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Author: David Brauner

This is a study of the contemporary American novelist, Philip Roth. Reading alongside a number of his contemporaries and focusing particularly on his later fiction, it offers a view of Roth as an intellectually adventurous and stylistically brilliant writer who constantly reinvents himself in surprising ways. At the heart of this book are a number of readings of Roth's works both in terms of their relationships with each other and with fiction by Nathaniel Hawthorne, Thomas Pynchon, Tim O'Brien, Bret Easton Ellis, Stanley Elkin, Howard Jacobson and Jonathan Safran Foer. The book identifies as a thread running through all of Roth's work the use of paradox, both as a rhetorical device and as an organising intellectual and ideological principle.

Sarah Annes Brown

box without attracting too much attention. The end of the twentieth century was marked by a revival of the Doppelgänger to match that of the previous fin de siècle . Like their nineteenth-century counterparts, many of these modern explorations of the double – by writers such as Bret Easton Ellis, Chuck Palahniuk and Sarah Waters – caught the popular imagination and, in some cases, caused

in A familiar compound ghost
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
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David Brauner

), Deception (1990) and Operation Shylock (1993), appropriates, complicates and finally parodies aspects of both realism and postmodernism, making connections between these texts and works by Nathaniel Hawthorne, Thomas Pynchon, Tim O’Brien and Bret Easton Ellis. In the third chapter, I discuss Roth’s treatment of morality, mortality and masculinity in what I consider to be his masterpiece, Sabbath’s Theater (1995), comparing it with a short story by Stanley Elkin and a novel by Howard Jacobson that share many of its themes. The fourth chapter develops work that I began in

in Philip Roth
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Jpod and Coupland in the future
Andrew Tate

beverage he is currently sipping would be used by Coupland as ‘a device . . . to locate the characters in time and a specific Conclusion 165 sort of culture’ (JP, p. 191). While in Microserfs, Bill Gates appeared as a spectral figure, in JPod it is Coupland himself who makes a series of cameo appearances. Ethan meets ‘Douglas Coupland’ on a flight to China. This appearance of the ‘meta Doug’ (so named by Wired magazine) serendipitously echoes Bret Easton Ellis’s Lunar Park (2005) and a series of embarrassing encounters that Martin Amis sets up between a writer named

in Douglas Coupland
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Nineties’ gothica
Susanne Becker

concerns of the Female Gothic are now consistent with a larger change in American fiction towards ‘violence-centered plots’ ... If American Psycho is the masculine Gothic of the 1990s, Female Gothic looks more and more like a realist mode. (1989, 144) It seems that Bret Easton

in Gothic Forms of Feminine Fictions
Clive Barker and the spectre of realism
Daragh Downes

Bret Easton Ellis quality. Barker was surely capable of going there. But he was so busy overdeveloping things on the non-realist front that he left such realist possibilities chronically underexploited. Coldheart Canyon is another missed opportunity. In the plastic surgery martyrdom of fading Hollywood star Todd Pickett, Barker could have had a triumph of realist satire in the

in Clive Barker
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Ruth Goldberg

status they have accumulated, in an unsettling inversion of the social order (Grant, 1998 : 283). Grant’s article chronicles the development of this sub-genre and also includes an incisive look at Bret Easton Ellis’s infamously violent novel American Psycho (1991), one of the defining cultural artefacts of its time. This chapter will build on Grant’s foundational work

in Monstrous adaptations
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Scott Wilson

and a means of delimiting an oeuvre of products, however small or large: Slipknot, Korn, Arsenal, Bret Easton Ellis, Quentin Tarantino, Disney, FCUK, Will Self. But these brand names are not simply the names of individual authors or subjects. They mark products and signify little clusters of cultural and commercial production. The transformation of the author function to include brands and corporations is part of a process in which a creative understanding and practice has been generalised throughout the economy to inform all aspects of life, even those not commonly

in Great Satan’s rage
Coupland, consumption and junk culture
Andrew Tate

between feeling and action’. Tobias wanders into the narrative as if from some other novel or film of the period: he has more in common with the yuppie colleagues of Bud Fox or Sherman McCoy from Wall Street (1988) and Bonfire of the Vanities (1989), or one of Patrick Bateman’s dining companions (and future victims) in American Psycho (1989). Like Bret Easton Ellis’s serial killer, Tobias, according to Andy, is ‘smug’, ‘bland’ and ‘trades on [a] mask’ (GX, p. 91). For all his crass materialism, however, Coupland allows this superficial individual a moment of narrative

in Douglas Coupland