LEC TUR E 3 I N TRO DUC TION TO 1 9 5 0S A M E R I CAN F IC TION ( II) : PR E - PO STMODERNI STS N . M A ILE R, V. N A B O KOV, J. BA RTH , PH . ROTH
Contents
1. 2. 3. 4. 5. Pre-requisites for postmodernism Norman Mailer: New Journalism & Postmodernist fictional experiments Vladimir Nabokov: criticism of American domesticity & materialism of the 1950s & postmodernist narrative experiments John Barth: existentialist concern with the Self & postmodernist narrative experiments Philip Roth: realist concern with the Self in the context of ethnic identity & modernist narrative experiments
Postmodernism Prerequisites
the U.S. emerged from World War II in excellent economic shape Continuity of the prewar and wartime growth and opportunity proved delusory particularly for female factory workers and African American veterans.
1945 - 1960s: literature could represent a common national essence: an ideal formed in the 1950s as a patriotic act to fight communism and accumulate material possessions.
Postmodernism Prerequisites
The 1950s 1960s were at the same time a period of social conflict between: conformity - individuality tradition innovation stability disruption Manifested as: Civil Rights Movement, feminism, antiwar protests, minority activism, COUNTERCULTURE (n. A culture, especially of young people, with values or lifestyles in opposition to those of the established culture).
Postmodernism Prerequisites
Artists, critics, and intellectuals of all sorts confirmed that a feeling of trauma had overcome American writers by the 1950s. They vied with each other when the bad dream from which we cannot awaken the bad dream of history began. (Leslie E. Fiedler, An End to Innocence: Essays on Culture and Politics 48. Also see: Norman Podhoretz, Doings and Undoings: the Fifities and After in American Writing 23, Eric F. Goldman, The Crucial Decade And After: America, 1945 1960 112.) Reasons: conformity, mass society, new technology. (Source: Reminiscence and Re-Creation in Contemporary American Fiction. Stacey Olster. New York: Cambridge University Press, 1989, 6)
Postmodernism Prerequisites
Climate of historical and literary impasse after political disillusionment, specifically with communism, which many American writers had experienced earlier. Political disillusionment was not new in America; what was new: engagement with organized dissent was new for American writers (cf. Olster 6) Communism was a political ideology and a philosophy of history that was popularized in America as close to the specifically American philosophy that had shaped the present American ideas. In its view of history evolving toward a utopian classless society that would be preceded by an apocalyptic revolution, communism was millennialism all over again, dressed in a new set of terms, and commanding the same kind of belief and emotional commitment from its adherents. (Olster 7)
Postmodernism Prerequisites
Millennialism, also called millenarianism or chiliasm: the belief, expressed in the book of Revelation to John, the last book of the New Testament, that Christ will establish a 1,000-year reign of the saints on earth (the millennium) before the Last Judgment. More broadly defined, it is a cross-cultural concept grounded in the expectation of a time of supernatural peace and abundance on earth. (Encyclopedia Britannica,
http://www.britannica.com/EBchecked/topic/382720/millennialism)
Postmodernism Prerequisites
Liberal intellectuals inherited the liberal 19th century faith in Enlightenment values like equality, reason, progress. They had looked to the promises of millennialism and later of socialism for guarantees of these values. However, after a century of millennialist doubt, the horror of a world war, and the demise of the Socialist movement after 1919, 20th century liberals were left with a longing to believe but not much to believe in. A communism promoted as twentieth-century Americanism was a suitable repository of faith. Their beliefs had been bolstered by facts :
The Bolshevik Revolution seemed to confirm the Marxist promise. The 1933 U.S.A. recognition of Soviet Russia Shifts in the Communist Party line: the 1935 Popular Front (Olster 6-7)
Postmodernism Prerequisites
The U.S.A. Popular Front In 1935 the Seventh World Congress of the Comintern announced another change of direction. It now stressed the need for a "popular front," a movement to create political coalitions of all antifascist groups. In the United States, the Communists abandoned opposition to the New Deal; they reentered the mainstream of the trade union movement and played an important part in organizing new unions for the Congress of Industrial Organizations (CIO), for the first time gaining important positions of power in the union movement. As antifascist activists they attracted the support of many nonCommunists during this period. Intellectually, the Popular Front period saw the development of a strong communist influence in intellectual and artistic life.
