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Coupland and postmodern spirituality
Andrew Tate

the postmodern ‘God’ of this particular narrative, Coupland allows his characters more than one ‘second chance’. Bauman, similarly, has observed that postmodernity ‘does not know of’ a world with an ‘inbuilt finality and irreversibility of choices’.56 Indeed, it is evident that this happy ending quite explicitly owes as much to Frank Capra’s It’s a Wonderful Life (1947) as it does to New Testament eschatology. The ‘You are the first generation raised without religion’ 155 celebrated film narrates a crisis in its hero’s life, as a depressed George Bailey (James

in Douglas Coupland
Abstract only
Notes on voice and collaboration
Marianne Hirsch and Leo Spitzer

historian, and as someone less directly and immediately involved, as the in-law, in fact, promised to provide some necessary distance and balance. Dominick La Capra has written on historians’ transferential relationship to the subjects they work on, on the personal investments they are not trained to acknowledge and reveal.11 With two of us working together, we had a chance to acknowledge these investments, and to act as checks on one another’s. At the same time, the deeply familial nature of the project makes it so overlaid with unconscious processes on every level that

in Writing otherwise
Tourette’s and urban space in Motherless Brooklyn
James Peacock

able, we have seen, more successfully to complete the mourning process, to ‘work through’ trauma (La Capra, 2001 : 70). Thus Pella Marsh simultaneously ‘dreams her way back’ to Brooklyn and moves on. This chapter and the next explore the ways Fortress and its predecessor problematise and retard the process of moving on by continually ‘acting out’ the losses of childhood (LaCapra

in Jonathan Lethem
Allusion, anti-pastoral, and four centuries of pastoral invitations
Hannibal Hamlin

Theocritus (in the Greek 84 Coming of Age: New and Selected Poems (Bloomington: Indiana University Press, 1959), 56. 85 Robert Frost, A Boy’s Will (New York: Henry Holt and Company, 1915), 56–7. 86 Eros and Psyche: A Poem in Twelve Books (London: George Bell and Sons, 1894), 78. MUP_Armitage_Ralegh.indd 193 07/10/2013 14:09 194 Hannibal Hamlin too, since ‘caper’ comes from capra or goat). Since Pan sings this song ‘his pipe laid by’, Spenser is also present: in The Shepheardes Calender the rejected Colin Clout ‘broke his oaten pype’ in frustration, even though he

in Literary and visual Ralegh