In The Hawkline Monster, Brautigan's minimalist metafictive parody of the double depicts our narcissistic view of reality. In Double or Nothing, Federman subverts the conventional double, exposing its gamelike structures and traditional views of life and text.

Stories of twins are told with astonishing frequency in contemporary culture. Films and novels from recent decades repeatedly tell of the stranglehold of brotherly love, the evil twin who steals her sister's lover, the homicidal mutant twin, the reunion of twins separated at birth, warring twins, and confusion between look-alikes. Twins in Contemporary Literature and Culture asks why we keep telling twin tales and how these have been transformed in recent retellings to reflect the preoccupations of the times.

Beautiful Chaos is the first book to examine contemporary American fiction through the lens of chaos theory. The book focuses on recent works of fiction by John Barth, Michael Crichton, Don DeLillo, Michael Dorris, Cormac McCarthy, Toni Morrison, Thomas Pynchon, Carol Shields, and Robert Stone, all of whom incorporate aspects of chaos theory in one or more of their novels. They accomplish this through their disruption of conventional linear narrative forms and their use of strategic tropes of chaos and order, but also—and more significantly for an understanding of the interaction of science and fiction—through their self-conscious embrace of the current rhetoric of chaos theory. Since the publication of James Gleick's Chaos: Making a New Science in 1987, chaos theory has been taken up by a wide variety of literary critics and other scholars of the arts. While considering the relationship between chaos theory and recent American fiction, Beautiful Chaos details basic assumptions about orderly and dynamic systems and the various manifestations of chaos theory in literature, including mimesis, metaphor, model, and metachaotics. It also explains particular features of orderly and dynamic systems, including entropy, bifurcation and turbulence, noise and information, scaling and fractals, iteration, and strange attractors.

This is the first bibliography of Postmodernism to take account of work published in all subject areas and in all languages. Deborah Madsen has identified a new first occurrence of the term in 1926, preceding by more than twenty years the first occurence documented by the Oxford English Dictionary. In a chronological listing, books, articles, notes, letters and working papers on Postmodernism are described with full bibliographical details. Reviews of major books are documented and full contents listings are given for special issues of journals devoted to Postmodernism. An appendix includes books on Postmodernism announced for publication in 1995. This bibliography brings together in one place all secondary material published on Postmodernism. All disciplines are included, from anthropology to zoology: architecture, cultural studies, dance, drama, feminism, fiction, geography, history, legal studies, literary theory, mathematics, medicine, music, pedagogical theory, philosophy, photography and film, poetry, politics, religion, sociology, the visual and plastic arts, and others. The bibliography also documents items in a range of languages other than English: Chinese, French, German, Italian, Japanese, Russian, Slovanian, Spanish, and the Scandinavian languages. Access to the information contained in the bibliography is made easy with a comprehensive index providing guidance according to author, subject, language, and key words. Postmodernism: A Bibliography, 1926-1994 is an essential reference text for anyone working in the area of contemporary culture studies.

Often dismissed as sensationalist, transgressive fiction is a sophisticated movement with roots in Menippean satire and the Rabelaisian carnal folk sensibility praised by Bakhtin. This study, the first of its kind, provides a thorough literary background and analysis of key transgressive authors such as Acker, Amis, Carter, Ellis, and Palahniuk.

A critical investigation of the dead ends, dead metaphors, dead bodies, and other historical constants of American politics.

In All Stories Are True, Tracie Church Guzzio provides the first full-length study of John Edgar Wideman's entire oeuvre to date. Specifically, Guzzio examines the ways in which Wideman (b. 1941) engages with three crucial themes—history, myth, and trauma—throughout his career, showing how they intertwine. Guzzio argues that, for four decades, the influential African American writer has endeavored to create a version of the African American experience that runs counter to mainstream interpretations, using history and myth to confront and then heal the trauma caused by slavery and racism. Wideman's work intentionally blurs boundaries between fiction and autobiography, myth and history, particularly as that history relates to African American experience in his hometown of Pittsburgh, Pennsylvania. The fusion of fiction, national history, and Wideman's personal life is characteristic of his style, which—due to its complexity and smudging of genre distinctions—has presented analytic difficulties for literary scholars. Despite winning the PEN/Faulkner award twice, for Sent for You Yesterday (1984) and Philadelphia Fire (1990), Wideman remains under-studied. Of particular value is Guzzio's analysis of the many ways in which Wideman alludes to his previous works. This intertextuality allows Wideman to engage his books in direct, intentional dialogue with each other through repeated characters, images, folktales, and songs. In Wideman's challenging of a monolithic view of history and presenting alternative perspectives to it, and his allowing past, present, and future time to remain fluid in the narratives, Guzzio finds an author firm in his notion that all stories and all perspectives have merit.

This book introduces a new conceptual category to philosophical and political discourse, namely Hecate-isms, which can be applied to post–postmodernist theory. This concept is defined here as resulting from the philosophical and political mechanisms of the rule of three, and as representing a tri-phase construction of homo triplex, including elements such as prosperity–security–freedom and distance–power–security. The book will appeal to the wider academic community, to PhD students, professors, and researchers with an interest in political philosophy, political science, postmodern philosophy, and cultural studies.

The idea of the "outside" as a space of freedom has always been central in the literature of the United States. This concept still remains active in contemporary American fiction; however, its function is being significantly changed. Outside, America argues that, among contemporary American novelists, a shift of focus to the temporal dimension is taking place. No longer a spatial movement, the quest for the outside now seeks to reach the idea of time as a force of difference, a la Deleuze, by which the current subjectivity is transformed. In other words, the concept is taking a "temporal turn." Discussing eight novelists, including Don DeLillo, Richard Powers, Paul Theroux, and Annie Proulx, each of whose works describe forces of given identities-masculine identity, historical temporality, and power, etc.-which block quests for the outside, Fujii shows how the outside in these texts ceases to be a spatial idea. With due attention to critical and social contexts, the book aims to reveal a profound shift in contemporary American fiction.

The artist novel occupies a prominent place in literary history. Although research into this genre, which is usually perceived as especially rigid, may seem to be exhausted at a first glance, a closer look at the development of the artist novel reveals its sheer incomparable malleability and resilience. In this book Orla Flock turnes her attention to those types of artist novels, which she calls dual artist novels, which depict the artistic and personal development of both a male and a female artist. The juxtaposition of the male and the female artist narratives reveals both the rootedness of the genre in literary tradition and subverts established but outdated notions of genre and gender. On both a structural and a narrative level, the dual artist novel challenges established but confining views and demonstrates that even incremental, nuanced development over time can ultimately lead to vast transformation. By reshaping the formerly rigid genre of the artist novel to include numerous and diverse voices while staying true to the thematic tradition, the dual artist novel subverts both the notion of static genre definitions as well as limiting conceptions of gender.