Paul Auster’s New York Trilogy as “Historiographic Metafiction”

2015 ◽  
Vol 5 (9) ◽  
pp. 1908
Author(s):  
Ali Taghizadeh ◽  
Mohammad Javad Ebrahimi
Keyword(s):  
New York ◽  
Historiographic Metafiction ◽  
New York Trilogy

Coping with the Postmodern: Paul Auster's New York Trilogy

2013 ◽  
Vol 48 (1) ◽  
pp. 147-171 ◽  
Author(s):  
RAMÓN ESPEJO
Keyword(s):  
New York ◽  
Cultural Space ◽  
The Third ◽  
New York Trilogy ◽  
The Way

Throughout this essay, I will show the characters of Paul Auster's New York Trilogy moving between modernism and postmodernism, and discuss the way some of them epitomize either largely modernist or postmodernist epistemologies. My purpose is to offer a reconstruction of Auster's dialogue across both, and I will resist situating the novelist in either the modern or the postmodern camp. I see him as rather watching from a distance, while his characters scour the terrain (both terrains, as a matter of fact) for him. My conclusion is that Auster seems to acknowledge the inevitability of inhabiting the cultural space of the postmodern, while staking out a claim to question, or even to challenge, some of its presumptions. While modernism still holds a powerful spell for the protagonists ofCity of GlassandGhosts(less so for the latter), the narrator ofThe Locked Roomposits the inextricability of embracing our contemporary sensibility, the postmodern, without necessarily rejecting altogether what went before. Auster associates modernism largely with the secluded, invisible, despicable Fanshawe, whose spell and influence over him the narrator of the third novel of the trilogy manages to break.

scholarly journals Document in Paul Auster’s New York Trilogy

2017 ◽  
Vol 2 (1) ◽  
pp. 22-43
Author(s):  
Natalya N. Smirnova ◽  
Keyword(s):  
New York ◽  
New York Trilogy

scholarly journals Pynchon el más cervantino de todos. Influencia de Don Quijote en Mason y Dixon Pynchon the most Cervantine of all Influence od Don Quixote on Mason & Dixon]

2020 ◽  
Vol 135 (135) ◽  
pp. 79-86
Author(s):  
Carlos Cuevas Guerrero
Keyword(s):  
New York ◽  
Thomas Pynchon ◽  
Chretien De Troyes ◽  
Miguel De Cervantes ◽  
Historiographic Metafiction ◽  
Novelas Ejemplares ◽  
British Novel ◽  
Don Quijote ◽  
Chrétien De Troyes ◽  
La Mancha

