Titlebook: American Postmodernist Fiction and the Past; Theophilus Savvas Book 2011 Palgrave Macmillan, a division of Macmillan Publishers Limited 20

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inspiration

,‘Nothing but words’: Chronicling and Storytelling in Robert Coover’s ,al portrait of Richard Nixon. Re-staging the execution as a public ritual in Times Square, Coover’s novel interrogates the creation, and our understanding of the political and historical record, and its symbiotic relationship with the public. When Nixon comments in the novel, ‘Form, ., that’s what i

nitric-oxide

Agility

Pynchon Plays Dice: , and Quantum History,ry, but it is the 1997 novel ., with its eighteenth-century setting, language and typography (use of the em dash; capitalisation of real nouns; William Caslon’s ampersand, etc.) which is most deeply embedded in the past.1 As such it is, as most reviewers and critics have noted, the author’s clearest

露天歷史劇

nocturia

jabber

Conclusion: Moving on from Postmodernism,‘a(chǎn)mnesic-confabulatory disorder’, suggests more clearly its dual characteristics of memory loss and the innocent compensatory gap-filling, or ‘confabulation’, of the sufferer. I say ‘innocent’ because sufferers believe their stories to be true, believe that their memories are accurate reflections of

幼稚

賄賂

,‘Nothing but words’: Chronicling and Storytelling in Robert Coover’s ,s are ‘narrated’ by a seemingly omniscient voice in the third person, which offers an epic, panoramic view of the sweep of history; the oddnumbered chapters and epilogue constitute an interior monologue of then Vice-President Richard Nixon.

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