American Literature and the Free Market, 1945-2000 by Michael W. Clune

By Michael W. Clune

The years after global warfare have visible a frequent fascination with the loose marketplace. Michael W. Clune considers this fascination in postwar literature. within the fictional worlds created by means of works starting from Frank O'Hara's poetry to nineties gangster rap, the industry is reworked, supplying an alternate kind of existence, particular from either the social visions of the left and the individualist ethos of the perfect. those principles additionally offer an unsettling instance of the way paintings takes on social strength by way of providing an get away from society. American Literature and the unfastened marketplace offers a brand new point of view on a few broad ranging works for readers of yankee post-war literature.

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The relation between him and his brother is a blood relation. Blood, like money, allows Plainview to “get away” from people. The blood relation is guaranteed outside social space; it is secured in a different dimension. ” Kinship is one meaning of the “blood” of the title. Another is oil. For Plainview, the key feature of oil is its monetary value. ” But when Plainview can make money on it, when the enormous dark jet of oil spurts up blowing the roof off the derrick, the oil is blood. 31 “I run a family enterprise,” Plainview repeats, pointing to his small son whom he brings along to help make his sales pitch.

Here, the economic does not imply scarcity and sacrifice. Price limits experience in the sense that up-down orientation limits space, not in the sense that I want diamonds but can only afford zirconium. In these works, the economic loses its “dismal” or “dreary” aspect. The economic fiction is a comic genre. The economic fiction is that genre of aesthetic works in which the market organizes experience. 41 The dynamics of this organization vary. In some works, price transforms perception as it does in JR.

To consider the difference between the two works as a difference between 1963 and 2007 is to suggest a progression reflected in the organization of this book. Throughout this period we find the progressive consolidation of an aesthetic form that approaches the desire for a new mode of human relations through an economic fiction. We see the elements of this form fusing as we move from Plath to O’Hara to Acker, Gibson, and rap. But what can we say about how this film€– which is contemporary with the composition of this study€– distances itself from the lure of the economic?

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