John Cheever's Relationship with the American Magazine

Total Page:16

File Type:pdf, Size:1020Kb

John Cheever's Relationship with the American Magazine JOHN CHEEVER’S RELATIONSHIP WITH THE AMERICAN MAGAZINE MARKETPLACE, 1930 to 1964 JAMES RICHARD MONKMAN Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2015 Abstract John Cheever published over two hundred short stories in an array of small-, mid-, and large-circulation magazines between 1930 and 1981. One hundred and twenty of these stories appeared in The New Yorker. During Cheever’s career and since his death in 1982, many critics have typically analysed his short stories in isolation from the conditions of their production, lest Cheever’s subversive modernist tendencies be confused with the conservative middlebrow ethos of The New Yorker, or the populist aspect of other large- circulation magazines. Critics, including Cheever’s daughter and his most recent biographer Blake Bailey, also claim that Cheever was a financial and, ultimately, artistic victim of the magazine marketplace. Drawing on largely unpublished editorial and administrative correspondence in the New Yorker Records and editorially annotated short story typescripts in the John Cheever Literary Manuscripts collection, and using a historicised close-reading practice, this thesis examines the influence of the magazine marketplace on the short fiction that Cheever produced between 1930 and 1964. It challenges the critical consensus by arguing that Cheever did not dissociate his authorship from commerciality at any point during his career, and consistently exploited the magazine marketplace to his financial and creative advantage, whether this meant temporarily producing stories for little magazines in the early 1930s and romance stories for mainstream titles in the 1940s, or selling his New Yorker rejections to its rivals, which he did throughout his career. Cheever also developed strong working relationships with his editors at The New Yorker during the 1940s and 1950s. This thesis re-evaluates these relationships by analysing comparatively the drafts, archival materials that have hitherto been neglected by critics, and published versions of some of Cheever’s best known New Yorker stories. In so doing, this thesis demonstrates the crucial role that editorial collaboration played in Cheever’s writing process. Acknowledgements I would like to thank the AHRC for funding three years of my PhD studies and awarding me a travel grant to travel to New York in 2013 to conduct research in the New Yorker Records at the New York Public Library. Thanks to CLAS, my parent school, for awarding me two Travel Prizes during the course of my PhD. These prizes enabled me to examine the John Cheever Literary Manuscripts at Brandeis University in Waltham, Massachusetts in 2012, and the New Yorker Records in 2013. Thanks also to the editors of Critique: Journal of Socialist Theory for publishing a shorter version of the first chapter of this thesis in the Spring 2015 issue of the journal. I am indebted to my supervisors Professor Judie Newman and Dr. Graham Thompson for their unwavering support and guidance throughout this process. Thanks to the staff that assisted me during my time in the New York Public Library’s Manuscripts and Archives Division and the Robert D. Farber University Archives & Special Collections Department at Brandeis. Sarah M. Shoemaker and Anne Woodrum were especially kind and helpful towards me while I was researching at Brandeis, and have, along with their team, continued to support me ever since by answering my questions and providing me with additional archival materials. Thanks also to my partner Jen, my parents, my brothers, my closest colleague at the University of Nottingham, John Tiplady, and practically everyone else I know for supporting me emotionally, intellectually, and financially throughout this process. This work is dedicated, with love, to Michael ‘Mick’ Hall (1976-2013). Thank you for helping me to negotiate the wilderness of my mid-twenties and encouraging me to pursue my passion for literature. Contents Introduction…………………………………………………………………………………1 Chapter One: ‘Go Left, Young Writer’: John Cheever and the Writing of ‘Fall River’, 1931………………………………………………………………………………………..20 Chapter Two: ‘And then I sold a mediocre story for forty-five dollars’: John Cheever and the Economics of Writing Short Fiction, 1930 to 1964…………………………………...58 Chapter Three: Compromised Fiction: The Editing of John Cheever’s ‘Torch Song’, March to July 1947………………………………………………………………………131 Chapter Four: The Reforming of ‘The Housebreaker of Shady Hill’ by John Cheever and The New Yorker, 1955 to 1956…………………………………………………………..162 Conclusion……………………………………………………………………………….223 Appendix…………………………………………………………………………………239 Bibliography……………………………………………………………………………..249 1 Introduction For most of his professional career, John Cheever was both a literary artist and a popular writer. Cheever came to rely on writing short stories for a mixture of small-, mid-, and large-circulation magazines between 1930 and the early 1960s because of his lack of financial independence and struggle with the novel form. It was by publishing the majority of his stories in The New Yorker that Cheever was able to develop both aspects of his career. This thesis proposes that understanding the nature of the creative and financial relationships that Cheever developed with The New Yorker and its employees during this period, as well as his other interactions with the American magazine marketplace, broadens our understanding both of his sense of literary professionalism and, moreover, his approach to writing short fiction. Using a historicised close