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This thesis argues that consumerism and the mass media wield an unparalleled influence over contemporary North American society, and that these forces constitute the primary means through which identity is constituted. The historical and theoretical developments that have led to the foregrounding of these forces are outlined in the introduction - developments, it is argued, that are intrinsically connected to the social upheava1 that characterized America in the late 1960's and early 1970's, while their presence in and effects on the fiction of four contemporary North American writers - Thomas Pynchon, Don DeLillo, Bret Easton Ellis and Douglas Coupland - are examined in the main body of the thesis. Chapter I focuses on Pynchon whose novels, it is argued, are the product of a uniquely post-1960's America, which mourns the sacrifice of traditional ideals to the corporate mindset which has been prevalent since ths 1980's Pynchon's dominant metaphor for the direction in which he believes American society to be moving is the thermodynamic concept of entropy, which stipulates that all prqress is towards death. His novels abound with characters who disintegrate due to the information overload fostered by their media-based world. However, he retains his faith that a return to historical values and traditions will stem and even reverse the entropic tide DeLillo, a close contemporary of Pynchon's, draws on a different aspect of the legacy of the 1960's, for his writing is overshadowed by the 1963 assassination of President Kennedy and the years of turbulence that ensued. His novels are ultimately more pessimistic because his characters do not succeed in escaping from the repressive narratives of consumerism and the mass media in order to reassert their own personalities. One reason for this failure, it is argued, is that DeLillo's characters represent a metaphorical dramatization of the dichotomy between the modernist desire for structure and the postmodernist embrace of fluidity and uncertainty. The fictional characters of the younger authors, Ellis and Coupland, inhabit this postmodern world where all experience has been rendered depthless and traditional ontological and epistemological certainties have been collapsed Ellis' characters fluctuate between the extremes of apathy and violence as they search for a way of preventing their psyches from disintegrating amidst the surrounding chaos. Neither one of these options brings - any relief. Coupland is more optimistic about the ability of his characters to survive and even prosper in the contemporary world. He arms them with the linguistic and technological skills necessary to adapt to the rapid social and technological changes. Most importantly of all, he draws on the sense of objectivity fostered by his own background as a Canadian in order to provide them with an alternative and a sense of escape from the media-saturated environment of the American West Coast. What is perhaps most remarkable about these four authors as a group is that in spite of their obvious insight into the nature of the contemporary postmodern world, they are unwilling - or perhaps even unable - to fully relinquish their hold on a number of traditional metanarratives, most notably the ideal of the stable, supportive family unit. This implies a degree of uncertainty and perhaps even of fear on their parts about fully committing to the fluidity of contemporary culture.

This dissertation studies a group of contemporary Anglo-American novelists who contribute to the development of a new humanism after the postmodern critique of Euro-American culture. As such, these writers respond to positions in twentieth-century philosophy that converge in a call for silence which has an ontological as well as ethical valence: as a way of rigorously thinking the ‘outside’ to language, it avoids charges of metaphysical inauthenticity; as an ethical stance in the wake of the Shoah, it eschews a complicity with the reifications of modern culture. How to reconcile this post-metaphysical promise with the politico-aesthetic inadequacy of speechlessness is the central question for this nexus of novelists—David Markson, Bret Easton Ellis, David Foster Wallace, and Zadie Smith—at the center of which the study locates Wallace as a key figure of contemporary literature. By reconstructing the conversation among these authors, this dissertation argues that the nexus writers turn to indirect means of representation that do justice to the demand for silence in matters of metaphysics, but also gesture past it in the development of a neo-romantic aesthetics that invites the humanist category of the self back onto the scene after its dismissal by late postmodernism. The key to such indirection lies in an aporetic method that inspires explorations of metaphysical assumptions by seducing readers to an ambiguous site of aesthetic wonder; in conversation with a range of contemporary philosophers, the dissertation defines this affective site as a place of proximity, rather than absorption or detachment, which balances out the need for metaphysical distance with the productive desire for a fullness of experience. Such proximate aesthetic experiences continue the work of ‘doing metaphysics’ in post-metaphysical times by engaging our habitual responsiveness to the categories involved. Hence the novels discussed here stage limit cases of reason such as the unknowable world, the unreachable other, the absence of the self, and the unstable hierarchy between irony and sincerity: Markson’s Wittgenstein’s Mistress imagines skepticism as literal abandonment and reminds us of our metaphysical indebtedness to a desired object/world; Ellis’s American Psycho shows the breakdown of communication due to a similarly skeptical vision of human interaction and presents a violence that tries to force a response from the desired subject/person; Wallace’s Infinite Jest creates a large canvas on which episodes of metaphysical and literal ‘stuckness’ afford possibilities for becoming human; Smith’s The Autograph Man, finally, pays attention to gestural language at the breaking point of materialism and theology, nature and culture, tragedy and comedy. / Graduate / 2020-08-01