Este estudio consistirá en resaltar la presencia de Don Quijote, en la novela Mason y Dixon de Thomas Pynchon, quizás el más cervantino de los escritores norteamericanos del siglo XX. Entenderemos a Mason y Dixon como una sinécdoque de la patente relación entre Don Quijote y la novela postmoderna norteamericana; resultando el Caballero de la Triste Figura el ADN mismo de cualquier novela, las condiciones de posibilidad de cualquier ficción, una esfinge ineludible en las propuestas novelísticas del porvenir. Esta lectura se dividirá en dos partes. La primera sección tratará sobre cómo un capítulo de la primera parte del Quijote da inicio a la transformación de la literatura mundial y, la segunda parte, cómo se vincula Cervantes con el misterioso autor de El Arcoiris de la Gravedad Palabras clave Don Quijote, Miguel de Cervantes, Thomas Pynchon, Canon.   Referencias Alemán, Mateo, Guzmán de Alfarache, 2 v. ed. de José María Micó, Madrid, Cátedra, 2006 Bloom, Harold, Ed. Modern critical interpretations: Thomas pynchon’s gravity’s rainbow. New York: Chelsea House Publishers, 1986. Caravaggio, Jean, Cervantes. Madrid: Espasa-Calpe, 1987. Carroll, Carleton W. (Ed.): “Chretien De Troyes: Erec and Enide”, New York & London, 1987), 1987. Chamorro , María Inés, Gastronomía del Siglo de Oro español. Barcelona, Herder, 2002 De Cervantes Saavedra, Miguel. El Ingenioso Hidalgo Don Quijote de la Mancha. Introducción y anotaciones Jaime García Maffla. Santa fe de Bogotá: Panamericana Editorial, 1997. _______________ . Los trabajos de Persiles y Sigismunda, ed. Carlos Romero Muñoz, Madrid, Cátedra, 2004. _______________ . Novelas Ejemplares, edición de María Teresa Mateu. Madrid: Cátedra, 2016. Dnega, Susana (ed.), «The British Novel in the 80s: Historiographic Metafiction, the Way Ahead», Actas del XIV Congreso Nacional de AEDEAN (Eds .), Federico Eguiluz y cols ., Vitoria, Publicaciones de la Universidad del País Vasco, 1992 . 81-96. Duggan, Joseph J. The Romances of Chrétien de Troyes, Yale University Press, 2001. Foucault, Michel. Las palabras y las cosas. Una arqueología de las ciencias humanas. México: Editorial Romont. 1986. Uitti , Karl. Chretien de Troyes Revisited, Twayne Publishers, New York, 1995. Jofré, Manuel, «Don Quijote de la Mancha: Dialogismo y carnavalización, Diálogo socrático y sátira menipea”. Revista chilena de literatura, (67), 2005, pp.113-129  Lezama Lima, José. La cantidad hechizada, Obras completas, Tomo II, Ensayos/cuentos, México, Aguilar, 1977. Ortega, Julio. «Don Quijote, hijo de la imprenta y padre del Humanismo moderno». Alicante : Biblioteca Virtual Miguel de Cervantes, 2018 Pynchon, Thomas. Mason y Dixon. Barcelona: Tusquets, 2000. _______________ . El arco iris de la gravedad. Barcelona: Tusquets, 2002. _______________ . Vicio Propio. Barcelona: Tusquets, 2011. Riley, Edward C., Teoría de la novela en Cervantes, trad. Carlos Sahagún, Madrid, Taurus, 1966 Sábato, Ernesto. El túnel. Barcelona: Editorial Seix Barral, 1978.  

Gun violence, phenomenal reality and parallel worlds: Christina Kallas’s multi-protagonist narratives in The Rainbow Experiment

2021 ◽  
Vol 12 (1) ◽  
pp. 5-24 ◽  
Author(s):  
Milla Cozart Riggio
Keyword(s):  
New York ◽  
World View ◽  
Gun Violence ◽  
Urban Setting ◽  
David Lynch ◽  
Gender Preferences ◽  
New York Trilogy ◽  
American Experiment ◽  
And Gender ◽  
Film Genres

The second film in writer–director Christina Kallas’s New York trilogy, which includes 42 Seconds of Happiness (2016) and Paris is in Harlem (forthcoming), The Rainbow Experiment (2018) portrays the powerful but flawed American experiment. Its script chronicles the desires and tawdry failures of teachers, administrators, parents and students of many hues, ethnicities and gender preferences tearing at each other on one horrific day, beginning with an explosion and ending with a double shooting – or so it seems. The implication is that gun violence has become so familiar that it almost fades into the background of collective despair. However, with a world-view that recalls David Lynch and a narrative that imbeds this school saga within its densely urban setting, Kallas counters the seemingly inevitable choices available in this fractured system. An evolving alternative scenario rests its faith on the arrogant but potentially redemptive young. The comically inflected, tragic linear story is scripted in non-linear flashbacks, crosscuts and elaborate split-screens. The film provides portals to an internal reality that posits that life choices, like a movie plot, can be reversed. Overall, The Rainbow Experiment reinforces Kallas’s emergence as a potent and bold voice, redefining and recontextualizing modern film genres.

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