reading of mostly unpublished editorial and interoffice correspondence in the New Yorker Records, and short story typescripts in the John Cheever Literary Manuscripts, this thesis argues that Cheever was not, as some critics have suggested, a victim of the magazine marketplace, but rather a willing, if occasionally frustrated, participant in it. Cheever published one hundred and twenty of his short stories in The New Yorker between 1935 and 1981. From the late 1940s until his death in 1982, Cheever signed a first-reading agreement annually with The New Yorker which provided him with something approaching the stability and security of regular extra- or non-literary employment. This agreement was invaluable to Cheever because it enabled him to make writing his job in the absence of novel publication early in his career. Moreover, appearing in The New Yorker on average every other month in the 1940s provided Cheever with a national, primarily middle-class, audience for his stories, and within that whole, a readership for the books he began to publish with more frequency in the late 1950s and 2 throughout the 1960s. Cheever also formed strong professional and personal bonds with New Yorker editors William Maxwell and Gustave S. Lobrano. Both of these editors became, at different times, stylistically influential collaborators on Cheever’s stories during the most prolific period of his career, 1940 to 1964. When critics attempt to separate Cheever’s short fiction from The New Yorker, they often emphasise his circumvention of, or conflict with, its middlebrow literary ethos and editing system. Susan Cheever claimed that her father’s association with The New Yorker deteriorated because of his experimentation in his short stories with what his editors felt was ‘appropriate and believable’ for the magazine’s readers.1 Cheever’s first biographer Scott Donaldson acknowledged that The New Yorker was a ‘patron to […] Cheever for four decades’ but refused to accept that he consciously authored New Yorker stories, cultural products that Donaldson dismissed as being ‘elegant, charming, [and] inconsequential’.2 Agreeing with Susan Cheever’s portrayal of her father as a surrealist, Wayne Stengel argued that Cheever was ‘anything but a glib writer’ of New Yorker stories.3 Robert A. Morace posited further that Cheever practiced an ‘innovative, open, even experimental’ form of the short story that was ‘at odds with the compression of incident and tight narrative focus […] of the conventional short story’.4 More recently, Cheever’s second biographer Blake Bailey has depicted the author’s transition from short story writer to novelist as an ultimately doomed attempt to liberate himself from the constraining label of “New Yorker writer”.5 1 Susan Cheever, Home Before Dark: A Biographical Memoir of John Cheever by His Daughter (Boston: Houghton Mifflin, 1984), p. 137. 2 Scott Donaldson, ‘John Cheever’, in John Cheever: A Study of the Short Fiction (Boston: G. K. Hall & Co., 1989), ed. by James E. O’Hara, pp. 128-32 (p. 129) (first publ. in American Writers: A Collection of Literary Biographies, suppl, 1, part 1, ed. by Leonard Ungar (New York: Charles Scribner’s Sons, 1979), pp. 195-7). 3 Wayne Stengel, ‘John Cheever’s Surreal Vision and the Bridge of Language’, Twentieth Century Literature, 2 (1987), 223-33 (p. 223). 4 Robert A. Morace, ‘From Parallels to Paradise: The Lyrical Structure of John Cheever’s Fiction’, Twentieth Century Literature, 4 (1989), 502-28 (pp. 505, 506). 5 Blake Bailey, Cheever: A Life (New York: Knopf, 2009), p. 222. 3 Much of this criticism draws on the enmity that Cheever himself felt towards writing for The New Yorker during his career, which he recorded in the journals he kept from the 1940s until a few days before his death in 1982, and in his correspondence with friends and family. Portions of Cheever’s journals and letters were excerpted for the first time in Home Before Dark in 1984 before being collected for
Recommended publications
  • AP English Literature and Composition: Study Guide
    AP English Literature and Composition: Study Guide AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse, this product. Key Exam Details While there is some degree of latitude for how your specific exam will be arranged, every AP English Literature and Composition exam will include three sections: • Short Fiction (45–50% of the total) • Poetry (35–45% of the total) • Long Fiction or Drama (15–20% of the total) The AP examination will take 3 hours: 1 hour for the multiple-choice section and 2 hours for the free response section, divided into three 40-minute sections. There are 55 multiple choice questions, which will count for 45% of your grade. The Free Response writing component, which will count for 55% of your grade, will require you to write essays on poetry, prose fiction, and literary argument. The Free Response (or “Essay” component) will take 2 hours, divided into the three sections of 40 minutes per section. The course skills tested on your exam will require an assessment and explanation of the following: • The function of character: 15–20 % of the questions • The psychological condition of the narrator or speaker: 20–25% • The design of the plot or narrative structure: 15–20% • The employment of a distinctive language, as it affects imagery, symbols, and other linguistic signatures: 10–15% • And encompassing all of these skills, an ability to draw a comparison between works, authors and genres: 10–15 % The free response portion of the exam will test all these skills, while asking for a thesis statement supported by an argument that is substantiated by evidence and a logical arrangement of the salient points.
