A wide-ranging study of the post-1990 fiction of one of America's most respected writers and cultural critics, this volume focuses on three of Don DeLillo's most recent novelsGCoMao II, Underworld, and Falling ManGCothat span pivotal moments in recent history: the end of the Cold War, the millennium, and 9/11. Consisting of original essays written by scholars whose interdisciplinary approachesGCodrawn from art history and religious history, ethnic studies and urban studies, popular culture and political scienceGCoshed new light on DeLillo's work, it investigates DeLillo's portrait of turn-of-the-century America as the nation confronts the defining phenomena of globalism and terrorism. With an eye always on the impact that shifts in historical sensibility produce on aesthetic sensibility, the volume also considers the role that DeLillo sees narrative playing in a world dominated by digital images and provides the first extended analysis of how much faith he has in fiction's ability to convey the trauma of September 11, an event commonly conceived as resistant to all forms of artistic expression.

The Trash Phenomenon looks at how writers of the late twentieth century not only have integrated the events, artifacts, and theories of popular culture into their works but also have used those works as windows into popular culture's role in the process of nation building. Taking her cue from Donald Barthelme's 1967 portrayal of popular culture as ""trash"" and Don DeLillo's 1997 description of it as a subversive ""people's history,"" Stacey Olster explores how literature recycles American popular culture so as to change the nationalistic imperative behind its inception. The Trash Phenomenon begins with a look at the mass media's role in the United States' emergence as the twentieth century's dominant power. Olster discusses the works of three authors who collectively span the century bounded by the Spanish-American War (1898) and the Persian Gulf War (1991): Gore Vidal's American Chronicle series, John Updike's Rabbit tetralogy, and Larry Beinhart's American Hero. Olster then turns her attention to three non-American writers whose works explore the imperial sway of American popular culture on their nation's value systems: hierarchical class structure in Dennis Potter's England, Peronism in Manuel Puig's Argentina, and Nihonjinron consensus in Haruki Murakami's Japan. Finally, Olster returns to American literature to look at the contemporary media spectacle and the representative figure as potential sources of national consolidation after November 1963. Olster first focuses on autobiographical, historical, and fictional accounts of three spectacles in which the formulae of popular culture are shown to bypass differences of class, gender, and race: the John F. Kennedy assassination, the Scarsdale Diet Doctor murder, and the O. J. Simpson trial. She concludes with some thoughts about the nature of American consolidation after 9/11.

Post-modernist fiction apparently presents a world of chance and randomness, devoid of historical intelligibility. Focusing on American post-modernist writers, Stacey Olster offers a challenge to this perception, showing how the experience of political and historical events has shaped the novelist's perspective. Communism after World War II proved particularly instrumental in this capacity; the failure of the Communist ideal in Russia forced a change in the literary perspective of history during the 1950s. Olster analyzes in detail historical narrative configurations in the works of a pivotal group of writers. Norman Mailer, Thomas Pynchon, John Barth, Robert Coover and E. L. Doctorow share a common vision of historical movement in the shape of an open-ended spiral. The modes of temporal movement constructed by these authors manage to recall an early Puritan prototype while remaining nonapocalyptic in direction.

The Cambridge Introduction to Contemporary American Fiction explores fiction written over the last thirty years in the context of the profound political, historical, and cultural changes that have distinguished the contemporary period. Focusing on both established and emerging writers - and with chapters devoted to the American historical novel, regional realism, the American political novel, the end of the Cold War and globalization, 9/11, borderlands and border identities, race, and the legacy of postmodern aesthetics - this Introduction locates contemporary American fiction at the intersection of a specific time and long-standing traditions. In the process, it investigates the entire concept of what constitutes an "American" author while exploring the vexed, yet resilient, nature of what the concept of home has come to signify in so much writing today. This wide-ranging study will be invaluable to students, instructors, and general readers alike.

John Updike is one of the most prolific and important American authors of the contemporary period, with an acclaimed body of work that spans half a century and is inspired by everything from American exceptionalism to American popular culture. This Companion joins together a distinguished international team of contributors to address both the major themes in Updike's writing as well as the sources of controversy that Updike's writing has often provoked. It traces the ways in which historical and cultural changes in the second half of the twentieth century have shaped not just Updike's reassessment of America's heritage, but his reassessment of the literary devices by which that legacy is best portrayed. With a chronology and bibliography of Updike's published writings, this is the only guide students and scholars of Updike will need to understand this extraordinary writer.

The Cambridge Introduction to Contemporary American Fiction explores fiction written over the last thirty years in the context of the profound political, historical, and cultural changes that have distinguished the contemporary period. Focusing on both established and emerging writers - and with chapters devoted to the American historical novel, regional realism, the American political novel, the end of the Cold War and globalization, 9/11, borderlands and border identities, race, and the legacy of postmodern aesthetics - this Introduction locates contemporary American fiction at the intersection of a specific time and long-standing traditions. In the process, it investigates the entire concept of what constitutes an "American" author while exploring the vexed, yet resilient, nature of what the concept of home has come to signify in so much writing today. This wide-ranging study will be invaluable to students, instructors, and general readers alike.

