In this challenging book the author identifies the principle features of this new genre and interprets them as responses to modern society.

Masculinity in Contemporary New York Fiction is an interdisciplinary study that presents masculinity as a key thematic concern in contemporary New York fiction. This study argues that New York authors do not simply depict masculinity as a social and historical construction but seek to challenge the archetypal ideals of masculinity by writing counter-hegemonic narratives. Gendering canonical New York writers, namely Paul Auster, Bret Easton Ellis, and Don DeLillo, illustrates how explorations of masculinity are tied into the principal themes that have defined the American novel from its very beginning. The themes that feature in this study include the role of the novel in American society; the individual and (urban) society; the journey from innocence to awareness (of masculinity); the archetypal image of the absent and/or patriarchal father; the impact of homosocial relations on the everyday performance of masculinity; male sexuality; and the male individual and globalization. What connects these contemporary New York writers is their employment of the one of the great figures in the history of literature: the flâneur. These authors take the flâneur from the shadows of the Manhattan streets and elevate this figure to the role of self-reflexive agent of male subjectivity through which they write counter-hegemonic narratives of masculinity. This book is an essential reference for those with an interest in gender studies and contemporary American fiction.

Absence is as crucial as presence. The decision to stop dating has made Vaughn Hargrave’s life infinitely simpler: he has friends, an excellent wardrobe, and a job in the industry he loves. That’s all he really needs, especially since sex isn’t his forte anyway and no one else seems interested in a purely romantic connection. But when a piece is stolen from his art gallery and insurance investigator Jonah Sondern shows up, Vaughn finds himself struggling with that decision. Jonah wants his men like his coffee: hot, intense, and daily. But Vaughn seems to be the one gay guy in Toronto who doesn’t do hookups, which is all Jonah can offer. No way can Jonah give Vaughn what he really wants, not when Jonah barely understands what love is. When another painting goes missing, tension ramps up both on and off the clock. Vaughn and Jonah find themselves grappling not just with stolen art, but with their own differences. Because a guy who wants nothing but romance and a guy who wants nothing but sex will never work—right? Not unless they find a way to fill in the spaces between them. Winner: Best Asexual Contemporary and Historical Romance in the 2017 Rainbow Awards Winner: Best Asexual Book in the 2017 Rainbow Awards "An unlikely romance between two beautifully written characters will leave readers swooning." – Kirkus **See this title's page on RiptidePublishing.com for content warnings.**

From trauma to postmodernism and gender theory, this guide surveys a full range of critical perspectives on three of Palahniuk's major novels, including Fight Club.

How has American literature after postmodernism responded to the digital age? Drawing on insights from contemporary media theory, this is the first book to explore the explosion of new media technologies as an animating context for contemporary American literature. Casey Michael Henry examines the intertwining histories of new media forms since the 1970s and literary postmodernism and its aftermath, from William Gaddis's J R and Bret Easton Ellis's American Psycho through to David Foster Wallace's Infinite Jest. Through these histories, the book charts the ways in which print-based postmodern writing at first resisted new mass media forms and ultimately came to respond to them.

There's a violence in me. My name is Lincoln Delabar. I was born without a face. Yes, you heard that right. Smooth, clear skin from my forehead to my chin. I see the world differently, yet it is still a place that holds wonder. At least most of the time. With my uniqueness comes a burden. My mind is powerful. Very powerful. And I have an obligation, a purpose, to see things in my own special way. Some of the things I see are frightening. The evil in this world is beyond anyone's control. Or so you might think. There is a violence in me. I'm not afraid. I can control it. But should I?

Trump Fiction:Essays on Donald Trump in Literature, Film, and Television examines depictions of Donald Trump and his fictional avatars in literature, film, and television, including works that took up the subject of Trump before his successful presidential campaign (in terms that often uncannily prefigure his presidency) as well as those that have appeared since he took office. Covering a range of texts and approaches, the essays in this collection analyze the place Trump has assumed in literary and popular culture. By investigating how authors including Bret Easton Ellis, Amy Waldman, Thomas Pynchon, Howard Jacobson, Mark Doten, Olivia Laing, and Salman Rushdie, along with films and television programs like The Fresh Prince of Bel-Air, Sesame Street, Sex and the City, Two Weeks Notice, Our Cartoon President, and Pose have approached and shaped the discourse surrounding Trump, the contributors collectively demonstrate the ways these cultural artifacts serve as sites through which the culture both resists and abets Trump and his rise to power.

Project Apogee had one mission: to create biologically engineered perfect teenagers. The teenagers were supposed to be expressions of a perfect genetic mapping of traits, an example of the New Human. But when the teens go before the project committee, they are found to be utterly normal and unremarkable, a disappointment. Then there's Alex, the lost teen who failed years ago, who might just be the most remarkable of them all.

The novels of David Foster Wallace, Dave Eggers and Jonathan Safran Foer are increasingly regarded as representing a new trend, an 'aesthetic sea change' in contemporary American literature. 'Post-postmodernism' and 'New Sincerity' are just two of the labels that have been attached to this trend. But what do these labels mean? What characterizes and connects these novels? Den Dulk shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection and endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life. This shared philosophical dimension is analyzed by viewing the novels in light of the existentialist philosophies of Søren Kierkegaard, Jean-Paul Sartre, Ludwig Wittgenstein and Albert Camus.