fiction and nonfiction

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1452091180_63093.doc fiction and nonfiction. plan: 1. general background. 2. fiction. 3. non-fiction. ^ fiction ^ the early postwar mood of alienation and disengagement found its fictional analog in j. d. salinger's the catcher in the rye (1951). holden caulfield is salinger's pouting peter pan, burdened with a superior sensitivity to cant and eager to take on all the world's phonies single-handedly. holden's voice snaps with a contempt for propriety that has beguiled millions of young readers for decades: if you really want to hear about it, the first thing you'll probably want to know is where i was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that david copperfield kind of crap, but i don't feel like going into it, if you want to know the truth. in the first place, that stuff bores me, and …

ations are blinkered by an adolescent impatience with ambiguity. as an antidote to america's spiritual distemper, he offered a couple of saintly characters warmed by his own sticky affection, images of innocence imperiled by the world's assorted snares. following seymour, salinger virtually disappeared. only thomas pynchon has carried the argument against publicity to greater lengths. salinger stopped publishing and went into seclusion in new england, where he has remained for over a quarter of a century, silent except in defense of his privacy. in 1987, he won a court suit against publication of a biography that he believed intruded on him unfairly. most of salinger's work appeared first in the new yorker, a magazine whose distinctive style he found congenial. the new yorker, antimodernist but sophisticated in its literary preferences, nurtured a prose of high finish: arch, unflappable, laconic, tremendously knowing. the new yorker has only a tourist's interest in …

ire issue of august 31, 1946, peter taylor, john cheever, john updike, vladimir nabokov, and donald barthelme, writers who established and repeatedly met high standards of technical mastery. all the stories in cheever's first two books, the way some people live (1943) and the enormous radio (1953), had been published in the new yorker. there and in his later wapshot novels, cheever touched one after another of the bruised places that trouble the successful businessmen and golf widows who inhabit contemporary suburbia. he often seemed surprised at how much sadness can coexist with material comfort and stability. he was interested in the disappointment, sometimes the actual terror, that lies hidden behind the tailored curtains of affluent st. botolph's. to push those curtains back, cheever never hesitated to introduce gothic, myth, and fable into the ordinary bedrooms and backyards of hitching post lane and coventry circle. everything in cheever is disoriented; …

queathed by new freedoms. they drift, they couple and uncouple and couple again, they run. in the foreword to hugging the shore (1983), a collection of his essays and reviews, updike writes that his critical touchstone is a "fervent relation to the world." in the essays, he repeatedly circles back to religious questions and to the difficulty of investing fiction with seriousness in a culture of multiplying counterfeit. as those essays also demonstrate, updike has read widely, and he tends to use quotation and allusion to document his large purposes. his novels are larded with mythology, saints' lives, citations from the bible, dante, pascal, nineteenth-century novels, and the philosophy of karl barth, paul tillich, alexander blok, and sartre. the fiction comprises an anthology of solemn reference that often misfires by merely confirming his suburban sufferers in their small-ness. the centaur (1963), for example, is split in two by updike's ambitions. …

e short novel the poorhouse fair (1959), appeared when he was in his midtwenties. since then he has published a prodigious list of fiction, essays, and poetry. rabbit, run (i960), updike's second novel, is the tale of harry ("rabbit") angstrom, a car salesman who has fallen from the pleasures of high school basketball excellence into the mediocrity of remorse and fleshly panting. the first rabbit novel was eventually joined by two others, rabbit redux (1971) and rabbit is rich (1981), to com prise a trilogy of postwar discontent, a sexual-political odysse; reaching from the waning days of eisenhower's presidency to th( outset of reaganism. updike's restless talent has encouraged him to push into un familiar territories in search of subjects, structures, and voices bech: a book (1970), for example, presents the middle age of i written-out but durable jewish author, and the coup (1978) tell: the tragicomic history of the …

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1452091180_63093.doc fiction and nonfiction. plan: 1. general background. 2. fiction. 3. non-fiction. ^ fiction ^ the early postwar mood of alienation and disengagement found its fictional analog in j. d. salinger's the catcher in the rye (1951). holden caulfield is salinger's pouting peter pan, burdened with a superior sensitivity to cant and eager to take on all the world's phonies single-handedly. holden's voice snaps with a contempt for propriety that has beguiled millions of young readers for decades: if you really want to hear about it, the first thing you'll probably want to know is where i was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all …

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