Postmodernism Prerequisites
The point at which writers finally realized that events in the Soviet Russia could no longer be accommodated within a humanistic tradition came to different people at different times:
the 1936-38 Moscow trials for some, the Nazi-Soviet Pact (1939) for others. (Olster 7)
It was not until the 1950s, and after the Yalta Conference (1945, Stalin and Communism revealed as power oriented), the Chinese Revolution (1949, Mao Zedong and the Civil War), and the Korean War (1950 1953), all of them felt about Communism as just another manipulative ideology leading to destruction (Olster 7) the American sociologist Daniel Bell considered that a major characteristic of the decade was the end of ideology (The End of Ideology. On the Exhaustion of Political Ideas in the Fifities, 1960) Testimony to the spirit of the age: Norman Mailers The Man Who Studied Yoga
Postmodernism
Use of the term since the late 1950s applied to a wide range of phenomena referring to a complex of anti-modernist artistic strategies which emerged in the 1950s and developed momentum in the course of the 1960s used for diametrically opposed practices in different artistic disciplines (e.g postmodernist painting and architecture which is a return to artistic narrative and representational practices).
Postmodernism
Postmodernism is: either a radicalization of the self-reflexive moment within modernism, a turning away from narrative and representation OR an explicit return to narrative and representation. both seek to transcend what they see as the selfimposed limitations of modernism subjected experience to unacceptable intellectualizations and reductions.
Postmodernism
The attempt to transcend modernism follows two main strategies: Questioning of modernisms premises and its procedures from within the realm of art. Undermining the idea of art itself: The idea of art, art-as-institution, is a typically modernist creation built upon the principle of arts self-sufficiency. But such an autonomy is a self imposed exile.
Postmodernism
One of the fundamental books which discusses and presents Postmodernism as a complex intricate cultural phenomenon -The Postmodern Turn by the American critic Ihab Hassan (Ohio State University Press, 1987) Hassan presents some characteristics of Postmodernism; e.g.: INDETERMINACY-involving ambiguities, ruptures, displacements, relativity. FRAGMENTATION-,,____,, montage, collage, parataxis (the placing of related in a series without the use of connecting words).
Postmodernism
DECANONIZATION- including derision of authority and genre, deconstruction of language power. SELF-LESS-NESS -self-effacement, self-multiplication (reflection) DEPTH-LESS-NESS THE UNPRESENTABLE - no mimesis, flat surfaces, the horrible and the and UNREPRESENTABLE abject. IRONY - the recreations of mind in search of a truth that continually eludes it see Pynchons The Crying of Lot 49 and V.
Postmodernism
HYBRIDIZATION - parody, travesty, pastiche, de-definition, deformation of traditional genres, threshold literature. CARNIVALIZATION- comic/absurd, heteroglossia (variety of languages), performance, participation in the wild disorder of life, immanence of laughter. PERFORMANCE - the text wants to be written, answered, acted out; PARTICIPATION - narcissism of the performing self, solipsistic pleasure in the making of the text. CONSTRUCTIONISM - reality is constructed, suggestion of the growing intervention of mind in nature and culture. IMMANENCE - the minds capacity to generalize itself through symbols; languages reconstitute the universe.
1953 Becomes contributing editor for Dissent. Founded by a group of New York Intellectuals, which included Irving Howe, Lewis A. Coser, Henry Pachter, and Meyer Schapiro, Avowed mission: to dissent from the bleak atmosphere of conformism that pervades the political and intellectual life of the United States. democratic socialist values, critique contemporary politics and culture, and oppose both Soviet totalitarianism and McCarthyism in the U.S.
1957 1959
Birth of daughter Danielle. Publishes " The White Negro" in Dissent. Publishes Advertisements for Myself. Daughter Elizabeth Anne born.
1960 Runs for Mayor of New York on Existentialist ticket. Stabs wife Adele with penknife; she refuses to press charges. Under observation at Bellevue for a few weeks. 1962 Publishes Deaths for the Ladies (and Other Disasters). Divorce from Adele Morales. Marries Lady Jeanne Campbell, a columnist. Their daughter Kate born in August.
1969 Runs for Mayor of New York in Democratic primary, advocating New York City's secession from the state; comes in fourth in a field of five.
1970 Publishes Of a Fire on the Moon. Elected to the American Academy of Arts and Sciences. 1971 Publishes The Prisoner of Sex. Birth of daughter Maggie Alexandra to Mailer and Carol Stevens. Separation from wife Beverly Bentley.
1975
1976 Publishes Genius and Lust: A Journey Through the Major Writings of Henry Miller. 1978 Publishes A Transit to Narcissus. Wife Beverly Bentley sues for divorce. Birth of son John Buffalo to Mailer and Norris Church. 1979 Publishes The Executioner's Song, which receives a Pulitzer Prize. Divorce from Beverly Bentley.
