David Cowart — новинки

In this revised edition, David Cowart discusses Don DeLillo's thirteen novels, including his latest, Cosmopolis, and explores the ways in which DeLillo's art anticipates, parallels, and contests ideas that have become the common currency of poststructuralist theory. Cowart argues that the major site of DeLillo's engagement with postmodernism is language, which DeLillo represents as more mysterious--numinous even--than current theory allows. For DeLillo, language remains what Cowart calls "the ground of all making."

This fresh examination of Pynchon’s use of painting, film, music, and literature shows that his true art lies in humanis­tic allusions that stress the possibility of spiritually separating oneself from the modern wasteland.
Cowart disagrees with critics who see Pynchon as a scientist writing about entropy, although Pynchon does illus­trate the nihilistic world for which he is famous in allusions to painting and film, both of which mask a Void. But more important, these allusions call into question what is real and what is not. Through musical and literary allu­sions Pynchon suggests the speculative world, the world of unrealized possibil­ity. Music hints at the dimensions of ex­perience people miss because of the nar­row range of experiences to which they are attuned. Literary allusions support and extend the almost mystical sense created by musical allusions, thus sug­gesting that in Pynchon’s view, human consciousness need not be trapped by entropic drift.