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3. Adjacency Toni Morrison, Beloved (1987)

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. Seven Modes Of Uncertainty
  4. Introduction 1
  5. I. Mutual Exclusion
  6. 1. Oscillation. The Crying Of Lot 49 (1966) 41
  7. 2. Enfolding. Rereading Ian McEwan’s Atonement (2001) 79
  8. II. Multiplicity
  9. 3. Adjacency Toni Morrison, Beloved (1987) 115
  10. 4. Accounting Interreading William Empson’S Seven Types Of Ambiguity (1930), Shirley Jackson’S “Seven Types Of Ambiguity” (1943), And Elliot Perlman’S Seven Types Of Ambiguity (2003) 153
  11. III. Repetition
  12. 5. Vacuity. Bret Easton Ellis, American Psycho (1991) 191
  13. 6. Synchronicity Metareading Tom McCarthy’s Remainder (2005) 230
  14. 7. Conclusion: Flippancy. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 269
  15. Appendix 1: The Vagaries Of The New Ethics 293
  16. Appendix 2: Seven Modes Of Uncertainty 303
  17. Notes 305
  18. Acknowledgments 379
  19. Index 381
Seven Modes of Uncertainty
This chapter is in the book Seven Modes of Uncertainty
https://doi.org/10.4159/harvard.9780674419674.c7

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. Seven Modes Of Uncertainty
  4. Introduction 1
  5. I. Mutual Exclusion
  6. 1. Oscillation. The Crying Of Lot 49 (1966) 41
  7. 2. Enfolding. Rereading Ian McEwan’s Atonement (2001) 79
  8. II. Multiplicity
  9. 3. Adjacency Toni Morrison, Beloved (1987) 115
  10. 4. Accounting Interreading William Empson’S Seven Types Of Ambiguity (1930), Shirley Jackson’S “Seven Types Of Ambiguity” (1943), And Elliot Perlman’S Seven Types Of Ambiguity (2003) 153
  11. III. Repetition
  12. 5. Vacuity. Bret Easton Ellis, American Psycho (1991) 191
  13. 6. Synchronicity Metareading Tom McCarthy’s Remainder (2005) 230
  14. 7. Conclusion: Flippancy. Jonathan Safran Foer, Extremely Loud & Incredibly Close (2005) 269
  15. Appendix 1: The Vagaries Of The New Ethics 293
  16. Appendix 2: Seven Modes Of Uncertainty 303
  17. Notes 305
  18. Acknowledgments 379
  19. Index 381
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