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Author: Michael Kalisch

This book explores how the contemporary American novel has revived a long literary and political tradition of imagining male friendship as interlinked with the promises and paradoxes of democracy in the United States. In the last decades of the twentieth century, not only novelists but philosophers, critical theorists, and sociologists rediscovered the concept of friendship as a means of scrutinising bonds of national identity. This book reveals how friendship, long exiled from serious political philosophy, returned as a crucial term in late twentieth-century communitarian debates about citizenship, while, at the same time, becoming integral to continental philosophy’s exploration of the roots of democracy, and, in a different guise, to histories of sexuality. Moving innovatively between these disciplines, this important study brings into dialogue the work of authors rarely discussed together – including Philip Roth, Paul Auster, Michael Chabon, Jonathan Lethem, Dinaw Mengestu, and Teju Cole – and advances a compelling new account of the political and intellectual fabric of the contemporary American novel.

Contemporary American fiction of racial and gender passing

This book is a full-length study of contemporary American fiction of ‘passing’. It takes as its point of departure the return of racial and gender passing in the 1990s in order to make claims about wider trends in contemporary American fiction. The book accounts for the return of tropes of passing in fiction by Phillip Roth, Percival Everett, Louise Erdrich, Danzy Senna, Jeffrey Eugenides and Paul Beatty. These writers are attracted to the trope because passing narratives have always foregrounded the notion of textuality in relation to the legibility of black subjects passing as white. The central argument of the book, then, is that contemporary narratives of passing are concerned with articulating and unpacking an analogy between passing and authorship. The book promises to inaugurate dialogue on the relationships between identity, postmodernism and authorship in contemporary American fiction.

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Jim Thompson’s The Killer Inside Me and the Crooked Game of Post-World War II America
Jamie Brummer

Though presenting itself as pulpy example of hardboiled American fiction, Jim Thompson’s The Killer Inside Me opens up in important and unexpected ways when read as a subversive Gothic novel. Such a reading sheds light on a range of marginalized characters (especially women and rural peoples) who often remain shadowed by more conventional readings. Reading the novel as Gothic also highlights thematic concerns which counter the halcyon image of post-World War II America as a golden age and reveal instead a contemporary landscape fraught with violence, alienation, and mental instability.

Gothic Studies
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Best known for a trilogy of historical novels set in the fictional town of Gilead, Iowa, Marilynne Robinson is a prolific essayist, teacher, and public speaker, routinely celebrated as a singular author of contemporary American fiction. This collection intervenes in the author’s growing critical reputation, pointing to new and exciting links between the author, the historical settings of her novels, and the contemporary themes of her fictional, educational, and theoretical work. Touching on ongoing debates in race, gender, and environmental politics, as well as education, democracy, and the state of critical theory, New Perspectives on Marilynne Robinson demonstrates the wider secular and popular impact of the author’s work, building on the largely theological focus of previous criticism to suggest new and innovative interpretations of her oeuvre.

The collection’s four sections are dedicated to: Robinson’s use of form and style; her exploration of the relationship between gender and the environment; her use of history and the intersection of race, rights, and religion in her work; and a discussion of Robinson and her contemporaries. As such, the collection argues for a reconsideration of Robinson within the field of American and English Studies, by bringing together 16 new, vibrant, and undoubtedly contemporary analyses of her work. Authors include: Bridget Bennett, Richard King, Sarah Churchwell, Jack Baker, Maria Elena Carpintero Torres-Quevedo, Daniel King, Anna Maguire Elliott, Makayla Steiner, Lucy Clarke, Christopher Lloyd, Tessa Roynon, Alexander Engebretson, Emily Hammerton-Barry, Steve Gronert Ellerhoff, Kathryn E. Engebretson, Paul Jenner, and Rachel Sykes."

Author: Rachel Sykes

This book defines quiet as an aesthetic of narrative that is driven by reflective principles and places Marilynne Robinson's work within a vibrant contemporary American trend. It makes two critical interventions. First, it maps the neglected history of quiet fictions and argues that from Hester Prynne to Clarissa Dalloway, from Bartleby to William Stoner, quiet characters fill the novel in the Western tradition. Second, it demonstrates how the novel's quiet undercurrent functions as an aesthetic in contemporary American fiction. The book engages with the problem of 'event' as a noisy narrative device and discusses the opposition of quiet texts to narratives written in the aftermath of 11 September 2001, an event that heralded to many the beginning of a noisy century. It discusses the subjective depictions of temporality portrayed in the fiction of Marilynne Robinson and Paul Harding. The book then argues that cognitive fictions by Richard Powers and Lynne Tillman expand the focus of the quiet novel. By expanding the focus, it uncovers the complex and often discordant recesses of human consciousness and challenges the traditional division between what is internally and externally felt. The book brings together the strands of this monograph to discuss what happens to the quiet novel when Teju Cole and Ben Lerner set their quiet novels in the noisy environment of the city. By paying attention to the quieter aspects of everyday experience, the quiet novel also reveals how quiet can be a multi-faceted state of existence, which is communicative and expressive.

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David Brauner

again and again, revisiting old hunting grounds and breaking into new ones; honing, refining, sharpening and expanding his armoury. Writing about any living artist presents certain difficulties: the writing is still evolving, the reputation built on that career being revised as each new work appears. Writing on contemporary American fiction is particularly problematic because it is a very crowded field and one which is especially susceptible to the fluctuations of literary-critical fashion; new contenders for the title of ‘Great American Novelist’ are constantly

in Philip Roth
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Rachel Sykes

Conclusion This book has argued that ‘quiet’ is a literary aesthetic, used frequently in contemporary American fiction to privilege reflection and contemplation as a way of engaging with the present. Tracing a long history of quiet in Anglo-American literature and focusing more ­specifically on American works published since 2000, I have argued that the contemporary American novel is quiet when its narrative is focalised through the mind of a quiet character and set in a quiet location where the protagonist has the time and space to reflect on their present

in The quiet contemporary American novel
Dinaw Mengestu’s The Beautiful Things that Heaven Bears (2007) and Teju Cole’s Open City (2011)

radical politics. Setting out from the ‘narrow, shabby, and brightly lit’ aisles of Sepha’s quiet store, where decades-old calendars and a fading out-of-date map of Africa hang on the walls, this chapter offers a contrasting account of race, friendship, and belonging in contemporary American fiction (3). Concentrating on works by Mengestu and Teju Cole – two writers belonging to a generation heralded as representing an ‘African literary renaissance’ – this chapter elaborates a multifaceted understanding of black identity in America by bringing into focus the diverse

in The politics of male friendship in contemporary American fiction

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

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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