By David Seed (ed.)
Via a wide-ranging sequence of essays and correct readings, A significant other to Twentieth-Century usa Fiction offers an outline of yank fiction released because the end of the 1st international War.
- Features a wide-ranging sequence of essays by means of American, British, and ecu experts in various literary fields
- Written in an approachable and obtainable variety
- Covers either vintage literary figures and modern novelists
- Provides huge feedback for extra studying on the finish of every essay
Chapter 1 U.S. Modernism (pages 9–23): Susan Hegeman
Chapter 2 the town Novel (pages 24–35): James R. Giles
Chapter three The Western (pages 36–47): Neil Campbell
Chapter four Postmodern U.S. Fiction (pages 48–59): Hans Bertens
Chapter five glossy Gothic (pages 60–71): Marilyn Michaud
Chapter 6 the quick tale (pages 72–83): Mark Whalan
Chapter 7 Southern Fiction (pages 84–95): Sharon Monteith
Chapter eight Jewish American Fiction (pages 96–108): David Brauner
Chapter nine “Do not anything until eventually You listen from Me”: smooth African American Fiction (pages 109–121): A. Robert Lee
Chapter 10 U.S. Detective Fiction (pages 122–134): Cynthia S. Hamilton
Chapter eleven Hard?Boiled/Noir Fiction (pages 135–146): Lee Horsley
Chapter 12 Chicano Fiction (pages 147–158): Helen Oakley
Chapter thirteen Black Humor Fiction (pages 159–170): David Seed
Chapter 14 Fiction at the Vietnam conflict (pages 171–182): Philip Melling and Subarno Chattarji
Chapter 15 The Rediscovery of the local American (pages 183–194): pleasure Porter
Chapter sixteen Trash Fiction (pages 195–206): Stacey Olster
Chapter 17 Edith Wharton (pages 207–218): Pamela Knights
Chapter 18 Willa Cather's Entropology: Permanence and Transmission (pages 219–228): man J. Reynolds
Chapter 19 Gertrude Stein and Seriality (pages 229–239): Ulla Haselstein
Chapter 20 Ernest Hemingway (pages 240–250): Peter Messent
Chapter 21 John Dos Passos (pages 251–260): Andrew Hook and David Seed
Chapter 22 Thomas Wolfe (pages 261–270): Anne Ricketson Zahlan
Chapter 23 F. Scott Fitzgerald (pages 271–281): William Blazek
Chapter 24 Zora Neale Hurston (pages 282–291): Lovalerie King
Chapter 25 Theodore Dreiser (pages 292–301): Clare Virginia Eby
Chapter 26 William Faulkner's Yoknapatawpha (pages 302–312): Charles A. Peek
Chapter 27 H.D.'s Visionary Prose (pages 313–321): Rachel Connor
Chapter 28 John Steinbeck (pages 322–331): Brian Railsback
Chapter 29 Raymond Chandler (pages 332–341): Sean McCann
Chapter 30 Richard Wright (pages 342–351): Tara T. Green
Chapter 31 Ralph Ellison (pages 352–360): Rachel Farebrother
Chapter 32 James Baldwin (pages 361–368): D. Quentin Miller
Chapter 33 Vladimir Nabokov (pages 369–376): Barbara Wyllie
Chapter 34 Norman Mailer (pages 377–385): Michael okay. Glenday
Chapter 35 William S. Burroughs (pages 386–394): Davis Schneiderman
Chapter 36 Saul Bellow (pages 395–402): Michael Austin
Chapter 37 Gore Vidal (pages 403–410): Heather Neilson
Chapter 38 Joseph Heller (pages 411–419): David M. Craig
Chapter 39 Kurt Vonnegut (pages 420–427): Jerome Klinkowitz
Chapter forty Thomas Pynchon (pages 428–435): Ian Copestake
Chapter forty-one Ishmael Reed: American Iconoclast (pages 436–444): Darryl Dickson?Carr
Chapter forty two Joyce Carol Oates (pages 445–453): Gavin Cologne?Brookes
Chapter forty three Philip Roth (pages 454–461): Timothy Parrish
Chapter forty four The Fiction of John Updike: well timed and undying (pages 462–470): Brian Keener
Chapter forty five Maxine Hong Kingston (pages 471–479): Helena Grice
Chapter forty six Toni Morrison (pages 480–488): Jennifer Terry
Chapter forty seven Alice Walker (pages 489–496): Maria Lauret
Chapter forty eight Don DeLillo (pages 497–504): Mark Osteen
Chapter forty nine Gerald Vizenor: Postindian Gamester (pages 505–513): A. Robert Lee
Chapter 50 Bret Easton Ellis (pages 514–521): James Annesley
Chapter fifty one Amy Tan: “American conditions and chinese language personality” (pages 522–529): Heidi Slettedahl Macpherson
Chapter fifty two Paul Auster: Poet of Solitude (pages 530–538): Mark Brown
Chapter fifty three Bharati Mukherjee (pages 539–546): Judie Newman
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Extra resources for A Companion to Twentieth-Century United States Fiction
Increasingly, Oedipa is uncertain whether she has discovered a centuries-old mail conspiracy or is simply the victim of an elaborate practical joke planned by Inverarity, who may or may not be dead. Pynchon’s postmodern absurdism projects a suburban and urban California that exist simultaneously in the unreal and relentlessly real, an extended landscape where nothing is precisely what it seems, where paranoia and only paranoia functions as a center, as organizing principle. Odeipa, in fact, believes that she may have stumbled upon a subterranean America of drifters and drop-outs.
Stein: 109) While this prose can be seen as an attempt to replicate the unadorned speech and thoughts of simple people, Stein’s repetitions also create some complex effects. As words (for example, “feeling”) subtly change meaning with each iteration, Stein demonstrates the relationship between language and time, and the way that meaning subtly shifts through context. Hence her fascination with past continuous tense (“they seemed to be having,” “what he was always doing”): it both offers and then removes the idea that language refers to some constant state of being.
The book ends, however, on what is perhaps a necessarily inconclusive note, given the ambition and grandiosity of the project. Closure is less achieved than insisted upon through a heavy-handed use of symbolism. Cane closes the circle with a scene in a basement, where an old, blind ex-slave makes oracular pronouncements as the sun rises: “Gold-glowing child, it steps into the sky and sends a birth-song slanting down gray dust streets and sleepy windows of the southern town” (Toomer: 117). S. Modernism 19 Thus we see that, even in the case of these fragmented narratives, there remains a strong desire for something like a totality.