Titlebook: George Saunders; Critical Essays Philip Coleman,Steve Gronert Ellerhoff Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Geor

不吉祥的女人

bronchodilator

合并

https://doi.org/10.1007/978-3-031-31479-7he essay concludes with a discussion of Saunders’s own workplaces—the university Master of Fine Arts (MFA) classroom and . magazine—and by asking whether his fiction (as much as the theme parks he depicts) contributes to our “experience economy.”

DEAWL

Synthesis and Polymerization of Alkyds,e struggles for self-definition. This use of dialogue as a contextualizing tool is perhaps the central characteristic of Saunders’s short fiction, and this essay therefore offers an investigation into how such use of language allows Saunders to explore the political and social landscapes within which his characters suffer and grow.

Aspiration

JAMB

encyclopedia

Joitske Hulsebosch,Sibrenne Wagenaar“Brad Carrigan: American”—the terror of the . is revealed. In these stories, Saunders’s protagonists are called to acknowledge the unknowability, the ineffability of the “Ultimate Concern” whilst the reader is called to do the same.

否认

https://doi.org/10.1007/978-981-15-9793-0 of others. Taking into account the socio-cultural and literary-historical contexts his short stories are situated in—a shorthand for which would be neoliberalism and postmodernism—I demonstrate how narrative empathy works both at the levels of story and discourse in his short fiction.

albuminuria

Tanja Beer,David Curtis,Julie Collinsmines how the sources of this nihilism are partially to be found within neoliberalism. “Brad Carrigan, American” embodies a particular use of the uncanny that derives from the philosophical dilemmas posed by temporal “simultaneity,” problems largely inherited from the Holocaust’s disruption of Western ontology and ethics.

Criteria

,“A Job to Do”*: George Saunders on, and at, Work,he essay concludes with a discussion of Saunders’s own workplaces—the university Master of Fine Arts (MFA) classroom and . magazine—and by asking whether his fiction (as much as the theme parks he depicts) contributes to our “experience economy.”