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Lucía y el sexo (2001)
Rob Stone

about authorship that recalls the works of the writer Paul Auster and the Basque author Miguel de Unamuno. In Unamuno’s Niebla (Mist, 1914) the protagonist’s vain search for the meaning of life leads him to confront Unamuno, who informs this character Augusto Pérez that Pérez has no control over his actions because he is fictional. Determined to prove Unamuno wrong, Pérez tries to commit suicide, but Unamuno kills him first by accidental food poisoning, only for the dead Pérez to return in A ray of sun: Lucía y el sexo 167 Unamuno’s dream that night and taunt the

in Julio Medem
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Caroline Bassett

4813 The ARC - PT/gk.qxd 1111 21 3 4 51 6 7 8 9 10 1 1112 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 4211 19/4/07 10:59 Page 1 Introduction All you need is a different notebook, and the words will start flowing again. (Paul Auster, Oracle Night, 2003, 229) New Engine, Same Soul. (Advertisement for a Macbook Pro, AppleStore, 2006) Once, even recently, narrative was widely accepted as a dominant cultural logic and it did not seem controversial to suggest that lives, histories and cultures could be understood within its grounds. These days

in The arc and the machine
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Neil Cornwell

-class park’ to adjoin the Royal Festival Hall, has said: ‘I do feel that anything called a park should have at least one token Waiting for Godot tree.’ Certain of the novels of such a popular author as Paul Auster are frequently compared to the fiction of both Kafka and Beckett (in particular The New York Trilogy, 1985–87).4 Even Flann O’Brien, whose world profile remains somewhat lower than the two last named, despite his well-established literary (and journalistic) influence, has ‘starred’ (indeed, as Myles na gCopaleen) in Arthur Riordan’s absurdist satirical musical

in The absurd in literature
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defensive suspicion and misunderstanding, Rush argues, male friendship can again be explored in fiction. This book argues that Rush is partly right. I demonstrate that male friendship does indeed re-emerge as a significant theme in late twentieth- and twenty-first-century American fiction, and I offer extended analyses of works by a broad and eclectic range of novelists, including Philip Roth, Paul Auster, Michael Chabon, Jonathan Lethem, Dinaw Mengestu, and Teju Cole. But I argue that the reasons behind this re-emergence are not only to do with changing societal

in The politics of male friendship in contemporary American fiction
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Urban hieroglyphics, patternings and tattoos in Edgar Allan Poe’s ‘The tell-tale heart’ and Herman Melville’s Moby-Dick; Or, the whale
Spencer Jordan

Sweeney 1999 : 2). Merivale and Sweeney also include Poe in this category, developing a tentative genealogy of detective fiction that runs through to the postmodern authors such as Thomas Pynchon and Paul Auster. As Eric Bulson notes, ‘unlike the narrative resolution of a detective story that allows for the careful reconstruction of the villain’s steps, Moby-Dick is organised around the complete absence of that knowledge’ (Bulson 2007 : 48). This makes Moby-Dick an ‘anti-detective genre’ (Scaggs 2005 ) with its focus, as Knight explains, on questioning

in Tattoos in crime and detective narratives
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example, to the kind of open-ended, late-in-life conversation between Nathan and Murray that structures I Married a Communist , in which nothing is off the table, and in which each man helps the other in pulling together the pieces of the past. Or it can lead to the fraught, potentially life-changing acts of generosity that crisscross Paul Auster’s fiction, in which fear and hope often intermingle in the ambiguous gifts that are the currency of friendship in his work. Or it can result in the interracial ‘love affairs’ at the centre of Chabon and Lethem’s neighbourhood

in The politics of male friendship in contemporary American fiction
Jessie Morgan-Owens

’s Romantic fiction. Generations of editors have echoed Sophia’s photographic metaphors as a way of representing the Hawthornes’ note-books.6 According to the editors of a new transcription of MA 580, entitled Ordinary Mysteries, these commonplace notebooks served the Hawthornes as ‘the nineteenth century equivalent of snapshot albums or home movies’. Moreover, this ‘photograph’ of their home life ‘has been developed twice’: first by Nathaniel, then by his editor, Sophia.7 Paul Auster, in his 2003 introduction to a reprint of Twenty Days with Julian and Little Bunny by Papa

in Mixed messages
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Jpod and Coupland in the future
Andrew Tate

, a condition that Jameson once somewhat optimistically named ‘late capitalism’, is an anxiety represented throughout his fiction.4 However, Conclusion 163 for a writer and artist so fascinated by the possibilities of the new, postmodernism is a problematic label. Is it even accurate to locate Coupland within the tradition of avantgarde, intellectualism associated with post-1960s American fiction? Mark Forshaw insists that he ‘has never been a post-modern writer in the sense that we think of Paul Auster . . . or Donald Barthelme, as being postmodern writers’. It

in Douglas Coupland
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James Peacock

in this conclusion and opted instead for inward-looking, meta-discursive (and, indeed, post-modern) ruminations on the role of the writer in the manner of Paul Auster’s Travels in the Scriptorium (2006). One hopes not, but the only thing one can state with any certainty is that Lethem will continue to surprise. His latest work, to illustrate, is a monograph on John

in Jonathan Lethem
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Bauman writing, reading and talking
Peter Beilharz

no durable space at all. Some live in cardboard boxes, while others have crises of storage: too many homes, too many boxes. Suffering persists, outside the roseate halo of the smiling selfie. 5 In 2016 the focus returns to Lithuania, and his conversation partner Donskis. This volume is entitled Liquid Evil ; the theme of liquidity has not yet been exhausted. Here light and dark return, via Mikhail Bulgakov and The Master and Margerita , the letters between Paul Auster and J. M. Coetzee, and those old companions, Kafka and Orwell. The hulk of Vladimir Putin

in Intimacy in postmodern times