Startseite Literaturwissenschaften 7. Futures of the American Novel
Kapitel
Lizenziert
Nicht lizenziert Erfordert eine Authentifizierung

7. Futures of the American Novel

  • Sebastian Domsch
Veröffentlichen auch Sie bei De Gruyter Brill
Erkunden Sie dieses Fachgebiet So veröffentlichen Sie bei uns
Handbook of the American Novel of the Twentieth and Twenty-First Centuries
Ein Kapitel aus dem Buch Handbook of the American Novel of the Twentieth and Twenty-First Centuries

Abstract

This essay looks at some recent trends in American novel writing that can be expected to exert further influence in the near future. After debating the importance of 9/11 as a watershed for the new contemporary, it looks at the heritage of postmodernism and its “post-postmodern” discontents. Another important factor for the future of the novel is the larger question of the development of publishing and its core medium, the book. In terms of content, it is probably most interesting to look at the way that American literature engages the troubled notion of “post-ethnicity,” a way that is characterized not least by a more thorough interconnection with world literature. Finally, the phenomenal success of several sub-genres within the so-called young adult novel is calling into question generic delineations in respect to different audiences as well as the boundaries between audience and writers.

Abstract

This essay looks at some recent trends in American novel writing that can be expected to exert further influence in the near future. After debating the importance of 9/11 as a watershed for the new contemporary, it looks at the heritage of postmodernism and its “post-postmodern” discontents. Another important factor for the future of the novel is the larger question of the development of publishing and its core medium, the book. In terms of content, it is probably most interesting to look at the way that American literature engages the troubled notion of “post-ethnicity,” a way that is characterized not least by a more thorough interconnection with world literature. Finally, the phenomenal success of several sub-genres within the so-called young adult novel is calling into question generic delineations in respect to different audiences as well as the boundaries between audience and writers.

Kapitel in diesem Buch

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. Modernism 21
  7. 2. Postmodernism 35
  8. 3. Cultural Diversity 52
  9. 4. Intermediality 68
  10. 5. Inter-American Perspectives 84
  11. 6. The American Novel and the Marketplace 98
  12. 7. Futures of the American Novel 113
  13. Part II. Close Readings
  14. 8. Henry James, The Ambassadors (1903) 131
  15. 9. Willa Cather, My Ántonia (1918) 148
  16. 10. F. Scott Fitzgerald, The Great Gatsby (1925) 162
  17. 11. John Dos Passos, Manhattan Transfer (1925) 177
  18. 12. Ernest Hemingway, The Sun Also Rises (1926) 192
  19. 13. William Faulkner, Absalom, Absalom! (1936) 206
  20. 14. Djuna Barnes, Nightwood (1936) 222
  21. 15. John Steinbeck, The Grapes of Wrath (1939) 237
  22. 16. Richard Wright, Native Son (1940) 250
  23. 17. Robert Penn Warren, All the King’s Men (1946) 264
  24. 18. Ralph Ellison, Invisible Man (1952) 278
  25. 19. Flannery O’Connor, Wise Blood (1952) 294
  26. 20. Vladimir Nabokov, Lolita (1955) 308
  27. 21. Thomas Pynchon, The Crying of Lot 49 (1966) 322
  28. 22. Leslie Marmon Silko, Ceremony (1977) 337
  29. 23. Sandra Cisneros, The House on Mango Street (1984) 351
  30. 24. Don DeLillo, White Noise (1985) 361
  31. 25. Toni Morrison, Beloved (1987) 374
  32. 26. Philip Roth, American Pastoral (1997) 388
  33. 27. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 401
  34. 28. Cormac McCarthy, The Road (2006) 414
  35. 29. Louise Erdrich, The Round House (2012) 427
  36. Index of Subjects 443
  37. Index of Names 447
  38. List of Contributors 459
https://doi.org/10.1515/9783110422429-009

Kapitel in diesem Buch

  1. Frontmatter I
  2. Editors’ Preface V
  3. Contents VII
  4. 0. Introduction 1
  5. Part I. Systematic Questions
  6. 1. Modernism 21
  7. 2. Postmodernism 35
  8. 3. Cultural Diversity 52
  9. 4. Intermediality 68
  10. 5. Inter-American Perspectives 84
  11. 6. The American Novel and the Marketplace 98
  12. 7. Futures of the American Novel 113
  13. Part II. Close Readings
  14. 8. Henry James, The Ambassadors (1903) 131
  15. 9. Willa Cather, My Ántonia (1918) 148
  16. 10. F. Scott Fitzgerald, The Great Gatsby (1925) 162
  17. 11. John Dos Passos, Manhattan Transfer (1925) 177
  18. 12. Ernest Hemingway, The Sun Also Rises (1926) 192
  19. 13. William Faulkner, Absalom, Absalom! (1936) 206
  20. 14. Djuna Barnes, Nightwood (1936) 222
  21. 15. John Steinbeck, The Grapes of Wrath (1939) 237
  22. 16. Richard Wright, Native Son (1940) 250
  23. 17. Robert Penn Warren, All the King’s Men (1946) 264
  24. 18. Ralph Ellison, Invisible Man (1952) 278
  25. 19. Flannery O’Connor, Wise Blood (1952) 294
  26. 20. Vladimir Nabokov, Lolita (1955) 308
  27. 21. Thomas Pynchon, The Crying of Lot 49 (1966) 322
  28. 22. Leslie Marmon Silko, Ceremony (1977) 337
  29. 23. Sandra Cisneros, The House on Mango Street (1984) 351
  30. 24. Don DeLillo, White Noise (1985) 361
  31. 25. Toni Morrison, Beloved (1987) 374
  32. 26. Philip Roth, American Pastoral (1997) 388
  33. 27. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 401
  34. 28. Cormac McCarthy, The Road (2006) 414
  35. 29. Louise Erdrich, The Round House (2012) 427
  36. Index of Subjects 443
  37. Index of Names 447
  38. List of Contributors 459
Jetzt anmelden und 20% sparen
Institutioneller Zugang
Wie funktioniert Authentifizierung?
Haben Sie eine Idee, wie wir unsere Website verbessern können?
Bitte schreiben Sie uns.
© 2026 De Gruyter Brill
Heruntergeladen am 25.1.2026 von https://www.degruyterbrill.com/document/doi/10.1515/9783110422429-009/html
Button zum nach oben scrollen