American Literary Minimalism [Hardcover]

Tracing the evolution of minimalist style from Hemingway to the twentyfirst century.

Although a handful of books and articles have been written about American literary Minimalism during the last forty years, the mode remains misunderstood. When in a 2011 interview inThe Paris Reviewauthor Ann Beattie was asked how she felt about being classed as a minimalist, she began her answer: none of us have ever known what that means. Her response brings into focus the lack of agreement or clarity about the sources and definitions of literary Minimalism. Robert C. ClarksAmerican Literary Minimalismfills this significant gap.

Clark demonstrates that, despite assertions by many scholars to the contrary, the movement originated in the aesthetic programs of the Imagists and literary Impressionists active at the turn of the twentieth century. The genre reflects the philosophy that form is thought, and that style alone dictates whether a poem, story, or novel falls within the parameters of the tradition. The characteristics of Minimalist fiction are efficiency, frequent use of allusion, and implication through omission.

Organizing his analysis both chronologically and according to lines of influence, Clark offers a definition of the mode, describes its early stages, and then explores six works that reflect its core characteristics: Ernest HemingwaysIn Our Time; Raymond CarversCathedral; Jay McInerneysBright Lights, Big City; Susan MinotsMonkeys; Sandra CisnerossCaramelo; and Cormac McCarthysThe Road. In his conclusion, Clark discusses the ongoing evolution of the category.
 

InAmerican Literary Minimalism, Robert/C./Clark offers the most comprehensive analysis to date of a literary mode long discussed but rarely defined with precision. Challenging prevailing assumptions, Clark traces the roots of American literary minimalism to early twentiethcentury Imagismlƒ&