Download American Fiction: Modernism-Postmodernism, Popular Culture, by Jaroslav Kusnir PDF

By Jaroslav Kusnir

Jaroslav Kušnír’s booklet American Fiction: Modernism-Postmodernism, pop culture, and Metafiction is a sequel to his past learn on American postmodern fiction entitled Poetika americkej postmodernej prózy: Richard Brautigan and Donald Barthelme [Poetics of yankee Fiction: Richard Brautigan and Donald Barthelme]. Prešov: Impreso, 2001. It explores a number of points of yankee postmodernist fiction as manifested within the works by way of Richard Brautigan, Donald Barthelme and different American postmodernist authors reminiscent of Robert Coover, E. L. Doctorow, Kurt Vonnegut and Paul Auster. examining quite a few brief tales and novels, the writer exhibits adjustments among modernist and postmodernist literature within the works of Donald Barthelme; the best way postmodern parodies of renowned literary genres supply a critique of a few features of yankee cultural identification and adventure (the American Dream, individualism, consumerism); and he additionally indicates other ways postmodern authors resembling Robert Coover, Kurt Vonnegut and Paul Auster create metafictional impact as some of the most major features of postmodern literature.

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American Fiction: Modernism-Postmodernism, Popular Culture, and Metafiction

Jaroslav Kušnír’s publication American Fiction: Modernism-Postmodernism, pop culture, and Metafiction is a sequel to his prior research on American postmodern fiction entitled Poetika americkej postmodernej prózy: Richard Brautigan and Donald Barthelme [Poetics of yank Fiction: Richard Brautigan and Donald Barthelme].

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91–92]. Nevertheless, despite the fact that — as Russ points out — science fiction should theoretically provide flexible boundaries for writers seeking to work through (or past) ideas surrounding restrictive gender roles, such roles still contributed greatly to debates about the place of the “softer sex” in science fiction creation and fandom. While women were marginalized but active in magazines, fanzines and general science fiction culture from the 1920s onward, the radical politics of 1960s–70s feminism brought tensions to a head; Russ’s article “The Image of Women in SF” (published in The Red Clay Reader 1970, Vertex 1974) served as one notable catalyst for arguments surrounding feminism in science fiction, as Russ’s own politically active positioning clearly marked her statements as part of the feminist movement (Merrick 105).

Of course, while the Japanese iconography that marks early cyberpunk may indeed present a racially-charged specter of “empty and dehumanized technological power” (170), cyberpunk’s distrust of corporations also stems from the economic forces that suffuse American culture; globalization in many respects constitutes “a distinct outgrowth of western capitalist and patriarchal systems” (Hawthorne 362). Moreover, James Messerschmidt traces the globalization of United States businesses back as far as the 1950s and notes that American exports have included hazardous products and corrupt management practices, causing appalling working conditions in Third World countries (110).

In short, though her work’s position within the cyberpunk genre was unquestioned, and Cadigan herself was praised by her male compatriots, she may have unknowingly taken the first steps toward defining the new boundaries of feminist cyberpunk and cyberfiction; although her writing is, in truth, not overtly political, and “never fully engages with feminist concerns,” she also subverts a number of masculinist conventions (Cadora 358). The genre changes in Cadigan’s work are noticeably and notably echoed in the women’s fiction that was yet to come.

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