“American Impotence” investigates a continuity between literary representations of masculinity and considerations of national identity in the works of five postwar novelists. In particular, I illustrate the manner in which Ralph Ellison’s Invisible Man, John Updike’s Couples, Robert Coover’s The Public Burning, Joan Didion’s Democracy and The Last Thing He Wanted, and Bret Easton Ellis’s American Psycho challenge the patterns of daily life through which a single figure is imagined to be the essential agent of American polity: namely, the self-made individualist, characterized by manly virtues like dominance, aggression, ambition, mastery, vitality, and virility. More specifically, this project examines the manner in which the iconicity of men helps sustain a narrative of “imperilled masculinity” that at once privileges an impossible identity, situated in the representative nucleus of postwar democracy, and forecloses other modalities of political life. Observing the full meaning of the word “potency,” I elucidate the interrelationships between narrative forms, masculine norms, and democratic practice. Ellison’s work ties the maturation of African American boys to the impossibility of full participation in civic life, for instance, while in Updike’s Couples the contradictions of virile manhood manifest in the form of a fatalism that threatens to undo the carefully cultivated social boundaries of early sixties bohemianism; in a variety of ways, The Public Burning and American Psycho represent the iconic nature of masculinity as a psychic threat to those men closest to it, while Didion’s female protagonists find themselves flirting with the promises of a secret agency linked to imperial adventures in Southeast Asia and Central America. In the cultural context of the Cold War, these novelists demonstrate how intensified participation in national fantasies of potency and virility is inevitably disempowering; as an alternative, this dissertation seeks to consider impotence as dissensus detached from the mandates of hegemonic masculinity.

“American Impotence” investigates a continuity between literary representations of masculinity and considerations of national identity in the works of five postwar novelists. In particular, I illustrate the manner in which Ralph Ellison’s Invisible Man, John Updike’s Couples, Robert Coover’s The Public Burning, Joan Didion’s Democracy and The Last Thing He Wanted, and Bret Easton Ellis’s American Psycho challenge the patterns of daily life through which a single figure is imagined to be the essential agent of American polity: namely, the self-made individualist, characterized by manly virtues like dominance, aggression, ambition, mastery, vitality, and virility. More specifically, this project examines the manner in which the iconicity of men helps sustain a narrative of “imperilled masculinity” that at once privileges an impossible identity, situated in the representative nucleus of postwar democracy, and forecloses other modalities of political life. Observing the full meaning of the word “potency,” I elucidate the interrelationships between narrative forms, masculine norms, and democratic practice. Ellison’s work ties the maturation of African American boys to the impossibility of full participation in civic life, for instance, while in Updike’s Couples the contradictions of virile manhood manifest in the form of a fatalism that threatens to undo the carefully cultivated social boundaries of early sixties bohemianism; in a variety of ways, The Public Burning and American Psycho represent the iconic nature of masculinity as a psychic threat to those men closest to it, while Didion’s female protagonists find themselves flirting with the promises of a secret agency linked to imperial adventures in Southeast Asia and Central America. In the cultural context of the Cold War, these novelists demonstrate how intensified participation in national fantasies of potency and virility is inevitably disempowering; as an alternative, this dissertation seeks to consider impotence as dissensus detached from the mandates of hegemonic masculinity.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Patrick Bateman, o protagonista narrador do romance American Psycho (1991), de Bret Easton Ellis, confunde por ser rico, bonito e educado e, ao mesmo tempo, torturador, assassino e canibal. Mas esta personalidade antagônica não o torna singular. O que o particulariza são as quatro faces que ele apresenta ao longo de sua narrativa: (1) ele consome mercadorias e humanos, (2) compete para ter reconhecimento, (3) provoca horror por suas ações, e (4) não é um narrador confiável. Sendo um yuppie (termo popular usado nos Estados Unidos na década de 1980 para denominar jovens e bem sucedidos profissionais urbanos), Bateman é materialista e hedonista. Ele está imerso em uma sociedade de consumo, fato que o impossibilita de perceber diferenças entre produtos e pessoas. Sendo um narcisista, ele se torna um competidor em busca de admiração. No entanto, Bateman também é um serial killer e suas descrições detalhadas de torturas e assassinatos horrorizam. Por fim, nós leitores duvidamos de sua narrativa ao notarmos inconsistências e ambiguidades. Zygmunt Bauman (2009) afirma que uma sociedade extremamente capitalista transforma tudo que nela existe em algo consumível. Christopher Lasch (1991) afirma que o lendário Narciso deu lugar a um novo, controverso, dependente e menos confiante. A maioria das vítimas de Bateman são membros de grupos socialmente marginalizados, como mendigos, homossexuais, imigrantes e prostitutas, o que o torna uma identidade predatória, segundo Arjun Appadurai (2006). A voz autodiegética e a narrativa incongruente do protagonista, contudo, impedem que confiemos em suas palavras. Estas são as quatro faces que pretendo apresentar deste serial killer / The autodiegetic protagonist Patrick Bateman, in Bret Easton Elliss American Psycho (1991), is a troubling character, for he is highly-educated, wealthy and handsome as well as a torturer, a killer and a cannibal. This antagonistic behavior, nonetheless, does not make him a singular character. The four sides he presents throughout the novel are singular, though: (1) he consumes humans and commodities equally; (2) he competes for recognition and admiration; (3) his acts are horrific; and (4) his narration is unreliable. As a yuppie (a popular term from the 1980s used to define young urban U.S. professionals), Bateman is materialistic and hedonistic. As he lives off the excesses of a consumer society, he is incapable of distinguishing people from products. As a self-absorbed, narcissistic protagonist, he becomes a competitor struggling to get approval from his peers. Nevertheless, Bateman is a serial killer, and his detailed descriptions of tortures and murders are horrifying. Finally, we readers cannot rely on his narrative once we notice ambiguities and divergences. Zygmunt Bauman (2009) posits that an extremely capitalist society forces people to be commodified. Christopher Lasch (1991) asseverates that the old legendary Narcissus gave birth to a new one, paradoxical, dependent and less confident. Most of Batemans victims are socially-marginalized characters, members of minority groups, such as homeless people, homosexuals, immigrants, and prostitutes. As a matter of fact, Bateman may be regarded as having a predatory identity, as defined by Arjun Appadurai (2006). However, this autodiegetic narrator, together with his inconsistent narrative, cannot be entirely trusted. These are the points I want to debate regarding this fourfold serial killer