    [Show full text]
  • Yaddo News Release
    Yaddo News Release Contact: Tristan Kirvin ▪ 518-584-0746 ▪ [email protected] YADDO RECEIVES $250,000 GIFT FROM HELEN FRANKENTHALER FOUNDATION FOR FUNDING OF NEW LIVE-WORK VISUAL ARTS STUDIO Saratoga Springs, NY, December 3, 2015 …Yaddo, one of the nation’s oldest artist communities, announced today that it has received a $250,000 gift from the Helen Frankenthaler Foundation to underwrite the cost of a new live-work studio for a visual artist. The studio is one of five currently under construction on the 400-acre estate, a National Historic Landmark that welcomes over 200 artists working in a variety of disciplines each year. The visual arts studio will be named in Frankenthaler’s honor. “This gift is deeply meaningful to us in a number of ways,” said Yaddo President Elaina Richardson. “It helps to underscore our rich legacy of hosting incredibly talented visual artists at various stages in their careers, from emerging artists to those who are world-renowned, such as Helen Frankenthaler. The gift also confirms a core fact—the artists who know us best have been remarkable supporters of Yaddo and are the reason we’re poised for a vibrant second century. We are grateful to the Frankenthaler Foundation’s Board and leadership for their generosity, and honored by the trust they have placed in us.” Helen Frankenthaler’s association with Yaddo extended over many years, and included serving on the community’s Board of Trustees from 1973 to 1978. In addition to providing generous financial support for Yaddo, she additionally served on visual arts admissions panels and was actively involved in the recruitment of artists.
    [Show full text]
  • Read Ebook {PDF EPUB} Here at the New Yorker by Brendan Gill Brendan Gill, Here in Westchester
    Read Ebook {PDF EPUB} Here at The New Yorker by Brendan Gill Brendan Gill, Here in Westchester. BRONXVILLE B RENDAN GILL, the urbane drama critic for The New Yorker, is almost as hard to catch up with as the White Rabbit in “Alice in Wonderland—he's usually late for one or another important engagement. In addition to his reviewing responsibilities, Mr. Gill is the author of a biography of Charles A. Lindbergh and a book of short stories, “Ways of Loving.” He has also been a mainstay of historical‐preservation groups in the metropolitan area. A cosmopolitan suburbanite, he rises in his Bronxville here at 6 A.M., shuttles to his office in Manhattan, works through a busy day of appointments and writing, then goes off to see a play. Besides the 40 to 50 Broadway openings he attends during a season, he will see 20 to 30 Off Broadway shows and take trips to visit regional theater groups. He refuses to feel chastened by fairly widespread criticism that his memoir, “Here at The New Yorker,” is a “snobbish” book, laughing it off with the comment that “they always call me that, and I'm always indignant.” He won't be fashionably pessimistic about the future of New York City, and he won't be fashionably cynical about the virtues of suburban life. He recently completed a public lecture series at the Metropolitan Museum of Art on “Utopian Suburbs,” with talks on “Grooming the Wilderness,” about Llewellyn Park in New Jersey and Tuxedo Park in Westchester, “Parnassus by Rail,” about Lawrence Park in Bronxville and Garden City, L.I., and “Ghosts of Green Gardens,” about Forest Hills and Sunnyside in Queens.
