Titlebook: Community in Twentieth-Century Fiction; Paula Martín Salván (Associate Professor of Englis Book 2013 Palgrave Macmillan, a division of Mac

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Doomed to Walk the Night: Ghostly Communities and Promises in the Novels of Alex La Guma,ca in the 1950s and 60s, La Guma is a representative example of how Marxism, both at a political and literary level, provided effective means to fight against the prevailing totalitarian apartheid regime. La Guma, hence, endorses the communist ideal of community, as described by Nancy:

infelicitous

,When Strangers Are Never At Home: A Communitarian Study of Janet Frame’s ,ed institutions” (Althusser 143).. By contrast, in Nancy’s and Blanchot’s models, there are no individualities but singularities.. Each singularity “is not a self-enclosed subjectivity. . . [It] is exposed, at its limit, to a limitless or abyssal outside that it shares with the other singularities,

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,“A Political Anxiety:” Naipaul, or the Unlikely Beginning of Community,mode of political fiction intent on exposing the gap between practical agency and intellectual-moral motivation.. In Bhabha’s apt terms, Naipaul perpetrates this mode of fiction “with peculiar perversity:”

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Introduction: Togetherness and its Discontents,ing of Thomas Pynchon’s first published text, an article titled “Togetherness” which appeared in the December 1960 issue of the journal .. This short piece foreshadows one of the lasting concerns in the narrative work of this postmodernist master: the problem of communal life. How, whether and why t

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,Organic and Unworked Communities in James Joyce’s “The Dead”, involved with a community’s enterprise” (Deane 35). The artist’s loneliness and apartness was, therefore, a prerequisite for creativity. Joyce’s preference for exile and cosmopolitanism—both in his life and in his works—responds to his desire to safeguard artistic independence. As Edna O’Brien expl

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