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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
Death, decay, and the Technological reliquaries, 1637–67
Erika Doss

and the ‘resurrection of the flesh’ in a prohibitively puritanical and pleasure-numbing post-World War II America. ‘[W]e need an erotics of art’, she famously concluded in her 1964 essay ‘Against Interpretation’. Thek – who painted that phrase on one of his last canvases in 1987 – was Sontag’s modern art muse, constantly experimenting with avant-garde forms and processes that

in Republics and empires
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Scholarly personae: what they are and why they matter
Herman Paul

kaleidoscopic overview of a steadily growing number of ‘approaches’ to the American past. By emphasizing difference or even ‘fragmentation’ – a trope in the history of post-World War II American historiography – such typologies of approaches often have a dispersive effect of a kind illustrated in the following passage on New Left historians in the 1960s:27 A strict taxonomy might demarcate differences between the self-consciously Marxist work of an early wave, whose members included current or former Communists, Trotskyists, and Schachtmanites, and that of a younger cohort

in How to be a historian
Sergio Cortesini

structure, reworked and re-signified over the decades. This organic and diachronic dimension of art is what post-World War II American artists appreciated about Italy. Its complexity was more multifarious and allegorical (in Benjaminian terms) 49 than the self-assuring fantasy nurtured by the Section of transplanting a golden age retrieved from the

in Republics and empires
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Writing American sexual histories
Author: Barry Reay

The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.

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Edward Melcarth and homoeroticism in modern American art
Barry Reay and Erin Griffey

war II America’, The Journal of American Culture, 32:4 (2009), 318–31, quote at 323. 54 Ibid., 324. 55 Ibid., 319, 329. 56 Ibid., 320, 323, 327. 57 Explored further in Reay, New York Hustlers. 64 REAY (Sex in the Archives) PRINT.indd 64 08/08/2018 15:44 sexual portraits 58 Painter, Box 1, Series 2, C. 1, Vol. 6: 14 January, 17 January, 29 January, and 21 June 1949. 59 W. H. Auden, The Enchafèd Flood (New York, 1950), p. 146. 60 Weinberg, Speaking for Vice, p. 89. 61 Meyer, Outlaw Representation, p. 43. 62 Ibid., pp. 8, 42. 63 Ibid., p. 42. 64 Katz and

in Sex in the archives
Octavian Esanu

obvious in post-World War II American art. In the fine arts it is not the critics or the artists who are invested in the ideology of contemporaneity, but the museum managers. The “American contemporary,” which was partially discussed in parallel with the contemporaneity emerging in Moscow after Stalin's death (see Chapter 4 ), and was illustrated in the context of the 1948 renaming of the Boston ICA is one such example of a “contemporary” radicalism. The ICA's managers’ “successful attempts to detach ‘contemporary’ from ‘modern,’” as one commentator wrote

in The postsocialist contemporary
Simon Malpas and Andrew Taylor

analysis, the reader has fallen into the trap its author has set. Notes  1 David Riesman, The Lonely Crowd: A Study of the Changing American Character (1950), New Haven: Yale University Press, 1960, 22. For an excellent analysis of the class dynamics at work within the culture of conformity Riesman describes, see Andrew Hoborek, The Twilight of the Middle Class: Post-World War II American Fiction and White-Collar Work, Princeton: Princeton University Press, 2005. Joel Foreman’s edited Refuge and refuse in Slow Learner 45 volume The Other Fifties: Interrogating

in Thomas Pynchon
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The ideological bedrock of the postsocialist contemporary
Octavian Esanu

. 66 For a discussion of antipolitics in the context of Western Europe, see Suzanne Berger, “Politics and Antipolitics in Western Europe in the Seventies,” Daedalus 58, no. 1 (Winter, 1979): 27–50. For antipolitics in the context of post-World War II American “neo-avant-garde,” see chapter “Virus” in David Joselit, Feedback: Television Against Democracy (Cambridge, MA: MIT Press, 2007). 67

in The postsocialist contemporary