Anna Faktorovich

Faktorovich - Cover - 9781937536916 - Edited

Radical Agrarian Economics: Wendell Berry and Beyond: ($20, ISBN: 978-1-937536-91-6, Hardcover ISBN: 978-1-68114-125-1, LCCN: 2014917270, 180pp, 6X9″,  7 photos, bibliography, index, February 4, 2015; Purchase on Amazon or Barnes and Noble): This is a comparative study of Wendell Berry’s theory of New Agrarian economics in contrast with other agrarian proposals, as well as communist, capitalist and feudal economic theories. The argument for an agrarian world has both similarities and sharp contrasts with Marxist communism, industrial capitalism, and classic feudalism. Agrarianism can be seen more clearly when it is contrasted and shown as having existed in parallel with each of these stages of economic world development. As the world quickly grows in the direction of overpopulation and pollution, a re-evaluation is needed of the previously used sustainability methods that have kept humanity in balance with the earth for millennia. As resources continue to become scarcer, those who can support themselves independently from mass-agricultural ventures might have a survival advantage. And this advantage should be explored before the world reaches a catastrophic phase. As the American farming population shrinks further below one percent of the overall population, this is a crucial moment to consider if agrarianism and agriculture itself should retain a central role in American political theory or if it should fade into the past.

“In strikingly honest terms, Dr. Faktorovich shares a chastened and sincere study of a utopian economics envisioned by a poet of the natural world. With her concluding image of knitting as an act conjuring warmth, nostalgia and consolation, as well as reminding us of the haptic poetry of tactile work, she delivers with picturesque detail and a hint of melancholy, an answer that is deeply true.” —Catherine Corman, creator of photography collection, Daylight Noir

“I rate this book 4 out of 4 stars. It’s a concise, well-written, detailed work of economic history and theory that accomplishes its two goals of situating Wendell Berry and New Agrarianism in history, and considering the practicality of these ideas in the modern world. Faktorovich has indeed written a textbook for the student of agrarian economics, but she has done more: she has crafted an elegant and accessible history of economic thought. Her book is necessary for any reader of Wendell Berry, but also for thoughtful people from all disciplines with an interest in money, time, and the good life.” —OnlineBookClub.org

Faktorovich - Gender Bias - Cover - 9781511888905 - Edited

Gender Bias in Mystery and Romance Novel Publishing: Mimicking Masculinity and Femininity: ($20, 298pp, 7X10″, 67 illustrations and diagrams, bibliography, index, ISBN: 978-1-511888-90-5, EBook ISBN: 978-1-68114-093-3, LCCN: 2015939747, April 29, 2015; Purchase on Amazon, CreateSpace, or Barnes and Noble; or for $2.99 on Kindle or EBSCO): examines gender bias from the perspective of readers, writers and publishers, with a focus on the top two best-selling genres in modern fiction. It is a linguistic, literary stylistic, and structurally formalist analysis of the male and female “sentences” in the genres that have the greatest gender divide: romances and mysteries. The analysis will search for the historical roots that solidified what many think of today as a “natural” division. Virginia Woolf called it the fabricated “feminine sentence,” and other linguists have also identified clear sex-preferential differences in Anglo-American, Swedish and French novels. Do female mystery writers adopt a masculine voice when they write mysteries? Are female-penned mysteries structurally or linguistically different from their male competitors’, and vice versa among male romance writers? The first part can be used as a textbook for gender stylistics, as it provides an in-depth review of prior research. The second part is an analysis of the results of a survey on readers’ perception of gender in passages from literature. The last part is a linguistic and structural analysis of actual statistical differences between the novels in the two genres, considering the impact of the author’s gender.

“What makes this book unique from other authorities on the gender stylistics is that it includes an incredible amount of science – and not just theories that are convincing. With her great amount of expertise and work on the experiments she completes, we can truly believe that what she says is true, and not take what she says at face value. The unbiased and very professional writing of the book and intriguing conclusions and statements found within the book make this a worthwhile and spellbinding read for feminists, people interested in gender, readers and writers alike and those who have ever questioned the phrase, ‘Never judge a book by it’s cover.’ 4 out of 4 stars” —LiteraryMagic, OnlineBookClub, August, 2015

“Informed and informative, thoughtful and thought-provoking, Gender Bias in Mystery and Romance Novel Publishing is an inherently fascinating read which is strongly recommended to the attention of literary scholars and romance novel enthusiasts alike. Enhanced with the inclusion of a four page Glossary, a seven page listing of Works Cited, a seven page Index, and an eight page Appendix (Gender and Genre Survey), Gender Bias in Mystery and Romance Novel Publishing will prove of considerable interest to authors of romance fiction. Gender Bias in Mystery and Romance Novel Publishing is especially and highly recommended for academic library Literary Studies reference collections. It should be noted for personal reading lists that Gender Bias in Mystery and Romance Novel Publishing is available in a Kindle edition ($2.99).” —James A. Cox, Midwest Book Review, The Writing/Publishing Shelf, June 2015

A must-read for a mystery author like me, but also for every man and woman interested in the way we interact because art mimics reality… Or is it just the opposite… 🙂 🙂 Original way to analyze gender bias in every aspect of life, via Mystery and Romance Novels. Very thoroughly researched. A wealth of knowledge and (educated) background for readers interested in this topic.” —Bob Van Laerhoven, winner of the Hercule Poirot Prize

“The data offered allows for concrete conclusions on questions gender linguists have been asking for several decades, such as the use of male active heroes and villains, but the diminishing of female characters to serve as passive victims or love interests in both popular romance and mystery genres.” —David R. Slavitt, author of more than 100 critically acclaimed books

Interview with Gothic Moms about Gender Bias, posted on May 15, 2015.

