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Nixon's America and the Inscription of Political Crisis in the Fiction of Irvin Faust, Rudolph Wurlitzer, Stanley Elkin and Donald Barthelme

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Nixon's America and the Inscription of Political Crisis in the Fiction of Irvin Faust, Rudolph Wurlitzer, Stanley Elkin and Donald Barthelme ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Contested mythologies : Nixon’s America and the inscription of political crisis in the fiction of Irvin Faust, Rudolph Wurlitzer, Stanley Elkin and Donald Barthelme https://eprints.bbk.ac.uk/id/eprint/40344/ Version: Full Version Citation: Braman, Edward Bernard (2018) Contested mythologies : Nixon’s America and the inscription of political crisis in the fiction of Irvin Faust, Rudolph Wurlitzer, Stanley Elkin and Donald Barthelme. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Page | 1 Contested Mythologies: Nixon's America and the Inscription of Political Crisis in the Fiction of Irvin Faust, Rudolph Wurlitzer, Stanley Elkin and Donald Barthelme. Edward Bernard Braman PhD Birkbeck, University of London. Page | 2 (Page left intentionally blank) Page | 3 Abstract This thesis proposes a new approach to gauging the political content of American postmodernist literature. Locating its analysis inside the historical intensities of the mid-60s through to the early 70s – the Nixon Years – it argues that the period’s experimental writing inscribes a climate of political crisis by invoking the mythologies that drive U.S. ideological thinking, and then unravelling the contestations inside those mythologies. The argument revolves around four case studies, each of which is tested for the degree to which its formal postmodernist strategies underpin a periodic expression of equivocation inside America’s foundational myths. In the first extended analysis of the novelist Irvin Faust, the author’s metafictions are shown to destabilise the inherited myth of City Upon a Hill exceptionalism, particularly around Vietnam. In the under-examined work of Rudolph Wurlitzer, the myth of the western frontier – re-invoked by Kennedy’s New Frontier in 1960 – is ontologically reimagined as a site of regressive violence as opposed to civilised progress. The Nixon Years novels of Stanley Elkin, meanwhile, are positioned as postmodernist parables whose rhetorical extravagance is targeted at the American myth of success, and the financial crisis of 1973. The discrete strategies of these three writers are then examined in aggregate in the work of a canonical postmodernist, Donald Barthelme, and lead to the suggestion that his major novels of the Nixon Years, Snow White and The Dead Father, are overarching expressions of a trajectory from a frustrated optimism in the Kennedy 60s to a crisis of political inertia and recursion in the Watergate mid-70s. The thesis concludes that American postmodernist literature can be read as a politically critical engagement with the grand narratives of America’s foundation, and its persistent political rhetoric, where the destabilisations of assumed narrative forms inscribe the disorientations inside America’s traditions of public belief. Page | 4 Table of Contents Chapter 1 Introduction 6. 1.1. Political readings of Postmodernist Writing. 9. 1.2. American Mythology and Nixon’s America. 18. 1.2.1. Exceptionalism. 21. 1.2.2. The Frontier. 24. 1.2.3. The Myth of Success. 27. 1.3. Methodology. 30. Chapter 2 Irvin Faust and American Popular Culture: The Myth of 36. Exceptionalism Unravelled. 2.1. Locating Irvin Faust. 37. 2.2. The Steagle 40. 2.2.1. From Cuba to Vietnam. 41. 2.2.2. Personal Escapes and Public Narratives. 44. 2.2.3. Contestations inside the Exceptionalist Mission. 48. 2.2.4. The Steagle and the Movies. 52. 2.2.5. An Uneasy Future. 58. 2.3. Willy Remembers 61. 2.3.1. The Production and Propagandising of Precarious Narratives. 63. 2.3.2. History Fragmented and Compressed. 69. 2.3.3. Willy’s Battlefield. 71. 2.3.4. A Legacy of Mythological Crisis. 74. 2.4. Foreign Devils 76. 2.4.1. Contemporary Chaos. 78. 2.4.2. China: A Proxy for Vietnam. 80. 2.4.3. A Crisis ‘Denied’. 83. Chapter 3 Rudolph Wurlitzer, the American West and a Crisis at the New 89. Frontier. 3.1. Wurlitzer and the Ontology of American Space. 92. 3.2. Wurlitzer’s Contested West. 94. 3.3. Nog 97. 3.3.1. A New Map of America. 100. 3.3.2. Western Encounters. 103. 3.3.3. The Death of the Frontier Ideal. 109. 3.4. Flats 112. 3.4.1. A New Wilderness. 114. 3.4.2. Popular Cultural Cartography. 117. 3.4.3. Flats’ American Politics. 119. 3.5. Quake 125. 3.5.1. The Politics of Devastation. 126. Page | 5 3.5.2. The Hollywood Frontier. 128. 3.5.3. Twilight in America. 133. Chapter 4 Stanley Elkin, the American Myth of Success and the Crisis in 137. Affluence 4.1. The Politics of Elkin’s Rhetoric. 140. 4.2. A Bad Man 143. 4.2.1. An American Entrepreneur. 144. 4.2.2. An American Prison. 150. 