Search results for ""Author Michael L. Ross""

Advertising, long a controlling force in industrial society, has provoked an important body of imaginative work by English language writers. Michael Ross's Designing Fictions is the first study to investigate this symbiotic relationship on a broad scale. In view of the appreciable overlap between literary and promotional writing, Ross asks whether imaginative fiction has the latitude to critique advertising as an industry and as a literary form, and finds that intended critiques, time and again, turn out to be shot through with ambivalence. The texts considered include a wide range of books by British, American, and Canadian authors, from H.G. Wells's pioneering fictional treatment of mass marketing in Tono-Bungay (1909) to Joshua Ferris's depiction of a faltering Chicago agency in Then We Came to the End (2007). Along the way, among other examples, Ross discusses George Orwell's seriocomic study of the stand-off between poetry and advertising in his 1936 novel Keep the Aspidistra Flying and Margaret Atwood's probing of the impact of promotion on perception in The Edible Woman (1969). The final chapter of the book considers the popular television series Mad Men, where the tension between artistic and commercial pressures is especially acute. Written in a straightforward style for a wide audience of readers, Designing Fictions argues that the impact of advertising is universal and discussions of its significance should not be restricted to a narrow group of specialists.

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For centuries, English-language writers have borrowed words and phrases from other languages in their fictional works. Words in Collision explores this tradition of language-mixing and its consequences. Returning to Shakespeare’s Henry V, Michael Ross asks why writers employ “foreign” phrases in their English-language texts, why this practice continues, and what it means. He finds that the insertion of “foreign elements,” rather than random or arbitrary, occurs in literary works that display a self-conscious preoccupation with language in general as a dynamic determinant of social relations. Discussing nineteenth-century works by Sir Walter Scott, Charlotte Brontë, and Henry James, the book demonstrates how multilingualism connects with themes of cosmopolitanism, estrangement, and resistance to social convention. In the second half of the book, the multilingual practices of canonical Anglo-American literature are compared with postcolonial texts by Caribbean, Nigerian, and Indian authors, including Chimamanda Ngozi Adichie and Arundhati Roy, whose choice of language is fraught with complex moral and artistic implications. Ross’s readings reveal both crucial departures and surprising underlying continuities in linguistic traditions often thought to be deeply divided in time, space, and politics. The first extended treatment of language-mixing in English texts, Words in Collision is critical to understanding past practices and future prospects for multilingualism in fiction.

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