Faktorovich - Cover - Author-Publishers - 9781681143736-Perfect

The History of British and American Author-Publishers: ($20, 368pp, 6X9”: Softcover: ISBN: 978-1-68114-373-6; $35: Hardcover: ISBN-13: 978-1-68114-374-3; $2.99: EBook: ISBN-13: 978-1-68114-375-0; LCCN: 2017950922; Edited by: Mallory Cormack; Includes bibliography and index; 11 illustrations; Biography & Autobiography—Editors, Journalists, Publishers; Release: January 5, 2018; Purchase on Amazon or Barnes & Noble): The mainstream publishing industry has popularized the stereotype that “self-published” books are inferior to “traditional” ones because the author does not receive an advance and the services provided are less professional. The reality is that the Big Four publishers attained their enormous market share by at least initially relying on author subsidies.

This book describes the road some of the world’s top authors took to self-publication. Charles Dickens self-published A Tale of Two Cities in his periodical, All the Year Round. Sir Walter Scott published most of his fiction and poetry with Constantine and Ballantyne, publishers in which he was heavily invested. Scott’s self-publications included his best-selling Waverley series, which established the historical novel genre with Ballantyne. The Liberal only survived for a few issues, and yet its founders, Lord Byron and Percy Shelley, published outstanding radical works in its pages: “The Vision of Judgment” and “Lines to a Critic.” Virginia and Leonard Woolf’s Hogarth Press published nearly all of Virginia’s writings; these works are still used by feminists and birthed the stream of consciousness movement (a style that was too unique for “mainstream” publishers). Edgar Allan Poe spent a lifetime working to create his own independent journal, only succeeding in a brief ownership of the Broadway Journal, a power he used to speak out against plagiarism with pieces such as, “Voluminous History of the Little Longfellow War.” Herman Melville paid Harper $29,571 for 350 copies of Clarel. Mark Twain spent $1.3 million (in today’s money) to print Old Times on the Mississippi with J. R. Osgood. Henry Luce and Briton Hadden started Time Inc. and Time because they were frustrated reporters seeking more power and independence. Dudley Randall founded the Broadside Press in part to publish his own books like Cities Burning. Alice Walker published an introduction to The Spirit Journey after founding a press with her lover, Wild Trees Press, and might have kept it going longer if major publishers did not start snatching up all of her own innovative full-length works.

Without author-publishers: the sun would still revolve around the earth (Galileo) and book printing would lack exquisite artistic details (Rembrandt). And Americans would still be living in the colonies of the United Kingdom (Benjamin Franklin). It is harder to find an innovative scientist, politician or creative writer who did not self-publish than those who did.

“If you are looking for a primer on the historical greats, advice on a thousand new non-fiction ‘must read’ topics to research on Wikipedia, or critical and solid advice on how to succeed via a non-conglomerate publishing avenue (by avoiding historic mistakes), you should look into snagging a copy of this. It is a bit depressing to identify with great authors by reading deep details of their pain and failures, but there is a degree of pity that once reached is actually quite inspiring.” —Toast Toasted, Jason Brown

“I’d heard that Charles Dickens published A Tale of Two Cities as a series of magazine articles, but had not heard those were self-published. ‘It is harder to find an innovative scientist, politician or creative writer who did not self-publish than those who did…’ Well, that’s a bit dramatic, but certainly inspiring if true. I discourage young faculty members from self-publishing, as it means they haven’t looked very hard for a publisher. Still, your work is inspiring for people who want to write. I think we should encourage them to find a publisher sooner or later, or they’ll be viewed as beneath the dignity of even those who publish in the well-known ‘vanity presses.’” –Professor Frank A. Ward, College of Agricultural Sciences, New Mexico State University

Anna Faktorovich is the Director and Founder of the Anaphora Literary Press. Previously, she taught for four years at the University of Texas Rio Grande Valley, Edinboro University of Pennsylvania and the Middle Georgia State College. She has a Ph.D. in English Literature and Criticism. She published two academic books with McFarland: Rebellion as Genre in the Novels of Scott, Dickens and Stevenson (2013) and The Formulas of Popular Fiction: Elements of Fantasy, Science Fiction, Romance, Religious and Mystery Novels (2014). She edits and writes for the Pennsylvania Literary Journal and the Cinematic Codes Review. She won the MLA Bibliography, Kentucky Historical Society and Brown University Military Collection fellowships.

Galley copies are available for review, email director@anaphoraliterary.com to request a free copy.

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