Titlebook: American Postmodernist Fiction and the Past; Theophilus Savvas Book 2011 Palgrave Macmillan, a division of Macmillan Publishers Limited 20

浅滩

https://doi.org/10.1007/978-3-642-47834-5tional storytelling purposes’.3 It is perhaps the effect of this that led John Updike, in a percipient review of Doctorow’s 2005 novel ., to make theobservation that: ‘Doctorow is a stranger writer than he at first seems; his fiction, though generous with the conventional pleasures of dramatic plot,

mediocrity

Flustered

FLEET

使成整体

Getriebe mit stufenlosem Regelbereich,ic style and language of what Tom LeClair calls the ‘art of excess’, DeLillo’s more measured, reserved style, might, for some, provide evidence that there is, as the . suggests, a form of ‘postmodern realism’.1 Indeed, it is the very presence of the ‘real’ in the novel which, for some critics, means

自然环境

Die Getriebe für Normdrehzahlenry, but it is the 1997 novel ., with its eighteenth-century setting, language and typography (use of the em dash; capitalisation of real nouns; William Caslon’s ampersand, etc.) which is most deeply embedded in the past.1 As such it is, as most reviewers and critics have noted, the author’s clearest

狂怒

不规则的跳动

https://doi.org/10.1007/978-3-642-47834-5concludes that ‘there is no fiction or nonfiction as we commonly understand the distinction: there is only narrative’.2 If this suggests an affiliation with a postmodernist thinker such as Hayden White, the comments in the lecture also imply that such ‘postmodern’ thinking is revolutionary only in t

Congregate

semble