Includes bibliographical references and index.

Preliminary Material / Eberhard Alsen -- Preface / Eberhard Alsen -- Acknowledgements / Eberhard Alsen -- Introduction / Eberhard Alsen -- Chapter 1 Saul Bellow's Henderson the Rain King : A Romantic Manifesto / Eberhard Alsen -- Chapter 2 J.D. Salinger's Franny and Zooey and the Teachings of the Bhagavad Gita / Eberhard Alsen -- Chapter 3 The Manichean Pessimism of Norman Mailer's An American Dream / Eberhard Alsen -- Chapter 4 The Figure of the Devil in Flannery O'Connor's The Violent Bear it Away & "The Lame Shall Enter First" / Eberhard Alsen -- Chapter 5 Breakfast of Champions : Kurt Vonnegut on the Nature of Man and God / Eberhard Alsen -- Chapter 6 The Fantastic in Philip Roth's The Breast and Donald Barthelme's The Dead Father / Eberhard Alsen -- Chapter 7 John Barth's "Night Sea Journey" and Sabbatical : From Exhaustion to Replenishment / Eberhard Alsen -- Chapter 8 "Transcendent Doings" in Thomas Pynchon's Gravity's Rainbow / Eberhard Alsen -- Chapter 9 Toni Morrison's Song of Solomon and the Secret of Spiritual Flight / Eberhard Alsen -- Chapter 10 Alice Walker's The Color Purple as a Transcendentalist Romance / Eberhard Alsen -- Chapter 11 Sin and the Supernatural in William Kennedy's Ironweed / Eberhard Alsen -- Chapter 12 Paul Auster's Ghosts and Mr. Vertigo : Homage to the Romantics / Eberhard Alsen -- Conclusion / Eberhard Alsen -- Cumulative List of Works Cited / Eberhard Alsen -- Index / Eberhard Alsen.

Intended for teachers and students of American Literature, this book is the first comprehensive analysis of romantic tendencies in postmodernist American fiction. The book challenges the opinion expressed in the Columbia History of the American Novel (1991) and propagated by many influential scholars that the mainstream of postmodernist fiction is represented by the disjunctive and nihilistic work of such writers as Kathy Acker, Donald Barthelme, and Robert Coover. Professor Alsen disagrees. He contends that this kind of fiction is not read and taught much outside an isolated but powerful circle in the academic community. It is the two-part thesis of Professor Alsen's book that the mainstream of postmodernist fiction consists of the widely read work of the Nobel Prize laureates Saul Bellow and Toni Morrison and other similar writers and that this mainstream fiction is essentially romantic. To support his argument, Professor Alsen analyzes representative novels by Saul Bellow, J.D. Salinger, Norman Mailer, Flannery O'Connor, John Updike, Kurt Vonnegut, Philip Roth, Thomas Pynchon, Toni Morrison, the later John Barth, Alice Walker, William Kennedy, and Paul Auster. Professor Alsen demonstrates that the traits which distinguish the fiction of the romantic postmodernists from the fiction of their disunctive and nihilist colleagues include a vision of life that is a form of philosophical idealism, an organic view of art, modes of storytelling that are reminiscent of the nineteenth-century romance, and such themes as the nature of sin or evil, the negative effects of technology on the soul, and the quest for transcendence.

English

Description based on print version record.