... on her project. As a dog story, Flush belongs to a subgenre o f the literary animal story. The first successful English novel w ith an animal protagonist is Anna Sewell’s Black Beauty (1877). Sewell deploys the conventions o f Vic­ torian first-person narrative in writing...

... to refine understanding o f M acN eice’s poetics at this pivotal stage in his career. § M acNeice and Spender were never altogether at ease w ith one another. Contemporaries at Oxford, fellow aspiring poets w ho jointly edited the 1929 Oxford Poetry, their accounts o f each other...

..., supplanting the defensive figure o f the suburb as deliberately remote from urban concerns w ith a new model o f the digi­ tal network, within which access to inform ation becomes equalized and normalized. Whereas the suburban landscapes o f John Cheever or John Twentieth-Century Literature...

... ith a city, for pain” (15). In the paranoid imaginings o f his protagonist Oedipa Maas, traffic is an endless automated flow; the freeway exists less to facilitate human movement than to feed a city that craves only numbing, drug-induced happiness. Oedipa is litde more...

... po­ rary ethnography’s anxious alliance w ith prose fiction. For at stake in both is the production and interpretation o f narrative. Insofar as ethno­ graphic experiments in storytelling are asked to correct the protocols of an outdated universalism and its untenable claims...

..., and to their “simultaneous validity” [288—89 self-referentiality, and metafiction have been imposed on literary texts in particular, w ith the result that postm odern fiction, and “postmodernity” in general, have been understood in terms o f banality, depthlessness, cynicism, alienation, sterility, political...

... Literature 53.3 Fall 2007 298 Roth, DeLillo, Banks, Peck, and the Postmodern Aesthetics of Vocation count o f the trials o f a poor young writer, discharged from the army and teaching freshman composition at the University o f Chicago in 1956, it concludes w ith a gnomic leap into literary fancy...

... to some straight talk about a topic others have overcomplicated.” Zunshine implies that her job is to discuss the simple truth that real readers naturally like good stories. It’s hard to argue w ith her as I w rite this review in the week after the final H arry Potter book...

..., and inspiration over the past three- quarters o f a century. Once a laurelled star o f literary criticism, Eliot has more recently been cast by postmodernism as the reactionary gatekeeper o f a masculinist, elitist, and monolithic modernism. W ith the incorpora­ tion o f gender theory, feminism...

... in the imperial age that helped construct the possibilities for both these novels o f unspeakable love. T he textual space within which M au­ rice exists is revealed, in this reading, to be a result o f the educational practices o f a period that sought to align national interests w ith...

... research” (111). The combination, then, o f an intense focus on form w ith a preoccupa­ tion w ith ethnicity leads to a “high cultural pluralism” (117)— a phrase that describes an impressive array o f authors from Jews like Philip R o th and Saul Bellow to Native Americans like N...

... Ethnic American Literature and David Cowart’s Trailing Clouds take up this question in their analysis o f the diverse corpus o f contemporary American literary voices and literatures. Dean J. Franco’s study begins w ith a chapter titled “The Jew W ho G ot Away,” in w hich he asks...

.... The novel ends in part 3, “Last Transit,” with their return to England, D ixon’s death, and M ason’s eventual relo­ cation to America. The tale is told by the Rev. Wicks Cherrycoke, who was a m em ber o f the expedition and w ho has come to stay (and stay and stay) w ith family...

... decline has three interrelated problems. First and perhaps most obviously, it perpetuates a hierarchical view o f culture that confuses aesthetic questions about literary form w ith sociological Twentieth-Century Literature 53.3 Fall 2007 233 Andrew Hoberek ones about...

... in recent years. W hat endings mean, and why writers embrace them or avoid them, depends in part on how contingent existence feels and how public discourse and constructions o f history deal w ith that feeling. As a result, events that reawaken a sense of contingency and challenge already...

... in a Helicopter. Billed as “AN ALL-SUPER-SING­ ING, SYNTHETIC-TALKING, CO LOU RED , STEREOSCOPIC FEELY W ITH SYNCHRONIZED SCENT-ORGAN ACCOMPANI­ M EN T” (167), a parody of the 1920s cinema slogan, “All-Talking, All- Singing, All-Dancing,”10 Three Weeks in a Helicopter is three-dimensional...

...-Century Literature 52.4 Winter 2006 367 Malcolm Woodland W ith a mixture of defiance and regret, Strand acknowledges that he would rather “be me,” even though being me means being a lesser poet than Wordsworth and, therefore, having something “to worry about.” O f course...

... enormously. Just my idea of a great lady on a white horse” (140). Stan is quick to pick up on her identification with the figure. Misquoting the Danderine jingle, he renders it: “W ith rings on her fingers and bebs on her toes, And she shab make mischief wherever she goes.” The substitution...

... to and resonances with other Bishop works. The notes constitute a helpful ad­ dition to Brett Millier’s and Lorrie Goldensohn’s biographies; given the wealth of detail and cross-referencing in the notes, however, an index would benefit the reader. W ith this ideal of echoes and new connections...

... now open up this little works o f w hich the Roosevelt known territory to the discriminating traveler w ith service unsurpassed...