4.2.3. Contradictions: The Unsaleable Thing. 152. 4.2.4. A Basement of the Vanities. 155. 4.2.5. Contesting Systems. 157. 4.2.6. Imprecise Verdicts and a Crisis to Come. 162. 4.3. The Franchiser 164. 4.3.1. Interest Rates and Franchises. 165. 4.3.2. The Entrepreneur of the Nixon Years. 170. 4.3.3. Decay, MS and the Family Finsberg. 174. 4.3.4. Interlocking Structures and the Cascade into Chaos. 177. 4.3.5. Terminal Expressions of Crisis. 180. Chapter 5 Donald Barthelme – Contested Myths of Leadership. 185. 5.1. Bossa Nova, or Engagement. 187. 5.2. Absent Causes – Present Politics 191. 5.2.1. Generative Fragmentation: ‘Departures’. 192. 5.2.2. In The Zone: ‘The Indian Uprising’. 196. 5.2.3. Metafictional Construction: ‘Robert Kennedy Saved from 199. Drowning’. 5.3. Snow White. 203. 5.3.1. The Fairy Tale and the Contemporary. 205. 5.3.2. Mythical Promotions and Mythical Frustrations. 208. 5.3.3. Middle American Anxiety. 211. 5.3.4. A Grim Prognosis. 214. 5.4. The Dead Father. 215. 5.4.1. An Amalgam of Authorities. 219. 5.4.2. Contested Mythologies. 222. 5.4.3. Power Vacuums and Anxieties. 225. 5.4.4. Power Games and Crisis. 227. 5.4.5. A Failed Revolution. 231. Chapter 6 Conclusion 233. Bibliography 240. Page | 6 Chapter One Introduction We have always been, insofar as we are Americans at all, inhabitants of myth rather than history – and have now come to know it.1 In 1969, early in the Nixon presidency, Leslie Fiedler posited a correspondence between a re-emergence of mythical thinking in American life, and an emerging experimentalism in American fiction. A new generation of writers ̶ Fiedler called them ‘Post- Modernists’ ̶ was confronting a crisis: a late 60s ‘time of Endings’ where, in politics, Nixon was talking apocalyptically of ‘cities enveloped in smoke and flames [and] Americans dying on distant battlefields’ and where, in culture, the novel was ‘not dying, but dead’ (Gap 61,65).2 The new fiction’s response was to guide its readers toward ‘a transcendent goal, a moment of Vision’ by inscribing a ‘mythological Americanism’ into popular forms like the Western or science fiction (Gap 80,68). Fiedler saw these mythical journeys as projecting ‘political or metapolitical meanings’ (Gap 80). The restoration of the Western for example, of foundational stories hitherto preserved in B-movies and pulp TV series, would promote ‘a great religious revival’, a national return to a childhood dream of ‘an idyllic encounter between White Man and Non-White […] the world of magic and wonder’ (Gap 84,72). In this, Fiedler suggested, readers would confront, or transcend, America’s history of ‘violence in the woods’, the elimination of the Indians ‘whose last reflection, perhaps, [was] to be found in the War in Vietnam’ (Gap 71). ‘Post-Modernist’ myths would restore a ‘mythological innocence’ to Americans ‘awaiting the day when, no longer believing [themselves] to be innocent in fact […] could decently return to claim it in fantasy’ (Gap 69). Fiedler’s widely referenced essay drafted some early co-ordinates for a continuing debate over the political significance, and ultimate impact, of those American fictions – frequently fragmentary, often self-conscious, sometimes fabulous or outrageous – that were later more widely, but uneasily, labelled as postmodernist.3 The promotion of myth and 1 Leslie Fiedler, Cross the Border - Close the Gap (New York: Stein and Day, 1972), p.73. Hereafter Gap. 2 Richard M. Nixon, ‘Accepting the Presidential Nomination: 8 August 1968’, in The American Presidency Project <http://www.presidency.ucsb.edu> [accessed 12 March 2014]. Hereafter in footnotes APP. 3 For accounts of the term’s adoption see, for example: Ihab Hassan, ‘Toward a Concept of Postmodernism’, in The Postmodern Turn (Columbus, OH: Ohio State University Press, 1987), pp.84-96; Hans Bertens, The Idea of the Postmodern (London: Routledge, 1995), pp.20-36; C. Barry Chabot, ‘The Problem of the Postmodern’, New Literary History, 20 (1988), 1-20; Andreas Huyssen, ‘Mapping the Page | 7 fantasy to overcome a perceived inability in the novel’s long tradition of realism to handle the ‘apocalyptic, antirational, blatantly romantic and sentimental’ conditions of late 60s America (Gap 62). The equivocal attitude towards critically engaging with the complexities of history as a means of intervening into the political complexities of the present. The raucous co-opting of popular culture to close ‘the gap between high culture and low’ and contest the literary elitism of the ‘Culture Religion of High Modernism’ (Gap 68,64). David Lodge describes Fiedler’s ‘pop art’ construction of postmodernism as determinedly oppositional and demotic: ‘hostile or indifferent to traditional aesthetic categories and values, offering a polymorphous hedonism to its [largely youthful and countercultural] audience’.4 Some American critics at the time however decried a privileging of detachment.
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