one wants to do on finishing such a work as Dinner at the Homesick Restaurant is maintain balance, keep things intact for a stretch, stay under the spell as long as feasible....We're speaking, obviously, about an extremely beautiful book.\"John Updike, in his 1982 review in The New Yorker, wrote, “[Anne Tyler's] art needed only the darkening that would give her beautifully shaped sketches solidity....In her ninth novel, she has arrived at a new level of power.”Margaret Manning of The Boston Globe thought that Dinner at the Homesick Restaurant is \"a book that should join those few that every literate person should read....You surface from this marvelous novel as if from the bends, lungs nearly bursting, tears rattling on the page.\"\nPassage 7:\nSteven Zwicker\nSteven Nathan Zwicker (born June 4, 1943) is an American literary scholar and the Stanley Elkin Professor in the Humanities in Arts and Sciences at Washington University in St. Louis.\n\nBiography\nZwicker is an expert on Restoration-era English literature and politics and is the author of Dryden's Political Poetry: The Typology of King and Nation (1972), Politics and Language in Dryden's Poetry: The Arts of Disguise (1984), and Lines of Authority: Politics and English Literary Culture, 1649-1689 (1993). He has edited six volumes and published more than two dozen essays in journals and volumes in the United States and abroad.\nZwicker was born in San Diego, California. He received his BA from the University of California, Los Angeles (1965) and his MA (1966) and PhD (1969) from Brown University. He was a Woodrow Wilson Scholar at Brown University when he earned his PhD. He has been a member of the Washington University faculty since 1969.\n\nBibliography\nWorks\nDryden's Political Poetry: The Typology of King and Nation. Providence, RI: Brown University Press, 1972.\nPolitics and Language in Dryden's Poetry: The Arts of Disguise. Princeton, NJ: Princeton University Press, 1984.\nLines of Authority: Politics and English Literary Culture, 1649-1689. Ithaca, NY: Cornell University Press, 1993.\n\nAs editor or contributor\nPolitics of Discourse: The Literature and History of Seventeenth-Century England. Edited by Kevin Sharpe and Steven N. Zwicker. Berkeley, CA: University of California Press, 1987.\nThe Cambridge Companion to English Literature, 1650-1740. Edited by Steven N. Zwicker. Cambridge, UK; New York: Cambridge University Press, 1998.\nRefiguring Revolutions: Aesthetics and Politics from the English Revolution to the Romantic Revolution. Edited by Kevin Sharpe and Steven N. Zwicker. Berkeley, CA: University of California Press, 1998.\nJohn Dryden: A Tercentenary Miscellany. Edited by Susan Green and Steven N. Zwicker. San Marino, CA: Huntington Library, 2001.\nReading, Society, and Politics in Early Modern England. Edited by Kevin Sharpe and Steven N. Zwicker. Cambridge, UK; New York: Cambridge University Press, 2003.\nThe Cambridge Companion to John Dryden. Edited by Steven N. Zwicker. Cambridge, UK; New York: Cambridge University Press, 2004.\nPassage 8:\nGwyn Avenue–Bridge Street Historic District\nGwyn Avenue–Bridge Street Historic District is a national historic district located at Elkin, Surry County, North Carolina. The district encompasses 124 contributing buildings and 1 contributing site in a predominantly residential section of Elkin.  They were primarily built between about 1891 and 1955 and include notable examples of Queen Anne, Colonial Revival, and Bungalow / American Craftsman architecture. Notable buildings include the Elkin Presbyterian Church (1937, 1944, 1950, 1955, 1961), First Baptist Church (1955, 1968), Alexander Martin Smith House (1893–1897) designed by George Franklin Barber, the Gwyn-Chatham-Gwyn House (c. 1872, 1911, 1936), Richard Gwyn Smith House (c. 1918), and Mason Lillard House (c. 1910).It was added to the National Register of Historic Places in 2007.\nPassage 9:\nMrs. Ted Bliss\nMrs. Ted Bliss is a 1995 novel by American author Stanley Elkin, published by Hyperion Books. It concerns the last eventful years in the life of an old widow. Elkin won the 1995 National Book Critics Circle Award in the fiction category for this work.\n\nPlot\nMrs. Dorothy Bliss is an old woman in her early 80s living alone in a retirement community near Miami Beach, Florida, after her husband's death due to cancer. She was born in Russia and is Jewish. Her mother bribed an immigration officer and added three years to her age on legal documents in order that she could start working in Manhattan's Lower East Side after their immigration. Her husband, Ted Bliss, had a butcher shop in Chicago and together they had three kids. Her oldest son dies of cancer at a young age and after her husband's retirement, the couple moved to Florida. She is obsessed with cleaning and also keeps records of the gifts given to her grandchildren in order to keep track and stay impartial with everyone.The single life of Mrs. Bliss is now filled with expectations of finding a romance or a partner but eventually she is disappointed and heartbroken. She gets involved with Alcibiades Chitral, a drug lord who operates in her neighborhood, and starts using her and her husband's car as a front for his activities. The story keeps introducing various new men in her life, such as Hector Camerando, a jai alai pro who helps Mrs. Bliss with some tips on dogs, and Tommy Auveristas, an imposter. Junior Yellin, a once upon a time lover with whom Mrs. Bliss had had a passionate encounter in her husband's butcher shop, also makes a re-entry into her life. She eventually dies when Hurricane Andrew hits Miami and brings massive destruction.