Before watching the short story, Alan Sperber tells the story of Cassius OSchaugnessy, who has been involved with every major movement of the
20th century: serving in WW I helping to found DADA (avant-garde) after the war becoming a Marxist a Communist an anarchist a pacifist during WW II.
Worked on Henry Wallaces 1948 presidential nominee campaign of the Progressive Party. Renounced both later saying that Russias system of government was as debased as that of the United States (Olster 7-8)
.
1923 1936 VN writes several poems, plays, short stories and novels in Russian while in exile in Germany. He leaves Germany in 1936 for France,
1939 Writes The Real Life of Sebastian Knight, his first English-language novel. Travels to England looking for employment. Mother dies in Prague. Germany invades Poland on September 1. France attacks Germany on September 7. Nabokov receives and accepts offer to teach summer course in Russian literature at Stanford University.
1950 Begins working on novel entitled The Kingdom by the Sea, which later evolves into Lolita. Discouraged, he is prevented from burning his early drafts by Vera. Begins teaching major course on European fiction at Cornell.
1955 Lolita accepted for publication by Maurice Girodias, owner of Olympia Press in France. Named one of the best books of 1955 by Graham Greene in the London Sunday Times. 1956 John Gordon denounces Lolita in the London Sunday Express, sparking controversy over the novel. Nabokovs collection of Russian short stories, Vesna v Fialte i drugie rasskazy (Spring in Fialta and Other Stories), published in New York. French government bans Lolita along with several other Olympia Press titles (ban is overturned in January 1958).
1977 Hospitalized in Lausanne with fever and influenza from March to May. Returns to hospital in Lausanne in June. Dies on July 2. After cremation, body is interred in Clarens cemetery.
Lolita (1955)
Lolita - 1955, Paris (New York, 1958). According to Brian McHale, in Postmodernist Fiction, 1987 with Nabokov the crossover from modernist to postmodernist writing ...occurs during the middle years of [his] career, specifically in the sequence Lolita, Pale Fire (1962), Ada (1969). Humbert Humbert of Lolita belongs to the tradition of unreliable modernist narrators The America in the novel is a construction of the European immigrant writer. His language is also a construct, a fictional American, never used before, or later on by another American writer. Lolita herself, as a nymphet, proves later on in the plot of the novel to have been a construct of imagination.
Lolita (1955)
Constructionism: reality constructed in the story world of a mind which generates and pervades it. Immanence is also to be found here. the increasing capacity of the mind to generalize itself through symbols, to intervene in nature, to act upon itself through its own abstractions, and to end up becoming its own environment (Lolitas/Nabokovs America). An intellectualizing tendency. The immanence of language: languages constitute the paradigmatic example of this dynamic of immanence, since they reconstitute the universeinto signs of their own making, turning nature into culture, and culture into an immanent semiotic system. (Ihab Hassan, The Postmodern Turnin Santiago Juan-Navarro, Postmodern Visions of the Americas (Self-Reflexivity, Historical Revisionism, Utopia). Cranbury NJ: Associated University Presses, 2000, 22)
Lolita (1955)
Nabokov created made-up lingos that still contain compelling and comprehensible real-world referents. The first of these will be the national rhetoric of America, a country that prides itself on its own self-invention. Nabokovs rewriting of American national myths demonstrates that heterotopias really do destabilize reality: his alternate Americas reveal the constructed nature of the real-world country and suggest how it could be rebuilt by active readers Nabokovs rewriting of American national myths demonstrates that heterotopias really do destabilize reality: his alternate Americas reveal the constructed nature of the real-world country and suggest how it could be rebuilt by active readers. (Trousdale 35)
Lolita (1955)
Heterotopia: There are also, probably in every culture, in every civilization, real places places that do exist and that are formed in the very founding of society which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias. (This fragment was selected from a text, entitled "Des Espace Autres," and published by the French journal Architecture /Mouvement/ Continuit in October, 1984. It was the basis of a lecture given by Michel Foucault in March 1967. Source: Rethinking Architecture: A Reader in Cultural Theory. Edited by Neil Leach. NYC: Routledge. 1997. pp.330-336)
Lolita (1955)
Vladimir Nabokovs novels ask readers to distinguish between objective and interpretive truths as they sift through evidence provided by the narrators. Lolitas Humbert, Pale Fires Kinbote, and Adas Van create unreliable hybrids that are implicitly contrasted with Nabokovs own unification of his cultural worlds. Humbert, Kinbote, and Vans failed hybridizations teach us the power as well as the limits of interpretive truths: their self-serving readings of their surroundings are an education in the (limited) flexibility of the physical world and imply the possibility of a transcendent synthesis of the personal and the national. Nabokovs novels use the interplay between constructed and objective truths to renegotiate the relationship between geography and culture. In Lolita, landscape participates in the narrative, first contradicting Humberts romantic claim to unite Europe and America and then providing glimpses of better hybrid worlds beyond the scope of Humberts imagination. (Trousdale 37)
Lolita (1955)
Nabokovs Americaswhich he had to invent to write Lolitashow the degree to which fiction can affect our understanding of real places and demonstrate how historical and cultural narratives are amenable to reconstruction and reinterpretation.
