By Salem Press

Advent to Literary Context: American Post-Modernist Novels offers richly specified essays on major American post-1960 novels which are studied through highschool and undergraduate students. This quantity comprises dialogue of 36 novels, together with: How the Garcia women misplaced Their accessory (Julia Alverez); woman, Interrupted (Susana Kaysan); The pink Tent (Anita Diamant); The Handmaid's story (Margaret Atwood); Neruomancer (William Gibson); The bare and the lifeless (Norman Mailer); cherished (Toni Morrison); Zombie (Joyce Carol Oates); Rabbit Run (John Updike); and Jailbird (Kurt Vonnegut).

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In January, she takes off again, with the little girl, whom she’s named Turtle. Turtle has quickly attached herself to Taylor, literally clutching onto her tightly and reminding Taylor of turtles from back home. While Taylor guesses the little girl is about two, when she takes her to a doctor at a later point in the novel, they discover she is at least a year older, and that there is evidence of sustained abuse. ” Taylor stops in Tucson after her tires go flat. Here she meets Mattie, the owner of Jesus Is Lord Used Tires.

Margaret and her father grow closer as they laugh over counting hats in synagogue. ­Margaret accompanies Janie to church once, and for Christmas service, Margaret joins Nancy, but she doesn’t feel anything special there, either. Only alone in her personal prayers does Margaret ­connect with God. ” (120). One aspect of these religious services which Margaret does like, no matter what religion, is the music, and yet when Mr. Benedict volunteers his class to serve as the chorus for the holiday concert, two students complain about singing the Hanukkah or Christmas songs.

In a foreshadowing of her own electroshock therapy, she tells us: “I couldn’t help wondering what it would be like, being burned alive all along your nerves. I thought it must be the worst thing in the world” (1). The narrative continues in the first-person, imitating journal entries and punctuated by flashbacks and newspaper headings. This structure allows for a fragmented chronology that reflects Esther’s unstable hold on reality. Additionally, the text’s retrospective viewpoint also allows for a double-voiced, ironic narrative style: in hindsight, Esther can find humor in her younger self.

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