ALTHOUGH NO CHAPTER in this book is a simple reprint of a previously pub-
lished essay, most chapters do contain material that has appeared elsewhere. I
am grateful for permission to reprint.
Chapter 1 contains material from “Rhetoric, Ethics, and Narrative Com-
munication: Or, From Story and Discourse to Authors, Resources, and Audi-
ences.” Soundings 94.1–2 (2011): 55–75.
Chapter 2 from “Implausibilities, Crossovers, Impossibilities: A Rhetorical
Approach to Breaks in the Mimetic Code of Narration.” A Poetics of Unnatural
Narrative. Ed. Jan Alber, Henrik Skov Nielsen, and Brian Richardson. Colum-
bus: Ohio State University Press, 2013. 167–84.
Chapter 3 from “Rhetoric, Ethics, Aesthetics, and Probability in Fiction
and Nonfiction: Pride and Prejudice and The Year of Magical Thinking.” Recep-
tion: Texts, Readers, Audiences, History 2 (Summer 2010). <http:// www .english
.udel .edu/ rsssite/ toc2010 .html>.
Chapter 4 from “Progression, Speed, and Judgment in Kafka’s ‘Das Urteil.’”
Franz Kafka: Narration, Rhetoric, and Reading. Ed. Jakob Lothe, Beatrice Sand-
berg, and Ronald Speirs. Columbus: Ohio State University Press, 2011. 22–39.
Chapter 5 from “Estranging Unreliability, Bonding Unreliability, and the
Ethics of Lolita.” Narrative 15 (Spring 2007): 222–38.
Chapter 6 from “The Ethics and Aesthetics of Backward Narration in Mar-
tin Amis’s Time’s Arrow.” After Testimony: The Future of Holocaust Narratives.
Ed. Susan Suleiman, Jakob Lothe, and James Phelan. Columbus: Ohio State
University Press, 2012. 120–41.
Chapter 7 from “‘I affirm nothing’: Lord Jim and the Uses of Textual Recal-
citrance.” Joseph Conrad: Voice, Sequence, History, Genre. Ed. Jakob Lothe, Jer-
emy Hawthorn, and James Phelan. Columbus: Ohio State University Press,
- 41–59.
Chapter 8 from “Rhetorical Theory, Cognitive Theory, and Morrison’s
‘Recitatif ’”: From Parallel Play to Productive Collaboration. Oxford Handbook
of Cognitive Literary Studies. Ed. Lisa Zunshine. New York: Oxford University
Press, 2015. 120–35.
Chapter 9 from “Conversational and Authorial Disclosure in the Dialogue
Novel: The Case of The Friends of Eddie Coyle.” Narrative, Interrupted: The
Plotless, the Disturbing, and the Trivial in Literature. Ed. Markku Lehtimäki,
Laura Karttunen, and Maria Makelä. Amsterdam: De Gruyter, 2012. 3–23.
Also from “Privileged Authorial Disclosure about Events: Wolff ’s ‘Bullet in
the Brain’ and O’Hara’s ‘Appearances.’” Narrative Sequence in Contemporary
Narratology. Ed. Raphäel Baroni and Françoise Revaz. Columbus: Ohio State
University Press, 2015. 51–70.
xiv • PREFACE