Coming of Age in Contemporary American FictionEdinburgh University Press, 2007 M04 18 - 200 pages This book explores the ways in which a range of recent American novelists have handled the genre of the 'coming-of-age' novel, or the Bildungsroman. Novels of this genre characteristically dramatise the vicissitudes of growing up and the trials and tribulations of young adulthood, often presented through depictions of immediate family relationships and other social structures. This book considers a variety of different American cultures (in terms of race, class and gender) and a range of contemporary coming-of-age novels, so that aesthetic judgements about the fiction might be made in the context of the social history that fiction represents. A series of questions are asked:* Does the coming-of-age moment in these novels coincide with an interpretation of the 'fall' of America?* What kind of national commentary does it therefore facilitate?* Is the Bildungsroman a quintessentially American genre?* What can it usefully tell us about contemporary American culture? Although the focus is on the conte |
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Page 4
... integral to it? Is it possible for fictional characters to come of age at any point, for example in their twenties? Douglas Coupland's Generation X (1991) is some form of contemporary bildungsroman, but of characters who are certainly ...
... integral to it? Is it possible for fictional characters to come of age at any point, for example in their twenties? Douglas Coupland's Generation X (1991) is some form of contemporary bildungsroman, but of characters who are certainly ...
Page 9
... integral part of these fictional projects. The form and structure of these novels is often strongly expressive of a desire to create a myth of origins by which their protagonists can come to understand themselves, and this knowledge ...
... integral part of these fictional projects. The form and structure of these novels is often strongly expressive of a desire to create a myth of origins by which their protagonists can come to understand themselves, and this knowledge ...
Page 18
... integral to their moral vision of the United States. Learning to read critically is the first stage of their coming of age. Bone's story also begins with the delineation of his family circumstances; his parents divorced ten years ago ...
... integral to their moral vision of the United States. Learning to read critically is the first stage of their coming of age. Bone's story also begins with the delineation of his family circumstances; his parents divorced ten years ago ...
Page 25
... integral to his story. Something similar might be said about Bone's reading of Evolution and Desire, which he describes as 'a dog turd of a book' (123), and of his impatience with James Joyce's Finnegans Wake, of which he remarks, 'I ...
... integral to his story. Something similar might be said about Bone's reading of Evolution and Desire, which he describes as 'a dog turd of a book' (123), and of his impatience with James Joyce's Finnegans Wake, of which he remarks, 'I ...
Page 31
... integral to his identity. I-Man disappears, only to be recuperated as a shadow presence in Bone's memory. As he sails away from Jamaica, Bone looks at the night sky: 'The stars were awesome, like zillions of tiny lights bobbing on a ...
... integral to his identity. I-Man disappears, only to be recuperated as a shadow presence in Bone's memory. As he sails away from Jamaica, Bone looks at the night sky: 'The stars were awesome, like zillions of tiny lights bobbing on a ...
Contents
1 | |
15 | |
Growing up in the Sixties | 46 |
Chapter 3 Citation and Resuscitation | 72 |
Life Sentences | 98 |
Chapter 5 Lexicon of Love | 130 |
6 Memoirs and Memorials | 154 |
Conclusion | 181 |
Bibliography | 183 |
Index | 189 |
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adolescence adult aesthetic American argued attempt attention authority becomes begins believes Bone Bone’s called challenges chapter characterised characters child childhood circumstances closely coming of age coming-of-age contemporary critical crucial culture death defined depiction desire dramatises Edgar especially example experience expression father feel fiction final Fishboy further genre girls gives growing idea identity important innocence integral interest interpretation issue kind knowledge language linguistic Lisbon Lucille Lucille’s Maisie male means metafiction Mona Mona’s moral mother narrative narrator nature never novel origin parents particular partly past Phillip politics protagonist Prozac Nation Purple question reader reading recognise relationship respect response Ruth scene sense significant simply simultaneously social society speak specific story structure subjectivity suicide symbolic takes tell things understanding United voice women writing young