The hilarously funny and moving story of two Jewish brothers who head west from the Bronx to California in search of the American dream. -- Book jacket.

Starting in the 1960s, a group of radically new fiction writers began having success at reinventing the novel and short story for postmodern times. Chief among them were Kurt Vonnegut, Jerzy Kosinski, Donald Barthelme, Ronald Sukenick, Raymond Federman, Clarence Major, and Gilbert Sorrentino. Although their work proved puzzling to reviewers and did not fit the conventions familiar to academic critics, these writers found an ally in a young reader named Jerome Klinkowitz. Hired to teach Hawthorne and other nineteenth-century figures, Klinkowitz found his deepest sympathies (and most lifelike affinities) to be with Vonnegut and company instead. Beginning in 1969 he published the first scholarly essays on Vonnegut, Kosinski, Barthelme, and the others in turn. By 1975 he was ready to write Literary Disruptions, a literary history of what he called this "post-contemporary" period. Since then he has written more than thirty books on contemporary fiction and its allied developments in cultural history, art, music, politics, and philosophy. Keeping Literary Company details Klinkowitz's work with these writers—not just researching their fiction and other publications, but introducing them to one another and taking part in the business-world activities that spread news of their innovations. He shows how what they wrote was so much a part of those turbulent times that a new literary generation found itself defined in such works as Slaughterhouse-Five, Being There, and Snow White. Here is a fascinating, first-person account of what these important figures wrote, how they wrote it, and what it means in the development of American fiction.

If, as the literary theorists of postmodernism contend, "content" does not exist, then how can fiction continue to be written? Jerome Klinkowitz, himself a veteran practitioner and theorist of fiction, addresses this question in Structuring the Void, an account of what today's novelists and short story writers do when they produce a fictive work. Klinkowitz focuses on the ways in which writers, finding themselves in the same position as abstract painters and death-of-God theologians, have turned their inquiry itself into subject matter, and he shows how this approach has in recent years produced something more than mere metafictive self-questioning. With no subject to structure, the writers Klinkowitz discusses nonetheless persist in the act of structuring. For Kurt Vonnegut, this has meant finding a form for an otherwise unrepresentable world by organizing his autobiography as a narrative device. In the generation following Vonnegut, Max Apple makes a similar move in the ritualization of a national history and popular culture, while Gerald Rosen and Rob Swigart invent a style of literary comedy based on their comic response to a new imaginative state, the state of California. Klinkowitz also considers subjects that, though they cannot be represented, nevertheless exercise constraints on a writer's intention to structure. In recent decades, two of these pressing themes have been gender (as seen here in the works of Grace Paley) and war (the Vietnam conflict itself as well as the struggles of two generations to come to terms with it). Structuring the void left when content collapses, these writers have, as Klinkowitz demonstrates, developed an entirely new style of fiction, one that necessarily privileges space over time and self-invention over representation.

While many Americans dismissed the borough of The Bronx in the late 1970s through the belief that »The Bronx is burning,« this study challenges that assumption. As the first explicit study on The Bronx in American popular culture, this book shows how a wide variety of cultural representations engaged in a complex dialogue on its past, present, and future. Sina A. Nitzsche argues that popular culture ushered in the poetic resurrection of The Bronx, an artistic and imaginative rebirth, that preceded, promoted, and facilitated the spatial revival of the borough.

***WINNER – IPPY Bronze Book Award – Best Regional Fiction (2009) ***WINNER – BookBundlz Best Book (2009-2010 Winter Award) The Hierophant of 100th Street is a remarkable, unusual book: a metaphysical novel set in a violent world of slums, gangs, and prisons. Drawing on the author's experience of growing up in the infamous East Harlem neighborhood of 100th Street in the 1960s, the story follows 17-year-old Adam Kadman and his 9-year-old brother John through their respective initiations into the realities of street life while simultaneously introducing real-life characters who dwell in the life of the spirit. Veiled in the guise of fiction, most of what appears in the book is actually a truthful account of the author's real-life experience. Like the author, the young Adam also ventures out from the slums of New York to discover the meaning of life amid the horrors of existence, and finds romance, mysticism, and purpose. Seeking to extricate himself from 100th Street, Adam is drafted into the army and later travels to Egypt, where in a harsh world of theocrats and misogynists he falls in love with a young Arab woman. Out of his element, he attacks the social structure—and ends up running for his life. He returns back to the old neighborhood only to find it changed … destroyed by an invasion of drugs, betrayal, and murder. By chance he encounters a mysterious man, Clifford Bias (a renowned twentieth-century clairvoyant), and is taken under the wing of the "magus." Discovering his own psychic abilities, Adam enters his mentor's secret society and a world of mysticism and love. Tapping the same rich spiritual vein as The Da Vinci Code and The Celestine Prophecy and written in the stark language of the streets, this daring, cinematic novel explores the ancient truths and metaphysical mysteries hidden in the fabric of everyday life.

"Americans have treated the highway as sacred space," says Primeau (English, Central Michigan U.) introducing the rich tradition of prose and non-fiction road narratives that include On the Road, Grapes of Wrath, Even Cowgirls Get the Blues, and the Journals of Lewis and Clark. Primeau critically examines these and other works from the position of travel as pilgrimage resulting in identifiable themes of protest, self discovery, picaresque parody, and myth making. Paper edition (unseen), $17.95. Annotation copyright by Book News, Inc., Portland, OR

A defining analysis of the entire span of Kurt Vonnegut's fiction Kurt Vonnegut is one of the few American writers since Mark Twain to have won and sustained a great popular acceptance while boldly introducing new themes and forms on the literary cutting edge. This is the "Vonnegut effect" that Jerome Klinkowitz finds unique among postmodernist authors. In this innovative study of the author's fiction, Klinkowitz examines the forces in American life that have made Vonnegut's works possible. Vonnegut shared with readers a world that includes the expansive timeline from the Great Depression, during which his family lost their economic support, through the countercultural revolt of the 1960s, during which his fiction first gained prominence. Vonnegut also explored the growth in recent decades of America's sway in art, which his fiction celebrates, and geopolitics, which his novels question. A pioneer in Vonnegut studies, Jerome Klinkowitz offers The Vonnegut Effect as a thorough treatment of the author's fiction—a canon covering more than a half century and comprising twenty books. Considering both Vonnegut's methods and the cultural needs they have served, Klinkowitz explains how those works came to be written and concludes with an assessment of the author's place in American fiction.

Despite J. D. Salinger’s many silences—from the publication of The Catcher in the Rye to his absence from the public eye after 1965 to his death in 2010—the unforgettable characters of his novel and short stories continue to speak to generations of readers and writers. Letters to J. D. Salinger includes more than 150 personal letters addressed to Salinger from well-known writers, editors, critics, journalists, and other luminaries, as well as from students, teachers, and readers around the world, some of whom had just discovered Salinger for the first time. Their voices testify to the lasting impression Salinger’s ideas and emotions have made on so many diverse lives.