The world reflected in post-modernist fiction is one of chance and randomness, devoid of historical intelligibility. Stacey Olster challenges this view by distinguishing American post-modernism--with respect to the views of historical processes that its practitioners share. Arguing that their experience of communism proved instrumental in shaping the historical perspective of novelists who began writing after World War II, Olster examines their change in perspective in the 1950s after historical events forced them to acknowledge the failure of the communist ideal in Russia. Focusing on Norman Mailer, Thomas Pynchon, John Barth, Robert Coover, and E.L. Doctorow, Olster portrays the idiosyncratic--but consistent--model of history that each began to construct in his work in order to preserve the illusion of an ordered sense of time. The author defines the qualities the writers share that form a common sensibility: a vision of historical movement taking the shape of an open-ended spiral, a refusal to accept the inevitability of apocalypse, and a conscious return to the traditions of earlier American authors.

John Updike is one of the most prolific and important American authors of the contemporary period, with an acclaimed body of work that spans half a century and is inspired by everything from American exceptionalism to American popular culture. This Companion joins together a distinguished international team of contributors to address both the major themes in Updike's writing as well as the sources of controversy that Updike's writing has often provoked. It traces the ways in which historical and cultural changes in the second half of the twentieth century have shaped not just Updike's reassessment of America's heritage, but his reassessment of the literary devices by which that legacy is best portrayed. With a chronology and bibliography of Updike's published writings, this is the only guide students and scholars of Updike will need to understand this extraordinary writer.

This is a collection of original, stimulating interpretations of key texts by Don DeLillo, designed for students and edited and written by leading scholars in the field. Offering a comprehensive and up-to-date analysis of the post-1990 fiction of one of America's most respected writers and cultural critics, this volume focuses on three of Don DeLillo's most recent novels - "Mao II", "Underworld", and "Falling Man" - that span pivotal moments in recent history: the end of the Cold War, the millennium, and 9/11. Bringing together original essays by scholars working in art history, urban studies, economic theory, ethnic studies alongside contemporary literature and American studies approaches, investigates DeLillo's portrait of turn-of-the-century America as it confronts globalism and terrorism. With an eye always on the impact that shifts in historical sensibility produce on aesthetic sensibility, the volume considers the role that DeLillo sees narrative playing in a world defined by digital images and provides the first extended analysis of how much faith he has in fiction's ability to convey the trauma of September 11, an event commonly conceived as resistant to all forms of artistic expression. This series offers up-to-date guides to the recent work of major contemporary North American authors. Written by leading scholars in the field, each book presents a range of original interpretations of three key texts published since 1990, showing how the same novel may be interpreted in a number of different ways. These informative, accessible volumes will appeal to advance undergraduate and postgraduate students, facilitating discussion and supporting close analysis of the most important contemporary American and Canadian fiction.

The Trash Phenomenon looks at how writers of the late twentieth century not only have integrated the events, artifacts, and theories of popular culture into their works but also have used those works as windows into popular culture's role in the process of nation building. Taking her cue from Donald Barthelme's 1967 portrayal of popular culture in Snow White as ""trash,"" and Don DeLillo's 1997 description of it as a subversive ""people's history"" in Underworld, Stacey Olster explores the ways in which American popular culture can be recycled in literature so as to change the nationalistic imperative behind its inception. The Trash Phenomenon begins with a look at the mass media's role in the United States' emergence as the twentieth century's dominant power. To this end, Olster discusses the works of three authors that collectively span the century bounded by the Spanish-American War (1898) and the Persian Gulf War (1991): Gore Vidal's ""American Chronicle"" series, John Updike's Rabbit tetralogy, and Larry Beinhart's American Hero. Olster then turns her attention to three non-American writers whose own cultures have felt the imperial sway of American popular culture: hierarchical class structure in Dennis Potter's England, Peronism in Manuel Puig's Argentina, and Nihonjinron consensus in Haruki Murakami's Japan. Finally, Olster returns to American literature to look at the contemporary media spectacle and the representative figure as potential sources of national consolidation after November 1963. Olster first focuses on autobiographical, historical, and fictional accounts of three spectacles in which the formulae of popular culture are shown to bypass differences of class, gender, and race: the John F. Kennedy assassination, the Scarsdale Diet Doctor murder, and the O. J. Simpson trial. She concludes with some thoughts about the nature of American consolidation after 9/11. The Trash Phenomenon is filled with fresh and challenging insights into how and why American popular culture can be recycled in literature so as to change the nationalistic imperative behind its inception.