Pluralist Desires Contemporary Historical Fiction And The End Of The Cold War

Excavates the contemporary revival of 19th-century cultural pluralism, revealing how American novelists since the 1990s have appropriated the historical novel in the pursuit of selfhood rather than truth, fundamentally repositioning the genre in American culture.

Postmodern, Marxist, and Christian Historical Novels: Hope and the Burdens of History argues historical novels can help readers receive the burdens of history—meaning both the burdens of the past, present, and future and the burden of living in time—and develop a more robust conception of and concrete practice of hope. Since the 1960s, historical novels have been a dominant literary genre, but they have been influenced primarily not by Christian but by postmodern and marxist thinkers and writers. This book provides a theological and literary analysis of all three types of historical novels—postmodern, marxist, and Christian—and outlines what each school of thought can learn from each other regarding historical understanding and hope. Using Jürgen Moltmann’s theology of hope and Frank Kermode’s literary criticism as a theoretical basis, the book offers readings of novels by Julian Barnes, A.S. Byatt, Kazuo Ishiguro, Margaret Atwood, Michael Ondaatje, Ian McEwan, and Ursula LeGuin, among others, and ends with an extended analysis of Marilynne Robinson’s Gilead series.

This volume looks into the ways in which film has contaminated and re-shaped culture(s) and the collective unconscious, at both local and global levels, arguing that our lives have been impacted by the ‘then’ that we keep revisiting, lest we forget. It takes the reader from the Berlin Wall to China, and from the terror of communist political prisons and labour camps to the rosy image promoted by propaganda. A key point throughout the text is its interdisciplinary nature, as it brings together literature and film scholars, directors, sociologists and philosophers, whose overall conclusion is that communism, lingering in mentalities, still needs interrogation. Structured along four parts which trace a Homeric (or rather Joycean) journey to a home metonymysed by the long-awaited freedom, this book sets out from the gloomiest aspects of totalitarianism in the Romanian, Serbian and Soviet ‘Hades(es)’ of traumatic psychological and physical experiences and of imposed silencing. The second part gathers together case studies of films illustrating more optimistic views of communism as ‘spring’ (in the USSR) or as a ‘golden age’ (in Romania), thus narcotising the communist ‘subjects’ and preventing them from seeing the actual inferno. The third section offers filmic accounts of the aftermaths of communism, engaging the readers in a nostalgic process that revisits, questions, reflects on and remembers communism on a larger, world stage. The coda rounds up the volume (and the journey therein) by crossing genre frontiers to written narratives with a cinematic component.

The Nineteenth Century Revis(it)ed: The New Historical Fiction explores the renaissance of the American historical novel at the turn of the twenty-first century. The study examines the revision of nineteenth-century historical events in cultural products against the background of recent theoretical trends in American studies. It combines insights of literary studies with scholarship on popular culture. The focus of representation is the long nineteenth century – a period from the early republic to World War I – as a key epoch of the nation-building project of the United States. The study explores the constructedness of historical tradition and the cultural resonance of historical events within the discourse on the contemporary novel and the theory formation surrounding it. At the center of the discussion are the unprecedented literary output and critical as well as popular success of historical fiction in the USA since 1995. An additional postcolonial and transatlantic perspective is provided by the incorporation of texts by British and Australian authors and especially by the inclusion of insights from neo-Victorian studies. The book provides a critical comment on current and topical developments in American literature, culture, and historiography.

Don DeLillo is widely regarded as one of the most significant, and prescient, writers of our time. Since the 1960s, DeLillo's fiction has been at the cutting edge of thought on American identity, globalization, technology, environmental destruction, and terrorism, always with a distinctively macabre and humorous eye. Don DeLillo: Contemporary Critical Perspectives brings together leading scholars of the contemporary American novel to guide readers through DeLillo's oeuvre, from his early short stories through to 2016's Zero K, including his theatrical work. As well as critically exploring DeLillo's engagement with key contemporary themes, the book also includes a new interview with the author, annotated guides to further reading, and a chronology of his life and work.

Gale Researcher Guide for: Don DeLillo and the Long Postmodern Tradition is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.

The Multiverse of Office Fiction liberates Herman Melville’s 1853 classic, “Bartleby, the Scrivener,” from a microcosm of Melville studies, namely the so-called Bartleby Industry. This book aims to illuminate office fiction—fiction featuring office workers such as clerks, civil servants, and company employees—as an underexplored genre of fiction, by addressing relevant issues such as evolution of office work, integration of work and life, exploitation of women office workers, and representation of the Post Office. In achieving this goal, Bartleby plays an essential role not as one of the most eccentric characters in literary fiction, but rather as one of the most generic characters in office fiction. Overall, this book demonstrates that Bartleby is a generative figure, by incorporating a wide diversity of his cousins as Bartlebys. It offers fresh contexts in which to place these characters so that it can ultimately contribute to an ever-evolving poetics of the office.

David Cautes wide-ranging study examines how outstanding novelists of the Cold War era conveyed the major issues of contemporary politics and history. In the United States and Western Europe the political novel flourished in the 1930s and 1940s, the crisis years of economic depression, fascism, the Spanish Civil War,the consolidation of Stalinism, and the Second World War. Starting with the high hopes generated by the Spanish Civil War, Caute then explores the god that failed pessimism that overtook the Western political novel in the 1940s. The writers under scrutiny include Hemingway, Dos Passos, Orwell, Koestler, Malraux, Serge, Greene, de Beauvoir, and Sartre. Strikingly different approaches to the burning issues of the time are found among orthodox Soviet novelists such as Sholokhov, Fadeyev, Kochetov, and Pavlenko. Soviet official culture continued to choke on modernism, formalism, satire, and allegory. In Russia and Eastern Europe dissident novelists offered contesting voices as they engaged in the fraught re-telling of life under Stalinism. The emergence of the New Left in the 1960s generated a new wave of fiction challenging Americas global stance. Mailer, Doctorow, and Coover brought fresh literary sensibilities tobear on such iconic events as the 1967 siege of the Pentagon and the execution of the Rosenbergs.