By Salem Press
Creation to Literary Context: American Post-Modernist Novels offers richly certain essays on major American post-1960 novels which are studied by way of highschool and undergraduate students. This quantity contains dialogue of 36 novels, together with: How the Garcia women misplaced Their accessory (Julia Alverez); woman, Interrupted (Susana Kaysan); The crimson Tent (Anita Diamant); The Handmaid's story (Margaret Atwood); Neruomancer (William Gibson); The bare and the lifeless (Norman Mailer); loved (Toni Morrison); Zombie (Joyce Carol Oates); Rabbit Run (John Updike); and Jailbird (Kurt Vonnegut).
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Additional resources for Introduction to Literary Context: American Post-Modernist Novels
Pick a particular chapter or scene where this meeting of styles is striking. Consider the way these different voices interact: is the novel itself a “collaboration” of these different voices, or one where the voices contradict each other? Is “The Amazing Adventures of Kavalier & Clay” one unified thing, or instead a collection of conflicting accounts of a time and a group of characters? 11/10/13 2:37 PM Are You There, God? It’s Me, Margaret by Judy Blume she befriends her. At their first meeting, she checks out Margaret’s breast size, brags her own will be as large as those in a “Playboy” magazine, and illustrates how she practices kissing with a pillow.
Indd 21 11/10/13 11:45 PM 22 | Introduction to Literary Context: American Post-Modernist Novels Margaret herself is not sure what she is, having been raised without religion. Thus, it is odd that God figures so largely in her life, and she spends much of the book working on a research project. She says, “My mother says God is a nice idea. He belongs to everybody” (14). Margaret is on a quest to find the church that houses her God. Margaret makes some new friends. Nancy draws the foursome together, often dictating and criticizing the others.
It is a place where Taylor and her friends bask in the sun, “feeling too good to move” (91). Such a place is nourishing to them, yet because it must be reached by car and then by a footpath, it is also less accessible. Religious Context Mary Ellen Snodgrass describes Kingsolver’s religious outlook as “a homemade patchwork based on experience” and as infusing her fiction with “the human yearning for a faith suited to idiosyncratic needs” (172). Certainly Taylor seems to view religion, particularly a grassroots form of Christianity, in a humorous yet tolerantly respectful light.