Swallowing a World offers a new theorization of the maximalist novel. Though itâ s typically cast as a (white, male) genre of U.S. fiction, maximalism, Benjamin Bergholtz argues, is an aesthetic response to globalization and a global phenomenon in its own right.
Swallowing a World offers a new theorization of the maximalist novel. Though itâ s typically cast as a (white, male) genre of U.S. fiction, maximalism, Benjamin Bergholtz argues, is an aesthetic response to globalization and a global phenomenon in its own right.
Benjamin Bergholtz is an assistant professor of English at Louisiana Tech University.
Inhaltsangabe
Acknowledgments Introduction: Mapping the Maximalist Novel 1. See the Whole World, Come See Everything! Midnight’s Children and the Postcolonial Culture Industry 2. Certainty in Its Purest Form: Globalization, Fundamentalism, and Narrative in White Teeth 3. It Shouldn’t Produce No Pretty Sentence, Ever: Violence and Aesthetics in A Brief History of Seven Killings 4. The Pursuit of Knowledge: The Paradoxes of Postcolonial Encyclopedism in In the Light of What We Know 5. Two Dumb Inertias: The Uneven Drift of Globalization in The Old Drift Conclusion: The Future of Maximalist Fiction Notes Bibliography Index
Acknowledgments Introduction: Mapping the Maximalist Novel 1. See the Whole World, Come See Everything! Midnight’s Children and the Postcolonial Culture Industry 2. Certainty in Its Purest Form: Globalization, Fundamentalism, and Narrative in White Teeth 3. It Shouldn’t Produce No Pretty Sentence, Ever: Violence and Aesthetics in A Brief History of Seven Killings 4. The Pursuit of Knowledge: The Paradoxes of Postcolonial Encyclopedism in In the Light of What We Know 5. Two Dumb Inertias: The Uneven Drift of Globalization in The Old Drift Conclusion: The Future of Maximalist Fiction Notes Bibliography Index
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