    [Show full text]
  • Philip Roth's Confessional Narrators: the Growth of Consciousness
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1979 Philip Roth's Confessional Narrators: The Growth of Consciousness. Alexander George Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation George, Alexander, "Philip Roth's Confessional Narrators: The Growth of Consciousness." (1979). Dissertations. 1823. https://ecommons.luc.edu/luc_diss/1823 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1979 Alexander George PHILIP ROTH'S CONFESSIONAL NARRATORS: THE GROWTH OF' CONSCIOUSNESS by Alexander George A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 1979 ACKNOWLEDGE~£NTS It is a singular pleasure to acknowledge the many debts of gratitude incurred in the writing of this dissertation. My warmest thanks go to my Director, Dr. Thomas Gorman, not only for his wise counsel and practical guidance, but espec~ally for his steadfast encouragement. I am also deeply indebted to Dr. Paul Messbarger for his careful reading and helpful criticism of each chapter as it was written. Thanks also must go to Father Gene Phillips, S.J., for the benefit of his time and consideration. I am also deeply grateful for the all-important moral support given me by my family and friends, especially Dr.
    [Show full text]
  • The Proliferation of the Grotesque in Four Novels of Nelson Algren
    THE PROLIFERATION OF THE GROTESQUE IN FOUR NOVELS OF NELSON ALGREN by Barry Hamilton Maxwell B.A., University of Toronto, 1976 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department ot English ~- I - Barry Hamilton Maxwell 1986 SIMON FRASER UNIVERSITY August 1986 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME : Barry Hamilton Maxwell DEGREE: M.A. English TITLE OF THESIS: The Pro1 iferation of the Grotesque in Four Novels of Nel son A1 gren Examining Committee: Chai rman: Dr. Chin Banerjee Dr. Jerry Zaslove Senior Supervisor - Dr. Evan Alderson External Examiner Associate Professor, Centre for the Arts Date Approved: August 6, 1986 I l~cr'ct~ygr.<~nl lu Sinnri TI-~J.;~;University tile right to lend my t Ire., i6,, pr oJcc t .or ~~ti!r\Jc~tlcr,!;;ry (Ilw tit lc! of which is shown below) to uwr '. 01 thc Simon Frasor Univer-tiity Libr-ary, and to make partial or singlc copic:; orrly for such users or. in rcsponse to a reqclest from the , l i brtlry of rllly other i111i vitl.5 i ty, Or c:! her- educational i r\.;t i tu't ion, on its own t~l1.31f or for- ono of i.ts uwr s. I furthor agroe that permissior~ for niir l tipl c copy i rig of ,111i r; wl~r'k for .;c:tr~l;rr.l y purpose; may be grdnted hy ri,cs oi tiI of i Ittuli I t ir; ~lntlc:r-(;io~dtt\at' copy in<) 01.
    [Show full text]
  • Addition to Summer Letter
    May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays.
    [Show full text]
  • Books and Coffee Past Presenters
    Books and Coffee Past Presenters Year Speaker Author Title 1951 William Braswell Hemingway Across the River and Into the Trees Chester Eisinger Miller Death of a Salesman Paul Fatout -- “Mark Twain” Robert Lowe Pound Letters Barriss Mills Faulkner Collected Stories Herbert Muller Niebuhr Faith in History Albert Rolfs Fatout Ambrose Bierce Louise Rorabacher Orwell Animal Farm Emerson Sutcliffe Kent Declensions in the Air 1952 Welsey Carroll Boswell London Journal Richard Voorhees Greene The Power and the Glory Richard Cordell Irvine The Universe of George Bernard Shaw Harold Watts Mann The Holy Sinner Roy Curtis Hall Leave Your Language Alone! Richard Greene Altick The Scholar Adventurers R. W. Babcock -- “On Reading Shakespeare” Richard Crowder Williams Later Collected Poems 1953 Herbert Muller Ceram Gods, Graves, and Scholars William Hastings Wouk The Cain Mutiny J. H. McKee Ferril I Hate Thursday Arthur Koenig Dostoievsky The Diary of a Writer George Schick Boswell Boswell in Holland Darrel Abel Steinbeck East of Eden H. B. Knoll Walton The Compleat Angler Raymond Himelick Cabell Quiet Please 1954 Paul Fatout Boswell Boswell on the Grand Tour George S. Wykoff Bonavia-Hunt Pemberley Shades Lewis Freed Eliot The Cocktail Party R. M. Bertram Cary The Horse's Mouth Laird Bell Smith Man and His Gods Bernard Schmidt Michener The Bridges at Toki-Ri Victor Gibbens Randolf & Wilson Down in the Holler William Braswell Thurber Thurber Country 1955 Richard Cordell Larson An American in Europe Arnold Drew Jarrell Pictures from an Institution Russell Cosper Kafka The Castle M. W. Tillson Ives Tales of America Maurice Beebe Faulkner A Fable Walter Maneikis Algren The Man with the Golden Arm Virgil Lokke West The Day of the Locusts Robert Ogle White The Second Tree from the Corner 1956 Lewis Freed Alberto Moravia A Ghost at Noon R.W.
