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Michael Chabon’s Telegraph Avenue (2012) and Jonathan Lethem’s The Fortress of Solitude (2003)

are attuned to the fluxes of local time, as they search for the American futures embedded in the regional histories of Brooklyn and Brokeland. Notes 1 Paul Auster, Smoke (1995), in Collected Screenplays (London: Faber and Faber, 2010) , pp. 21–140 (21). Subsequent references are given in the text in parentheses. 2 On the literary histories of Brooklyn and Manhattan, see James Peacock, Brooklyn Fictions: The Contemporary Urban Community in a Global Age (London: Bloomsbury, 2015) , 12–40. My argument here about New York’s boroughs maps on to Miranda

in The politics of male friendship in contemporary American fiction
Rachel Sykes

sense of self, Adam is either unable or unwilling to believe in art’s connectivity despite his noted success as a poet. Here, it is necessary to draw further similarities between Adam and Lerner, whose recent work of criticism, The Hatred of Poetry (2016), typifies Adam’s antipathy to his profession.65 Lerner was already an established poet when Granta published Leaving the Atocha Station in 2011 to widespread critical acclaim. An unusual novel for distribution by a major publishing house, favourable reviews by Jonathan Franzen, Paul Auster, James Meek and the

in The quiet contemporary American novel
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Rethinking closure in the Victorian novel
Vybarr Cregan-Reid

Press, 2008); Virginia Woolf, To the Lighthouse, ed. David Bradshaw (Oxford: Oxford University Press, 2006). Moreover, the need for ‘answers’ in fiction (and, frequently, the lack of them) is explicitly explored in the work of Thomas Pynchon, Paul Auster, Samuel Beckett, James Joyce, Vladimir Nabokov, B. S. Johnson, and Kazuo Ishiguro. 110 Eliot, Middlemarch, p. 278.

in Discovering Gilgamesh
Paul Wake

Time, trans. J. Macquarrie and E. Robinson (Oxford: Blackwell, 1962), p. 40. 29 Heidegger, Being and Time, p. 379. 30 Jacques Derrida, Aporias, trans. Thomas Dutoit (Stanford, CA: Stanford University Press, 1993), p. 76. 31 Blanchot, The Space of Literature, pp. 125–6. 32 Blanchot, The Space of Literature, p. 104. 33 Maurice Blanchot, The Station Hill Blanchot Reader: Fiction and Literary Essays, ed. George Quasha, trans. Lydia Davis, Paul Auster and Robert Lamberton (New York: Station Hill Press, 1999), p. 392. 34 Derrida, Aporias, p. 22. 35 Blanchot, The Station

in Conrad’s Marlow
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Jason Jacobs

the end years of New Criticism sets him apart somewhat from novelists such as Philip Roth, Don DeLillo, Paul Auster and J. M. Coetzee, who tended to, at least in their early works, thematise the formal problems (in particular with narration, and the nature of a ‘character’ as an ontological entity driving storytelling) associated with poststructuralist concerns. Milch’s second inheritance from Warren came later but was in its formative stages as he transferred to an English Literature Major. In 1963 Brooks and Warren formulated and embarked on a project of mapping

in David Milch