Titlebook: Bret Easton Ellis; Underwriting the Con Georgina Colby Book 2011 Georgina Colby 2011 42624.America.critique.culture.fiction.Narrative.novel

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CODA: The Politics of Exposure: Unsafe Lines and Narratives of Conflict in ,, be a self-reflexive echo of . The architecture of the novel constitutes a reconstructive narratological framework. For Ellis, this reconstructive technique is one aspect of the novel that is fundamental to his act of underwriting the politics of America in the period 2003 to 2009.

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Management of Oesophageal Carcinomamany ways been the source of his celebrity. In the twenty-first century, that is now changing, and a body of criticism is emerging that recognizes Ellis’s literary merit. This book is part of the ground-swell in recent criticism that aims to reevaluate Bret Easton Ellis’s reputation. Many early read

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Radiotherapy and Cytotoxic Therapy,literary establishment by another member of the “l(fā)iterary Brat Pack,” a pop culture brand created by . in 1987, that Ellis laconically defines in . as “essentially a media-made package: all fake flash and punk and menace” (., 8). The media objectification of Ellis, Jay McInerney, and Tama Janowitz;

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Management of Open Globe Injuries the twenty-first century, the question has been replaced with how to live, write, and speak in the contemporary? In Ellis’s work, the shift into a new millennium resounds with this concern and brings with it an unexpected change from the first person present tense to the past tense in . (2005). As

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Management of Open Globe Injuriesst century was written and marketed as a sequel to his first novel, . does not, however, function straightforwardly as a literary continuation. Rather, it is a complex remake of the original book. Structural similarities to the first book point to this complicated fusion of sequel and remake. Set tw

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Book 2011 read as critiquing the cultural moments of which they are a part. Ellis‘s work can be thought of as an enactment of a process of underwriting contemporary culture, which offers new paths of understanding and ways of critiquing the contemporary author‘s place in the relations of production.

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