    [Show full text]
  • Read Ebook {PDF EPUB} Rabbit Run by John Updike Rabbit Run by John Updike
    Read Ebook {PDF EPUB} Rabbit Run by John Updike Rabbit Run by John Updike. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6588763ffc5c0d52 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Rabbit Run by John Updike. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 65887640090515f4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare.
    [Show full text]
  • Newsletter the Society of Architectural Historians
    NEWSLETTER THE SOCIETY OF ARCHITECTURAL HISTORIANS AUGUST 1975 VOL. XIX NO. 4 PUBLISHED BY THE SOCIETY OF ARCHITECTURAL HISTORIANS 1700 Walnut Street, Philadelphia, Pa. 19103 • Spiro K. Kostof, President • Editor: Thomas M. Slade, 3901 Connecticut Avenue, N.W., Washington, D.C. 20008 • Assistant Editor: Elisabeth W. Potter, 22927 Edmonds Way, Edmonds, Washington, 98020 SAH NOTICES the Subcommittee on Science, Research, and Technology of the U.S. House Committee on Science and Technology ... 1976 Annual Meeting, Philadelphia (May 19-24). Marian C. HYMAN MYERS AND GEORGE THOMAS organized an ex­ Donnelly, general chairman; Charles E. Peterson, FAIA, honor­ hibition of photographs, original drawings, hardware, and ary local chairman; and R. Damon Childs, local chairman. The plans of restoration work now in progress at the Pennsylvania call for papers appeared in the April Newsletter. Academy of Fine Arts designed by Furness and Hewitt. Shown at the AlA Gallery in Philadelphia last month, the exhibition 1977 Annual Meeting, Los Angeles (with College Art Associa­ material was drawn from private collections as well as those of tion) - February 2-7. Adolf K. Placzek, Columbia University, the Academy and the Philadelphia Museum of Art ... EVA D. is general chairman of the meeting. David S. Gebhard, Univer­ NOLL addressed the annual meeting of the Chester County sity of California, Santa Barbara, will act as local chairman. Historical Society last May on the subject of "Communica­ The call for papers appeared in the June Newsletter. tions Between the Colonies." Mrs. Noll, who is historian for Project 1776 sponsored by the Bicentennial Commission of 1975 Annual Tour- Annapolis and Southern Maryland (Octo­ Pennsylvania, spoke the preceding month in Pittsburgh at the ber 1-5).
    [Show full text]
  • Philip Roth Biography Appeared Before the Book Came Out, with Major Stories in Magazines and Literary Publications
    Sexual Assault Allegations Against Biographer Halt Shipping of His Roth Book W.W. Norton, citing the accusations that the author, Blake Bailey, faces, said it would stop shipping and promoting his new best-selling book. “Philip Roth: The Biography” went on sale earlier this month.Credit...W.W. Norton, via Associated Press By Alexandra Alter and Rachel Abrams Published April 21, 2021Updated May 17, 2021 Earlier this month, the biographer Blake Bailey was approaching what seemed like the apex of his literary career. Reviews of his highly anticipated Philip Roth biography appeared before the book came out, with major stories in magazines and literary publications. It landed on the New York Times best-seller list this week. Now, allegations against Mr. Bailey, 57, have emerged, including claims that he sexually assaulted two women, one as recently as 2015, and that he behaved inappropriately toward middle school students when he was a teacher in the 1990s. His publisher, W.W. Norton, took swift and unusual action: It said on Wednesday that it had stopped shipments and promotion of his book. “These allegations are serious,” it said in a statement. “In light of them, we have decided to pause the shipping and promotion of ‘Philip Roth: The Biography’ pending any further information that may emerge.” Norton, which initially printed 50,000 copies of the title, has stopped a 10,000-copy second printing that was scheduled to arrive in early May. It has also halted advertising and media outreach, and events that Norton arranged to promote the book are being canceled. The pullback from the publisher came just days after Mr.