\n\nPublication\nFollowing Elkin's death on 31 May 1995 at age 65, the novel was released posthumously on 7 September 1995. Elkin had published ten novels, five short-story collections, and various novellas and non-fiction articles in various magazines and papers during the course of his writing career, which began in the 1950s.\n\nReview and reception\nKirkus Reviews writes that Elkin makes readers believe that the novel has a plot when drug dealers are introduced in it. However, \"there isn't so much a plot as an accumulation of detail about Mrs. Bliss\". Elkin's \"long poetic sentences about seemingly mundane minutiae\" later bring substance to the character of Mrs. Bliss. Walter Goodman, a television critic for The New York Times, mentions in his review that \"[the book] may not be Stanley Elkin's best, but it is a smart, generous, melancholy, funny, even elegiac work by a prodigious practitioner\". Publishers Weekly writes that \"Elkin is at his best here, blessed with the gift of one-liner insight and a definite, if reluctantly exercised, ability to tug on a reader's heartstrings\".\n\nAwards\nElkin won the 1995 National Book Critics Circle Award in the fiction category for the novel. The book was nominated along with Independence Day (by Richard Ford),  Galatea 2.2 (by Richard Powers), Moo (by Jane Smiley), and The Tent of Orange Mist (by Paul West). Elkin had earlier won in the same category for his 1982 novel George Mills.\nPassage 10:\nGeorge Mills (novel)\nGeorge Mills is a 1982 novel by American author Stanley Elkin, published by E. P. Dutton. The novel, set in five parts, tells the family history of succeeding generations of characters named George Mills. The story covers more than 1,000 years from the First Crusade in Europe to the Ottoman Empire to present-day America. Elkin won the 1982 National Book Critics Circle Award in the fiction category for the novel. Elkin mentioned George Mills as one of his favorite novels. The novel is considered Elkin's \"longest and most complexly organized work\".: 189\n\nPlot\nThe first George Mills sets out on a journey with his lord on the First Crusade. But he eventually gets lost in the Netherlands and reaches a salt mine in Poland. His lord at the mines is Guillalume, who teaches him some life lessons. Mills becomes aware of what is written in his fate and this helps him understand the walks of life in this world in a better manner. Despite having the knowledge of what would happen in the future, his timidity and powerlessness does not bring out any situation-changing effects. \nThe novel covers the history of succeeding family members named George Mills and all of them are aware of their fates and equally feeble and ineffective in changing their circumstances. The 43rd Mills encounters King George IV and is assigned on a diplomatic mission to Constantinople, where he first joins the Janissaries but later ends up in the Ottoman Sultan's harem doing household chores. He escapes from there and reaches America. The present-day Mills in America is a caretaker of an old woman named Judith Glazer in St. Louis, who is in the final stages of terminal cancer. Mills accompanies Glazer to Mexico and upon her death participates in her funeral together with her family.\n\nPublication\nElkin worked for over seven years writing George Mills and by the end of its completion, he felt exhausted and insisted this would be his last fictional work. But after watching a British news report of how terminally ill children had a memorable experience at Disneyland, he wrote his next novel, The Magic Kingdom (1985), and dedicated it to his son who had died young from a medical ailment after lengthy treatments.George Mills was published on 25 October 1982. In 1989, Elkin mentioned that several sections of George Mills had been adapted from the 1936 novel Absalom, Absalom! by William Faulkner. He also mentioned that in writing the novel, he came to realise \"that I was a novelist, that anything I say is a part of this novel is a part of this novel\".: 194\n\nReview and reception\nKirkus Reviews called the novel \"a leaky collection of parts rather than one whole strong book\" but said it was required reading for connoisseurs of comic fiction. The New York Times reviewer Leslie Epstein complimented \"the novel's fine writing, flashes of humor and memorable heroine\", but felt that the plot was \"out of control\". Brad Owens of The Christian Science Monitor praised the novel for its \"energetic entertainment\" and said that it \"sometimes overpowers its more serious intentions\".\n\nAwards\nElkin won the 1982 National Book Critics Circle Award in the fiction category for the novel.  The novel was nominated along with Levitation: Five Fictions (by Cynthia Ozick), Dinner at the Homesick Restaurant (by Anne Tyler),  The Color Purple (by Alice Walker), and Shiloh and Other Stories (by Bobbie Ann Mason). Elkin also won the award in 1995 for his novel Mrs. Ted Bliss.",6  "char_len": 65124,7  "document_hash": "c0fcc20fde1d72ba054fd2a302aea1dad8debd03b6543840a648ea238838c966",8  "questions": [9    {10      "question_id": "q00",11      "qtype": "hotpotqa",12      "question": "Are Stanley Elkin and Anne Tyler from the same country?"13    }14  ]15}