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Patrick Bateman, o protagonista narrador do romance American Psycho (1991), de Bret Easton Ellis, confunde por ser rico, bonito e educado e, ao mesmo tempo, torturador, assassino e canibal. Mas esta personalidade antagônica não o torna singular. O que o particulariza são as quatro faces que ele apresenta ao longo de sua narrativa: (1) ele consome mercadorias e humanos, (2) compete para ter reconhecimento, (3) provoca horror por suas ações, e (4) não é um narrador confiável. Sendo um yuppie (termo popular usado nos Estados Unidos na década de 1980 para denominar jovens e bem sucedidos profissionais urbanos), Bateman é materialista e hedonista. Ele está imerso em uma sociedade de consumo, fato que o impossibilita de perceber diferenças entre produtos e pessoas. Sendo um narcisista, ele se torna um competidor em busca de admiração. No entanto, Bateman também é um serial killer e suas descrições detalhadas de torturas e assassinatos horrorizam. Por fim, nós leitores duvidamos de sua narrativa ao notarmos inconsistências e ambiguidades. Zygmunt Bauman (2009) afirma que uma sociedade extremamente capitalista transforma tudo que nela existe em algo consumível. Christopher Lasch (1991) afirma que o lendário Narciso deu lugar a um novo, controverso, dependente e menos confiante. A maioria das vítimas de Bateman são membros de grupos socialmente marginalizados, como mendigos, homossexuais, imigrantes e prostitutas, o que o torna uma identidade predatória, segundo Arjun Appadurai (2006). A voz autodiegética e a narrativa incongruente do protagonista, contudo, impedem que confiemos em suas palavras. Estas são as quatro faces que pretendo apresentar deste serial killer / The autodiegetic protagonist Patrick Bateman, in Bret Easton Elliss American Psycho (1991), is a troubling character, for he is highly-educated, wealthy and handsome as well as a torturer, a killer and a cannibal. This antagonistic behavior, nonetheless, does not make him a singular character. The four sides he presents throughout the novel are singular, though: (1) he consumes humans and commodities equally; (2) he competes for recognition and admiration; (3) his acts are horrific; and (4) his narration is unreliable. As a yuppie (a popular term from the 1980s used to define young urban U.S. professionals), Bateman is materialistic and hedonistic. As he lives off the excesses of a consumer society, he is incapable of distinguishing people from products. As a self-absorbed, narcissistic protagonist, he becomes a competitor struggling to get approval from his peers. Nevertheless, Bateman is a serial killer, and his detailed descriptions of tortures and murders are horrifying. Finally, we readers cannot rely on his narrative once we notice ambiguities and divergences. Zygmunt Bauman (2009) posits that an extremely capitalist society forces people to be commodified. Christopher Lasch (1991) asseverates that the old legendary Narcissus gave birth to a new one, paradoxical, dependent and less confident. Most of Batemans victims are socially-marginalized characters, members of minority groups, such as homeless people, homosexuals, immigrants, and prostitutes. As a matter of fact, Bateman may be regarded as having a predatory identity, as defined by Arjun Appadurai (2006). However, this autodiegetic narrator, together with his inconsistent narrative, cannot be entirely trusted. These are the points I want to debate regarding this fourfold serial killer

