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

By Michael W. Clune

The years after international conflict have obvious a common fascination with the unfastened marketplace. 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 an alternate kind of existence, precise from either the social visions of the left and the individualist ethos of the fitting. those rules additionally offer an unsettling instance of ways paintings takes on social energy via supplying an break out from society. American Literature and the loose industry provides a brand new viewpoint on a few broad ranging works for readers of yank post-war literature.

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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.

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.

The paradox of this writing is that the decay of recognition doesn’t end the speaker’s communications. Rather, the breaking of the mirror is associated with the removal of what had blocked the subject’s ability to communicate. If this is solipsism, it is a strange solipsism that, instead of falling silent, begins to speak. Plath imagines that the freedom of her speakers from recognition endows them with unprecedented access to speech, to the community. This is not solipsism, but something stranger, a radical subjectivity where the failure of recognition produces an expanded access to communal value.

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