Lunar Park

NATIONAL BESTSELLER • From the New York Times bestselling author of American Psycho and Less Than Zero comes a chilling tale that combines reality, memoir, and fantasy to create a fascinating portrait of this most controversial writer but also a deeply moving novel about love and loss, parents and children, and ultimately forgiveness. “John Cheever writes The Shining.” —Stephen King, Entertainment Weekly Bret Ellis, the narrator of Lunar Park, is the bestselling writer whose first novel Less Than Zero catapulted him to international stardom while he was still in college. In the years that followed he found himself adrift in a world of wealth, drugs, and fame, as well as dealing with the unexpected death of his abusive father. After a decade of decadence a chance for salvation arrives; the chance to reconnect with an actress he was once involved with, and their son. But almost immediately his new life is threatened by a freak sequence of events and a bizarre series of murders that all seem to connect to Ellis’s past. His attempts to save his new world from his own demons makes Lunar Park Ellis’s most suspenseful novel. Look for Bret Easton Ellis’s new novel, The Shards!

In the spirit of The Orphan Train and Before We Were Yours, a historical debut about a nurse who chooses to save a baby's life, and risks her own in the process, exploring the ties of motherhood and the little-known history of Coney Island and America's first incubators. A nurse's choice. A daughter's search for answers. New York City, 1926. Nurse Althea Anderson's heart is near breaking when she witnesses another premature baby die at Bellevue Hospital. So when she reads an article detailing the amazing survival rates of babies treated in incubators in an exhibit at Luna Park, Coney Island, it feels like the miracle she has been searching for. But the doctors at Bellevue dismiss Althea and this unconventional medicine, forcing her to make a choice between a baby's life and the doctors' wishes that will change everything. Twenty-five years later, Stella Wright is falling apart. Her mother has just passed, she quit a job she loves, and her marriage is struggling. Then she discovers a letter that brings into question everything she knew about her mother, and everything she knows about herself. The Light of Luna Park is a tale of courage and an ode to the sacrificial love of mothers.

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Being the first to outline the literary genre, Gothic-postmodernism, this book articulates the psychological and philosophical implications of terror in postmodernist literature, analogous to the terror of the Gothic novel, uncovering the significance of postmodern recurrences of the Gothic, and identifying new historical and philosophical aspects of the genre. While many critics propose that the Gothic has been exhausted, and that its significance is depleted by consumer society's obsession with instantaneous horror, analyses of a number of terror-based postmodernist novels here suggest that the Gothic is still very much animated in Gothic-postmodernism. These analyses observe the spectral characters, doppelgangers, hellish waste lands and the demonised or possessed that inhabit texts such as Paul Auster's City of Glass, Salman Rushdie's The Satanic Verses and Bret Easton Ellis's Lunar Park. However, it is the deeper issue of the lingering emotion of terror as it relates to loss of reality and self, and to death, that is central to the study; a notion of 'terror' formulated from the theories of continental philosophers and contemporary cultural theorists. With a firm emphasis on the sublime and the unrepresentable as fundamental to this experience of terror; vital to the Gothic genre; and central to the postmodern experience, this study offers an insightful and concise definition of Gothic-postmodernism. It firmly argues that 'terror' (with all that it involves) remains a connecting and potent link between the Gothic and postmodernism: two modes of literature that together offer a unique voicing of the unspeakable terrors of postmodernity.

This innovative volume establishes autofiction as a new and dynamic area of theoretical research in English. Since the term was coined by Serge Doubrovsky, autofiction has become established as a recognizable genre within the French literary pantheon. Yet unlike other areas of French theory, English-language discussion of autofiction has been relatively limited - until now. Starting out by exploring the characteristic features and definitions of autofiction from a conceptual standpoint, the collection identifies a number of cultural, historical and theoretical contexts in which the emergence of autofiction in English can be understood. In the process, it identifies what is new and distinctive about Anglophone forms of autofiction when compared to its French equivalents. These include a preoccupation with the conditions of authorship; writing after trauma; and a heightened degree of authorial self-reflexivity beyond that typically associated with postmodernism. By concluding that there is such a field as autofiction in English, it provides for the first time detailed analysis of the major works in that field and a concise historical overview of its emergence. It thus opens up new avenues in life writing and authorship research.

This ebook presents conference proceedings from the 1st Global Conference Trauma: theory and practice, held in Prague, Czech Republic in March 2011.

The Poetics of Genre in the Contemporary Novel investigates the role of genre in the contemporary novel: taking its departure from the observation that numerous contemporary novelists make use of popular genre influences in what are still widely considered to be literary novels, it sketches the uses, the work, and the value of genre. It suggests the value of a critical look at texts’ genre use for an analysis of the contemporary moment. From this, it develops a broader perspective, suggesting the value of genre criticism and taking into view traditional genres such as the bildungsroman and the metafictional novel as well as the kinds of amalgamated forms which have recently come to prominence. In essays discussing a wide range of authors from Steven Hall to Bret Easton Ellis to Colson Whitehead, the contributors to the volume develop their own readings of genre’s work and valence in the contemporary novel.

"Do we still know how to read a novel?" John Sutherland, Chairman of the 2005 Booker Prize Committee, asks. His disheartened answer is an unequivocal, "No." But Sutherland has not given up hope. With acerbic wit and intellect, he traces the history of what it used to mean to be well-read and tells readers what it still means today. Using this delightful book as a means to an end, he reminds readers how the delicate charms of fiction can be at once wonderful and inspired and infuriating. On one level this is a book about novels: how they work, what they're about, what makes them good or bad, and how to talk about them. At a deeper level, this is a book in which one of the most intimate tête-à-têtes is described—one in which a reader meets a novel. Will a great love affair begin? Will the rendezvous end in disappointment? Who can say? In order for the relationship to take its appropriate course all the details must be clearly acknowledged and understood for their complexities: plot, point of view, character, style, pace, first and last sentences, and even beauty. Still, Sutherland knows a true understanding of fiction is more than a flirtation with text and style—it is a business. Taking his readers on a trip to the bookshop, he helps them judge a book by its cover based on design and color, wondering aloud what genre might be best, even going so far as to analyze one of the latest American bestsellers to further help the buying reader choose the novel that is right for him or her. In a book that is as wry and humorous as it is learned and opinionated, John Sutherland tells you everything you always wanted to know about how to read fiction better than you do now (but, were afraid to ask).