Exit Ghost
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Exit Ghost
Returning to his hometown to find that all has changed, Nathan Zuckerman - incontinent and impotent - comes back to New York, the city he left eleven years before. Walking the streets he quickly makes several connections that explode his carefully protected solitude. In a rash moment, he offers to swap homes with a young couple. And from the moment he meets them, Zuckerman wants to exchange his solitude for the erotic allure of the young woman Jamie, who draws him back to all that he thought he had left behind: intimacy, and the play of heart and body. Suddenly involved, as he never wanted or intended to be involved again, with love, mourning, desire and animosity, Zuckerman plays out an interior drama of vivid and poignant possibilities.
The Ghost Writer
When talented young writer Nathan Zuckerman makes his pilgrimage to sit at the feet of his hero, the reclusive master of American Literature, E. I. Lonoff, he soon finds himself enmeshed in the great Jewish writer's domestic life, with all its complexity, artifice and drive for artistic truth. As Nathan sits in breathlessly awkward conversation with his idol, a glimpse of a dark-haired beauty through a closing doorway leaves him reeling. He soon learns that the entrancing vision is Amy Bellette, but her position in the Lonoff household - student? mistress? - remains tantalisingly unclear. Over a disturbed and confusing dinner, Nathan gleans snippets of Amy’s haunting Jewish background, and begins to draw his own fantastical conclusions...
Rhetorics of Religion in American Fiction
Author: Liliana M. Naydan
language: en
Publisher: Bloomsbury Publishing PLC
Release Date: 2016-05-23
Rhetorics of Religion in American Fiction considers the way in which contemporary American authors address the subject of belief in the post-9/11 Age of Terror. Naydan suggests that after 9/11, fiction by Mohsin Hamid, Laila Halaby, Philip Roth, Don DeLillo, John Updike, and Barbara Kingsolver dramatizes and works to resolve impasses that exist between believers of different kinds at the extremes. These impasses emerge out of the religious paradox that shapes America as simultaneously theocratic and secular, and they exist, for instance, between liberals and fundamentalists, between liberals and certain evangelicals, between fundamentalists and artists, and between fundamentalists of different varieties. Ultimately, Naydan argues that these authors function as literary theologians of sorts and forge a relevant space beyond or between extremes. They fashion faith or lack thereof as hybridized and hence as a negotiation among secularism, atheism, faith, fundamentalism, and fanaticism. In so doing, they invite their readers into contemplations of religious difference and new ways of memorializing 9/11.