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Minimalism, Post-Humanism, and the Recovery of History in Bobbie Ann Mason's Zigzagging Down a Wild Trail

Minimalism, Post-Humanism, and the Recovery of History in Bobbie Ann Mason's Zigzagging Down... Minimalism, Post-Humanism, and the Recovery of History in Bobbie Ann Mason’s Zigzagging Down a Wild Trail by Francisco Collado-Rodríguez In his encompassing revision of narrative minimalism, Zoltán Abády-Nagy considers that this mode “in contemporary American fi c- tion [is] both an extension of postmodernism and a revolt against it” (129). Linking notions between the two paradigms include the suspi- cion of traditional historiography (i.e. the end of History), the disrup- tion of the traditional separation between high and popular culture, the distrust of master narratives proclaimed by Lyotard in The Postmodern Condition, and above all the rejection of the tendency to perceive life from a prism that systematically demands a sense of narrative closure. In minimalist fi ction, space is emphasized over temporality, routine dis- places sophisticated plots, and life is perceived as a continuum that may abruptly come to an end and where no ultimate sense of meaning is ever provided or demanded. Frequently, minimalist stories come to a textual stop that indicates no sense of closure or encapsulation at all. “What is the point or the moral of the story?” is likely to be one of the fi rst ques- tions coming to the reader’s mind once http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Southern Literary Journal University of North Carolina Press

Minimalism, Post-Humanism, and the Recovery of History in Bobbie Ann Mason's Zigzagging Down a Wild Trail

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Publisher
University of North Carolina Press
Copyright
Copyright © 2006 the Southern Literary Journal and the University of North Carolina at Chapel Hill Department of English.
ISSN
1534-1461

Abstract

Minimalism, Post-Humanism, and the Recovery of History in Bobbie Ann Mason’s Zigzagging Down a Wild Trail by Francisco Collado-Rodríguez In his encompassing revision of narrative minimalism, Zoltán Abády-Nagy considers that this mode “in contemporary American fi c- tion [is] both an extension of postmodernism and a revolt against it” (129). Linking notions between the two paradigms include the suspi- cion of traditional historiography (i.e. the end of History), the disrup- tion of the traditional separation between high and popular culture, the distrust of master narratives proclaimed by Lyotard in The Postmodern Condition, and above all the rejection of the tendency to perceive life from a prism that systematically demands a sense of narrative closure. In minimalist fi ction, space is emphasized over temporality, routine dis- places sophisticated plots, and life is perceived as a continuum that may abruptly come to an end and where no ultimate sense of meaning is ever provided or demanded. Frequently, minimalist stories come to a textual stop that indicates no sense of closure or encapsulation at all. “What is the point or the moral of the story?” is likely to be one of the fi rst ques- tions coming to the reader’s mind once

Journal

The Southern Literary JournalUniversity of North Carolina Press

Published: Feb 8, 2007

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