While the natural world does not respond to the impositions of the worldfashioning narrator, America is already a real-world locus of cultural synthesis as well as the subject of a panoply of utopian visions and national discourses. (Trousdale 38)
America becomes the site of Nabokovs syntheses in Lolita, Pale Fire, and Ada in order to establishand begin to solvea fundamental problem facing transnational writers: how to bring their physical surroundings and their imaginary worlds into dialogue. This sited union of the physical and the imaginary is both an end in itself and a step toward Nabokovs more unusual rejection of linear timeFor Nabokov, America, more than any other country, provides a meeting point for old and new worlds. (Trousdale 38)
Lolita (1955)
Self-less-ness as self-effacement and self multiplication, as reflection; motif of the double.
the pseudonym of the narrator Humbert Humbert, and its fictional evil double, Clare Quilty.
Decanonization - as a burlesque of the Romantic Doppelgnger . With the same device one finds elements of intertextuality : complex relationship between Humbert and Clare Quilty.
In modelling Quilty on the Doppelgnger of the Gothic tale, Nabokov invokes R.L.Stevensons Dr.Jekyl and Mr.Hyde, Hans Christian Andersens The Shadow and Poes William Wilson.
Lolita (1955)
Poe is everywhere in Lolita : Humberts lost love is called Annabel Lee and he often identifies himself with A.Gordon Pym. Humbert calls himself once Edgar H.Humbert. Clare Quiltys mouldering mansion, Pavor (Lat. for panic) Manor burlesques Poes falling House of Usher. In the same postmodernist spirit Nabokov has rejected a romantic or trans-cendental notion of self ; another of Humberts jocose appelations is Jean Jacques Humbert. The unified, definitive self is a joke to Nabokov. He accepts the fragmentation, and he lets Humbert define himself however he must.
Lolita (1955)
Transnational writers frequently address the problems of missed references and of zone like juxtapositions by setting their texts in overtly alternate worlds. These may be:
alternate historical (Nabokovs Ada, or Ardor *1969+, Rushdies The Ground Beneath Her Feet [2000], and some of Isak Dinesens Tales [1934]); fantastic (Maxine Hong Kingstons The Woman Warrior: Memoir of a Girlhood Among Ghosts *1975+, Rushdies Midnights Children, or Vikram Chandras Red Earth and Pouring Rain [1995]); or more subtle in their alterity, as in the mystery-novel world of Kazuo Ishiguros When We Were Orphans (2000), the fantasy-novel references of Junot Dazs The Brief, Wondrous Life of Oscar Wao (2007), or the plausible fictional country of Joseph Conrads Nostromo (1904).
However we categorize these fictional worlds, they all enter into unstable dialogues with the real world. (Trousdale 21)
Lolita (1955)
Nabokov belongs in the twentieth-century modernist-postmodernist canon of difficult and allusive English-language writers like Joyce and Pynchon and at the same time in the equally difficult and allusive community of exiled and migrant writers (to which Joyce also belongs). (Trousdale 31)
Graduated and taught at Ivy League universities in the U.S. Author of 15 works of fiction and two of non-fiction Some of his works were included in the syllabi of American literature since the 1970s. 1956 National Book Award finalist for The Floating Opera. 1968 Nominated for the National Book Award for Lost in the Funhouse. 1973 Shared the National Book Award for Chimera with John Edward Williams and Augustus. 1974 Elected to the American Academy of Arts and Letters. 1974 Fellow of the American Academy of Arts and Sciences
Frequently associated with postmodernism; however his work incorporates / reflects other literary movements / genres. An Interview with John Barth. William Plumley, Chicago Review. Volume: 40. Issue: 4 Publication date: Fall 1994. Page number: 6+
About his being labelled a postmodernist: *+ when we were all being called existentialists in the decade I started publishing, in the 1950s, everybody fretted. Nobody acknowledged b eing an existentialist. Sartre said, "I'm not an existentialist... I don't know what they're talki ng about." Then we got to be called black humorists for a while. Then we were called Fabulists for a while. And more lately we have been called postmodernists, so we think we're st ill doing the same old thing, writing this sentence, then the next sentence, and then the one after that as best we know how, but the name of our ship seems to change as the jour ney continues.