Thesis (M.A.)--University of Puerto Rico, Mayagüez Campus, 2004. / Printout. Includes bibliographical references (leaves 192-202).

The novel American Psycho was first published in 1991. It recieved harsh criticism and was viewed as a work of heterosexism, misogyny and pointless violence. Despite the criticism, the protagonist, a wealthy serial killer yuppie namned Patrick Bateman, fascinated the readers. He hides his monstrosity behind a façade of heteronormativity, but this essay shows that the norms in American Psycho are fragile. Batemans relationships are shallow, his identity is constructed out of traditional masculinitynorms and even though he’s homophobic there’s a homoerotic undertone in the text, as well as gothic patterns that give the novel a fair amount of queerness too. This analysis shows that the fear of AIDS, imprinted in the text, works as a representation for Bateman’s discrepancy concerning his sexuality. It brings to light that Bateman’s feelings towards two of his collegues are charachterized by homoerotic yearnings, and that shallow readings, where the text is not interpreted, allows the brutal violence to divert attention from the novel’s queer meaning. / Romanen American Psycho publicerades 1991. Den fick hård kritik och sågs som ett heterosexistiskt, misogynt verk fullt av meningslöst våld. Trots kritiken fascinerade protagonisten, den förmögna seriemördaryuppien Patrick Bateman, läsarna. Bateman döljer sin monstrositet bakom en heteronormativ fasad men den här uppsatsen visar att textens heteronorm är bräcklig. Batemans relationer är ytliga, identiteten är konstruerad från traditionella maskulinitetsnormer, han är homofobisk, även då gotiska, homoerotiska undertoner präglar texten. Analysen visar att AIDS-skräcken som präglar boken är synonym med Batemans sexualitetsdiskrepans, att hans känslor för två av hans kollegor är av homoerotisk karaktär, samt att i ytliga läsningar av romanen, där texten inte tolkas, gör det explicita våldet att läsarens uppmärksamhet avleds från romanens queera innebörd.

Definitions of celebrity authorship and material textuality at the turn of the twenty-first century have predominantly emphasised the implicitly negative aspects of contemporary developments in the literary marketplace. Particularly prominent are arguments that the practice of authorship has become subject to homogenisation by the matrix of celebrity in which successful writers are now expected to function; and, further, that the changing nature of texts themselves and the ways in which they are marketed is eroding the implicitly superior position traditionally held by literature in the cultural marketplace. This thesis views such readings as pessimistic, and offers an alternative, seeking to formulate a new critical approach to literary value in the contemporary sphere which would appreciate notions of celebrity, populism, and digital mediation as integral and productive aspects of how literary value is formed today. Through in-depth focus on the cases of a number of unconventional contemporary American authors whose work demonstrates differing, innovative approaches to the process of authorship, this thesis exposes the ways in which contemporary, atypically ‘literary’ instances of writing can and do work within and develop beyond traditional conceptualisations of authorship and literary value. Bret Easton Ellis and Jay McInerney, largely critically considered prototypical ‘celebrity’ authors, are in the first chapter reconsidered as writers whose understanding of their position within the literary marketplace affords them a self-conscious, critical perspective on the notion of celebrity in their work and public personae. The productively self-conscious author-figure is reconsidered in the second chapter, which reads the individual and joint works of author Paul Auster and visual artist Sophie Calle as foregrounding the process of creative collaboration as uniquely illuminating and transformative within the contemporary literary sphere. The notion of dual authorship is revisited and reconceptualised in the third chapter, which considers JT LeRoy and the practice of hoax authorship, outlining how this process forces the reformulation of literary value, particularly in a contemporary setting in which authors are accountable for their work in newer, more visible ways. The final chapter expands these previously-introduced themes to consider bloggers-turned-authors, particularly Tucker Max and Julie Powell, and the impact of the merging of old and new textualities on both the orientation of the figure of the writer and the way in which value is attached to his texts by readers. Ultimately, the unconventional nature of these examples is shown to belie the universality of the representations of value they enact, contributing to a full and salient account of how literary value is determined at the beginning of the twenty-first century.