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

By Michael W. Clune

The years after international warfare have obvious a frequent fascination with the loose industry. Michael W. Clune considers this fascination in postwar literature. within the fictional worlds created via works starting from Frank O'Hara's poetry to nineties gangster rap, the marketplace is reworked, delivering an alternate type of lifestyles, exact 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 artwork takes on social energy by way of delivering an get away from society. American Literature and the unfastened industry offers a brand new standpoint on a few vast ranging works for readers of yank post-war literature.

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40 The poem “Das Kapital” moves in the opposite direction, personifying the system. ” And here, as in much post-Romantic poetry, the child’s vision reveals a special kind of knowledge, knowledge repressed by the critical perspective represented by the poem’s German title. ” In this space, the systematic is translated into the intentional. And yet, this translation is not exactly equivalent to the substitution of human for system that Marx denounces. As the insistence that the maniac is “everywhere at the same time” suggests, personification here produces a kind of agent that cannot be contained by a body.

At first this passage reads, although in a curiously roundabout way, as if Esther has smiled at herself in the mirror, as if she has recognized herself. But suddenly a nurse runs in shouting and we realize that Esther has dropped the mirror and broken it. This information enables us to revise our understanding of the smile. Esther has not suddenly been cured of her mirror-phobia; the smile in the mirror is not a smile of recognition. The mouth that “cracks” into a grin is the mirror cracking. The line zigzagging down the center of the broken mirror is the jagged smile of a new kind of subject.

30) Plainview, as acted by Daniel Day Lewis, speaks in a loud, clear, and rather artificial voice, the voice of a salesman. ” He speaks in a tone adapted to crowds of customers; it sounds odd in close, intimate spaces. In a striking feature of Lewis’ performance, this salesman’s tone is never dropped. Plainview talks in the same way both to a hall full of farmers and to his son. In a key scene roughly halfway through the film, while talking by a bonfire with a man he presumes to be his long-lost brother, Plainview makes a confession that illuminates the desire that fuels the furious commercial activities that consume him.

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