*+ I don't deny the term postmodern. I think there is a thing roughly described by a term like postmodern. *+ There is a kind of postmodernism which repudiates the great moderns. Postmodernism in tha t sense means, let's don't do anymore the kind of stuff that Joyce and Kafka, Proust and Ma nn do....That's not my kind, by the way.... *+ In the period after the second World War, sensibilities like mine that had cut their teeth on those great modernists were looking for not the next best thing after modernism, but the best next thing after modernism, shaking up bourgeois notions of linearity and c onsecutivity and ordinary, realistic description of character, ordinary psychological cause and effect.[We] favor movie techniques like "disjunction" and some admixtu re of "irreality" with conventional reality and so forth.
Postmodernism Prerequisites
METAFICTION -- defined by Patricia Waugh (in Metafiction. The Theory and Practice of Self-Conscious Fiction, Routledge, 1984, p.2): a term given to fictional writing which self-consciously and systematically draws attention to its status as an artefact in order to pose questions about the relationship between fiction and reality. In providing a critique of their own methods of construction, such writings not only examine the fundamental structures of narrative fiction, they also explore the possible fictionality of the world outside the literary fictional text. John Barths The Floating Opera, V. Nabokovs Pale Fire.
although undergirding his study with verifiable information, punctuating his memoirs with dates, documents, notes and outlines of twenty years past, Todd recognizes the limited aid these tools can afford in reconstructing the past
He is fully aware that causation is never more than an inference; and any inference involves at some point the leap from what we see to what we cant see (p.214) Todd remains attuned to the subjective element behind any biographical study.
Location: both protagonists live in hotels at the time of the great existential day. TW : Hotel Gloriana, New York. TA: Dorset Hotel, Cambridge the seat of Dorchester County, Eastern Shore of Maryland.
Time: SD: 1950s (returned from WW II, mention of the Cold War?); FO: 1937.
Major difference: TWs final choice is humanistic (becoming aware of the Other); TAS skepticism and death oriented thought makes him Postmodernist/antihumanist.
Bellow: a humanist existentialist Barth: a rationalist existentialist.
Similar existentialist issue (taking masks on and off): Ralph Ellisons Invisible Man (1952).
Life-Story(1968)
- published in Lost in the Funhouse: Fiction for Print, Tape, Live Voice (1968) - collapse of life and fiction into one another through the confusion over referentiality - self-reflexivity, metafiction chief techniques - reflects contemporary concern with postmodern theories of the Self (E. Goffman and his emphasis on the constructedness of everyday life) mixed with psychoanalytic interpretations which favoured the definition of the self as governed / determined by fantasies / stories / complexes stored in the sub/un conscious.
Life-Story(1968)
The beginning of the short story: *+ He being by vocation an author of novels and stories it was perhaps inevitable that one afternoon the possibility would occur to the writer of these lines that his own life might be a fiction, in which he was leading or an accessory character. He happened at the time [9:00 a.m., June 20, 1966; Barths note+ to be in his study attempting to draft the opening pages of a new short story - metafiction in two forms: open references to writing the story + references to other literary texts / authors that inform the text of the short story (Samuel Beckett, Jorje Borges, etc.) - A short story about writing a short story, with several beginnings drafted and theories upon the role of fiction and on life being cognate with fiction
- Roth stresses individual lifes contingency on history , taken to comprise a multiplicity of non-coalescent histories
- early fictional texts, including the short stories published in Goodbye Columbus, represent an original blend of Jamesian/Flaubertian realism and comedy / satire.
- at the same time, his novels indirectly reflect his contemporaries engagement with their literary predecessors, through the form of diluted intertextuality. E.g.:
Roth also experimented with metafiction (Roths My Life as a Man and The Counterlife), science fiction (The Plot against America) and autobiophraphy qua fiction (Operation Shylock) a variety of concerns and forms. Yet, what transpires throughout is his engagement with the literary as a form of individual and historical knowledge, which sets him closer to Vonnegut, Updike and Bellow rather than Barth & Pynchon
First-person narrative with its traditional modernist limitations (we only have one perspective over the events recounted and thus the reader is limited to that in making out the events of the story) which focuses on 1940s American social life and history.
- when he discovers that based on the information he has revealed to Grossbart the latter had obtained his transfer to a New Jersey base instead of the Pacific, Nathan intervenes to send him to the Pacific together with the other two Jewish trainees.