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Download American Literature and the Free Market, 1945-2000 by Michael W. Clune PDF

By Michael W. Clune

ISBN-10: 0521513995

ISBN-13: 9780521513999

The years after global conflict have noticeable a frequent fascination with the unfastened industry. Michael W. Clune considers this fascination in postwar literature. within the fictional worlds created by means of works starting from Frank O'Hara's poetry to nineties gangster rap, the industry is remodeled, delivering an alternate type of lifestyles, special from either the social visions of the left and the individualist ethos of the precise. those rules additionally supply an unsettling instance of ways artwork takes on social strength by way of providing an get away from society. American Literature and the loose industry offers a brand new viewpoint on a couple of huge ranging works for readers of yankee post-war literature.

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American Literature and the Free Market, 1945-2000

The years after global battle have obvious a common fascination with the unfastened industry. Michael W. Clune considers this fascination in postwar literature. within the fictional worlds created via works starting from Frank O'Hara's poetry to nineties gangster rap, the industry is remodeled, delivering another kind of existence, precise from either the social visions of the left and the individualist ethos of the best.

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Extra resources for American Literature and the Free Market, 1945-2000

Sample text

Blood, like money, allows Plainview to “get away” from people. The blood relation is guaranteed outside social space; it is secured in a different dimension. ” Kinship is one meaning of the “blood” of the title. Another is oil. For Plainview, the key feature of oil is its monetary value. ” But when Plainview can make money on it, when the enormous dark jet of oil spurts up blowing the roof off the derrick, the oil is blood. 31 “I run a family enterprise,” Plainview repeats, pointing to his small son whom he brings along to help make his sales pitch.

But for Plainview the allure of blood money is very specific. ” This way of fusing blood and money is not unique to this film, and in Chapter 4 I will pursue its sources and implications with reference to the novels of Kathy Acker. My present interest in There Will Be Blood lies in the perspective it provides on the desire for an alternative to intersubjectivity set up in Bell Jar. This perspective is made possible by distance. The most obvious distance between the two works derives from the difference in mediums.

But what can we say about how this film€– which is contemporary with the composition of this study€– distances itself from the lure of the economic? It is tempting to understand the tragic register in which the film renders Plainview’s desire for money as symptomatic of the exhaustion of this particular fascination with the economic. It is tempting to suppose that, when looking back from the perspective opened by There Will Be Blood, we occupy a position outside the spell of the fascination I am here concerned to analyze.

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