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Index
Coverpage
Half title page
Title page
Copyright page
Dedication
Contents
Acknowledgements
Preface: reading postmodern fiction
Introduction: postmodernism and postmodernity
Postmodernity and ‘late capitalism’
Baudrillard and simulation
Poststructuralism, postmodernism, and ‘the real’
Sociology and the construction of reality
Jameson and the crisis in historicity
Lyotard and the decline of the metanarrative
Irony and ‘double-coding’
Chapter 1 Postmodern fiction: theory and practice
An incredulity towards realism
What postmodern fiction does
How to read postmodern fiction
Chapter 2 Early postmodern fiction: Beckett, Borges, and Burroughs
Samuel Beckett
Jorge Luis Borges
William Burroughs
Chapter 3 US metafiction: Coover, Barth, Nabokov, Vonnegut, Pynchon
Barth's Funhouse and Coover's Descants
Vladimir Nabokov, Pale Fire
Kurt Vonnegut, Slaughterhouse-Five
Thomas Pynchon
Chapter 4 The postmodern historical novel: Fowles, Barnes, Swift
Historiographic metafiction
British historiographic metafiction
John Fowles, The French Lieutenant's Woman
Graham Swift, Waterland
Julian Barnes, Flaubert's Parrot
Chapter 5 Postmodern-postcolonial fiction
Salman Rushdie, Midnight's Children
Toni Morrison, Beloved
Ishmael Reed, Mumbo Jumbo
Chapter 6 Postmodern fiction by women: Carter, Atwood, Acker
Angela Carter
Margaret Atwood
Kathy Acker
Chapter 7 Two postmodern genres: cyberpunk and ‘metaphysical’ detective fiction
Sci-fi and cyberpunk
William Gibson, Neuromancer
Detective fiction
Jorge Luis Borges, ‘Death and the Compass’
Umberto Eco, The Name of the Rose
Paul Auster, City of Glass
Chapter 8 Fiction of the ‘postmodern condition’: Ballard, DeLillo, Ellis
Conclusion: ‘ficto-criticism’
J. G. Ballard, Crash
Don DeLillo, White Noise and Libra
Bret Easton Ellis, American Psycho
References
Index
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