    [Show full text]
  • Who Needs Thomas Pynchon? the Role of a Post- Foundational, Reader Response Author Lauren Kersey Regis University
    Regis University ePublications at Regis University All Regis University Theses Spring 2012 Who Needs Thomas Pynchon? the Role of a Post- Foundational, Reader Response Author Lauren Kersey Regis University Follow this and additional works at: https://epublications.regis.edu/theses Part of the Arts and Humanities Commons Recommended Citation Kersey, Lauren, "Who Needs Thomas Pynchon? the Role of a Post-Foundational, Reader Response Author" (2012). All Regis University Theses. 570. https://epublications.regis.edu/theses/570 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. WHO NEEDS THOMAS PYNCHON? THE ROLE OF A POST-FOUNDATIONAL, READER RESPONSE AUTHOR A thesis submitted to Regis College The Honors Program In partial fulfillment of the requirements For Graduation with Honors By Lauren Kersey May 2012 TABLE OF CONTENTS PREFACE AND ACKNOWLEDGEMENTS ii I. INTRODUCTION 1 II. POST-FOUNDATIONALISM: 6 DEFENDING DOUBT AS OPPOSED TO CERTAINTY III. READER RESPONSE THEORY: 23 EXPOSING INTERPRETATION AS OPPOSED TO MEANING IV. THOMAS PYNCHON: A RECLUSE WITH A SOCIAL IMPACT 37 V. CONCLUSION 77 BIBLIOGRAPHY 85 Preface This thesis provides a survey of post-foundational philosophy and explains reader response theory as one possible application of its insights within the field of literary theory. The main premise which unites these two theories is that belief precedes inference. Before people encounter any element of their world or any literary work, they harbor certain presuppositions that influence how they perceive and interact with that subject.
    [Show full text]
  • Journalist in Disguise St
    St. Norbert College Digital Commons @ St. Norbert College Pix Media Spring 2009 Journalist in disguise St. Norbert College Follow this and additional works at: https://digitalcommons.snc.edu/pixmedia Recommended Citation St. Norbert College, "Journalist in disguise" (2009). Pix Media. 54. https://digitalcommons.snc.edu/pixmedia/54 This Article is brought to you for free and open access by Digital Commons @ St. Norbert College. It has been accepted for inclusion in Pix Media by an authorized administrator of Digital Commons @ St. Norbert College. For more information, please contact [email protected]. St. Norbert College Magazine - Journalist in disguise: Thomas Kunkel, president of St. Norbert College - St. Norbert College :: ACADEMIC PROGRAMS | ALUMNI | FUTURE STUDENTS | PARENTS | VISITORS (Students, faculty and staff) About SNC | A to Z Index | Directory QUICK LINKS: - Home - Magazine President's message Seven-figure gifts put athletics complex on the fast track Spring 2009 | Finding the Balance Student research goes Galapagos A short course in educationomics Economics lessons find their way to classrooms Journalist in around the world disguise: A look at Mastering the job search two books authored Finding $50 bills in the Web exclusives NFL draft by President Thomas Look here for web-only A short period of Kunkel content that expands economic growth By John Pennington, on topics presented in the An aardvark a day keeps Professor of English the doctor away current St. Norbert College Live! from Schuldes Magazine (PDF). Subscribe “I don’t care what is written about me so long as it isn’t true.” Dorothy Parker (1893- Student research E-newsletter 1967), American writer and goes Galapagos Television Show wit, founding member of the Reporting from one of the Press Releases Algonquin Round Table, and world’s best natural one of the original advisory laboratories.
    [Show full text]