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David Brauner

that included Saul Bellow and Bernard Malamud. This trend continued throughout the seventies and most of the 1980s, when younger novelists such as Don DeLillo and Paul Auster, who seemed to owe more to Thomas Pynchon than to Roth, established themselves, and the work of African-American novelists, most notably Alice Walker and Toni Morrison, threatened to eclipse that of their Jewish-American peers. The publication of The Counterlife in 1986, however, signalled the beginning of Roth’s second coming and over the course of the 1990s he was indeed often treated as the

in Philip Roth
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Textual spectrality and Finnegans Wake
Matthew Schultz

) claims that Joyce himself insists that the twelve questions are asked by Shem of Shaun, others (such as Fargnoli and Gillespie, in James Joyce: A to Z, pp. 80–81) suggest the first eleven questions are asked by Shem of Shaun, but the final twelfth question is asked by Shaun. 25 Joyce, Finnegans Wake, 136.7. MUP_Schultz_Haunted.indd 16 03/04/2014 12:23 Textual spectrality and Finnegans Wake 17 26 Samuel Beckett, ‘Dante … Bruno. Vico … Joyce,’ Samuel Beckett: The Grove Centenary Edition, Vol. 4. Ed. Paul Auster (New York: Grove Press, 2006), p. 503. ‘Here form

in Haunted historiographies
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Famine and the Western Front in Samuel Beckett’s Waiting for Godot
Matthew Schultz

trainload, the other let a natural disaster run its course. 6 McCormack, From Burke to Beckett, p. 382. 7 Samuel Beckett, Waiting for Godot. In Samuel Beckett: The Grove Centenary Edition. Vol 3. Ed. Paul Auster (New York: Grove Press, 2006), p. 72. 8 James Knowlson, Damned to Fame: The Life of Samuel Beckett (New York: Grove Press, 1996), p. 273. 9 Knowlson, Damned to Fame, p. 278. 10 According to a letter written on 20 May 1992 by Gervase Cowell, British Special Operations Executive Adviser, to James Knowlson, ‘The letters reversed the initials of “His

in Haunted historiographies
Neil Cornwell

concerned with a man’s belief that he is a train (Stories and Plays, 73–80). For another fraternal variant see Robert Coover’s ‘The Brother’ (Pricksongs & Descants, 92–8). Note may also be taken of Willem de Kooning’s pencil drawing Self-Portrait with Imaginary Brother (1938), cited in Paul Auster’s novel Oracle Night (2004). 13 In addition to alluding to the culture of the ancient Ionian city of Miletus, ‘Milesian’, in Irish mythology, refers to ‘a member of a group of people from a royal Spanish family who invaded Ireland about 1300 BC and became the ancestors of the

in The absurd in literature
Rachel Sykes

events in New York in particular.14 These included McEwan’s Saturday, Safran Foer’s Extremely Loud and Incredibly Close (2005), Updike’s Terrorist (2006) and DeLillo’s Falling Man (2007), novels that are now studied as key examples of ‘9/11 fiction’ because they recreate either the events of that day or the year that followed. More established authors would also reference the attacks as an epochal shift in the consciousness of the Western world. Paul Auster’s The Brooklyn Follies (2005) used ‘9/11’ as shorthand for presidential change and to signal the end of the

in The quiet contemporary American novel
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Bound together
Andy Campbell

Research in Art History, Anyway?,’ in Michael Ann Holly and Marquard Smith (eds.), What is Research in the Visual Arts? Obsession, Archive, Encounter (Williamstown, MA: Sterling and Francine Clark Art Institute, 2008), p. 10. Holly cites Maurice Blanchot’s thoughts on writing and dread to arrive at this formulation. For more, see Maurice Blanchot, ‘From Dread to Language,’ in The Station Hill Blanchot Reader: Fiction and Literary Essays, trans. Lydia Davis, Paul Auster, and Robert Lamberton (Barrytown, NY: Station Hill Press, 1998), pp. 343–58. Introduction 41

in Bound together
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Citational theory and contemporary characterisation
Liz Tomlin

provide a sense not of ontological transparency but of instability and evanes- Apparitions of the real 92 cence. This move means that the site of performance is the space not of the now, but, to borrow Paul Auster’s words, of ‘memory: the space in which a thing happens for the second time’ (Auster, 1988: 83, cited in Savran, 2005: 16) In memory, as in history, the past cannot exist beyond the construction of those in the present, and so the Wooster Group’s long tradition of performers who are ‘haunted by those absent others whom they reference’ is here taken to a

in Acts and apparitions
Paul Wake

. Jones, Conrad and Women, p. 145. Conrad, Chance, p. 213. Jones, Conrad and Women, p.148. Jones, Conrad and Women, p. 83. Jones, Conrad and Women, p. 154. Conrad, Chance, pp. 127, 292. Conrad, Chance, p. vii. Paul F. Mattheisen, Arthur C. Young and Pierre Coustillas (eds), The Collected Letters of George Gissing, 1902–3, Volume Nine (Ohio: Ohio University Press, 1997), p. 84. Jones, Conrad and Women, pp. 159–60. Jones, Conrad and Women, p. 115. Maurice Blanchot, The Station Hill Blanchot Reader: Fiction and Literary Essays, trans. Lydia Davis, Paul Auster and Robert

in Conrad’s Marlow
Generic experimentation in My Life as a Man, The Counterlife, The Facts, Deception and Operation Shylock
David Brauner

to fall into two camps: those who write about – and champion – postmodernist fiction, and those who focus on – and defend – more realist forms of fiction. This ideological polarisation has resulted in the creation of two, largely discrete canons of contemporary American fiction: a postmodernist canon that includes Thomas Pynchon, Kurt Vonnegut, John Barth, Donald Barthelme, Robert Coover, Don DeLillo, Paul Auster and Bret Easton Ellis; and a realist canon that includes Saul Bellow, Bernard Malamud, John The ‘credible incredible’ 47 Updike, Richard Ford, Alison

in Philip Roth
Philip Roth’s I Married a Communist (1998) and The Human Stain (2000)

are scrutinised, and in which the relationship between friendship and politics is explored in the very structure of the narrative he tells. He may not invite Murray to stay over, but Nathan offers him something else: the novel itself is a kind of ‘gift’ of their friendship, an idea I explore in more detail in the next chapter, in relation to Paul Auster’s work. Roth gave a eulogy for Lowenstein, and I Married a Communist is Nathan’s tribute to Murray. This comparison clarifies something often overlooked: that Murray has died before Nathan begins writing the

in The politics of male friendship in contemporary American fiction