When I was thirty-three years old, I discovered I was an adoptee. In this memoir of secrecy and love, betrayal and redemption, I reflect on my early experiences as a doted-on only child firmly rooted in the abundant love of my adoptive family, my later struggles with depression and obsessive-compulsive disorder, my marriage to a fellow-adoptee, my discovery of my own adoption and the subsequent reunion with my birth family, my navigation through the thrills and tensions of newly complicated family dynamics, and my witness to God's perfect timing through it all.

Contemporary transnational literature presents a unique interpretive problem, due to new methods of language and culture negotiation in the information age. The resulting condition, transnational compositionality, is evidenced by specific linguistic artifacts; to illustrate this I use three American novels as a case study: Nowhere Man by Aleksandar Hemon, Absurdistan by Gary Shteyngart, and The Brief Wondrous Life of Oscar Wao by Junot Díaz. By extension, many conventional literary elements are changed in the transnational since modernity: satire is no longer a lampooning of cultures but a questioning of the methods by which humans blend cultures together; similarly, complex symbolic constructions may no longer be taken at face value, for they now communicate more about cultural identity processes than static ideologies. If scholars are to achieve adequate interpretations of these elements, we must consider the global framework that has so intimately shaped them in the twenty-first century.

I investigate the spoken dialogue of four Indian novels in English: Mulk Raj Anand's Untouchable (1935), Khushwant Singh's Train to Pakistan (1956), Rasipuram Krishnaswami Narayan's The World of Nagaraj (1990), and Rohinton Mistry's Family Matters (2002). Roger Fowler has said that literature, as a form of discourse, articulates ideology; it is through linguistic criticism (combination of literary criticism and linguistic analyses) that the ideologies in a literary text are uncovered. Shobhana Chelliah in her study of Indian novels in English concludes that the authors use Indian English (IndE) as a device to characterize buffoons and villains. Drawing upon Fowler's and Chelliah's framework, my investigation employs linguistic criticism of the four novels to expose the ideologies reflected in the use of fictionalized English in the Indian context. A quantitative inquiry based on thirty-five IndE features reveals that the authors appropriate these features, either to a greater or lesser degree, to almost all their characters, suggesting that IndE functions as the mainstream variety in these novels and creating an illusion that the authors are merely representing the characters' unique Indian worldviews. But within this dialect range, the appropriation of higher percentages of IndE features to specific characters or groups of characters reveal …

Barnes's Vagaries Malicieux, and Nin's Delta of Venus, are examples the developing vision of female sex, and both authors use their literary techniques to accomplish their aesthetic vision of amorality. Nin's visions are based on her and her friends' extreme experiences. Her primary concern was expressing her erotic and amorally aesthetic gaze, and the results of her efforts are found in her aesthetic vision of Paris and the amoral lifestyle. Barnes uses metaphor and linguistics to fashion her aesthetic vision. Her technique in "Run, Girls, Run!" both subverts any sense of morality, and offers an interesting and challenging read for its audience. In "Vagaries Malicieux" Barnes's Paris is dark while bright, and creates a sense of nothingness, indicated only by Barnes's aesthetic appreciation.

This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.