Richard Brautigan

2019 ◽  
Author(s):  
Marc Chénetier
Keyword(s):  
Richard Brautigan

Metaregionalism: The Global Pacific Northwest

2011 ◽  
Author(s):  
Paul Giles
Keyword(s):  
American Literature ◽  
Pacific Northwest ◽  
Critical Distance ◽  
William Gibson ◽  
Gary Snyder ◽  
Domestic Security ◽  
The Pacific ◽  
Richard Brautigan ◽  
Douglas Coupland

This chapter examines the metaregional dimensions of the Pacific Northwest and the ways in which its very inscription as a region elucidates the fraught and contested relation between text and place in American literature. Elettra Bedon coined the term “metaregionalism” to describe a self-conscious manipulation of certain forms of dialect. On analogy with metafiction, metaregionalism might be said to foreground the assumptions involved in traditional ascriptions of place. The chapter first considers the epistemology of space before discussing how the Pacific Northwest was tackled in the writings of Gary Snyder, Ursula Le Guin, and Richard Brautigan. It also analyzes the fiction of William Gibson and Douglas Coupland; Gibson deploys Vancouver to achieve critical distance from the behemoths of U.S. capitalism, and Coupland brings his native Pacific Northwest into the wider oceanic orbit of Asia and Australasia in order to chart a generational passage away from domestic security and entitlement.

Dreaming of Babylon by Richard Brautigan

1978 ◽  
Vol 13 (3) ◽  
pp. 302-302
Author(s):  
Bobbie Burch Lemontt
Keyword(s):  
Richard Brautigan

in the manner of Hitchcock, across a corridor at Watermouth University in The History Man. John Barth corresponds with his characters in Letters. He explains as ‘J.B.’ his role along with the computer WESAC in producing the novel Giles Goat-Boy (1966) in the first few pages of the novel. B. S. Johnson foregrounds autobiographical ‘facts’, reminding the reader in Trawl (1966): ‘I . . . always with I . . . one starts from . . . one and I share the same character’ (p. 9). Or, in See the Old Lady Decently, he breaks off a description in the story and informs the reader: ‘I have just broken off to pacify my daughter . . . my father thinks she is the image of my mother, my daughter’ (p. 27). Steve Katz worries in The Exaggerations of Peter Prince (1968) – among many other things – about the fact that he is writing the novel under fluorescent light, and wonders how even this aspect of the contemporary technological world will affect its literary products. Alternatively, novelists may introduce friends or fellow writers into their work. Thus, irreverently, in Ronald Sukenick’s 98.6 (1975) the ‘hero’ decides to seduce a girl and her roommate: ‘Besides the roommate is a girl who claims to be the lover of Richard Brautigan maybe she knows something. . . . I mean here is a girl saturated with Richard Brautigan’s sperm’ (p. 26). Federman, Sukenick, Katz and Doctorow make appearances in each others’ novels. Steve Katz, in fact, appeared in Ronald Sukenick’s novel Up (1968) before his own first novel, The Exaggerations of Peter Prince, had been published (in which Sukenick, of course, in turn appears). Vladimir Nabokov playfully introduces himself into his novels very often through anagrams of variations on his name: Vivian Badlock, Vivian Bloodmark, Vivian Darkbloom, Adam von Librikov (VVN is a pun on the author’s initials). Occasionally authors may wish to remind the reader of their powers of invention for fear that readers may assume fictional information to be disguised autobiography. Raymond Federman writes:

Metafiction ◽  
2002 ◽  
pp. 142-142
Keyword(s):  
Vladimir Nabokov ◽  
Fluorescent Light ◽  
The Novel ◽  
John Barth ◽  
Richard Brautigan ◽  
Technological World

The Hawkline Monster by Richard Brautigan

1975 ◽  
Vol 10 (2) ◽  
pp. 151-153
Author(s):  
L. L. Lee
Keyword(s):  
Richard Brautigan

Richard Brautigan

1974 ◽  
Vol 16 (1) ◽  
pp. 41-52
Author(s):  
James Wanless ◽  
Christine Kolodziej
Keyword(s):  
Richard Brautigan
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