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1
Bell, Lucy Amelia Jane. "Configurations of the fragment : the Latin American short story at its limits". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607767.
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2
Shishkin, Timur. "Marginalized Characters in Contemporary American Short Fiction". PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/297.
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The focus of the present research work is the contemporary American short stories that bring up issues of compulsory norm and the conflict between marginalized characters and their environment. This research was based on those short stories that seemed to represent the idea of being "different" in the most complex and multilayered way, and its goal was to unfold new aspects of the conflict between "normal" and "abnormal"/"different". Variations of norm as well as diversity within the marginalized raise a number of questions about the reasons for their inability to coexist peacefully. The close reading and the analysis of the selected stories show that all the conflicts in them, in one way or another, repeat similar patterns and lead to the same root of the problem of misunderstanding, which is fear. To be more precise, all the cases of hate towards "different" characters can be explained by the hater's explicit or implicit fear of death in its various forms: inability to procreate one's own kind, cultural or personal self-identity loss, actual life threat in the form of a reminder of possible physical harm and death. Most often it would be the case where shame and fear of death overlap in a very complex way. In general, the cases of characters' otherness fall into three major groups. The nature of the alienation for each of these groups is described and analyzed in three separate chapters. Prejudice and stereotypes are playing a great role in formation of fears and insecurities which need to be dismantled in order to make peaceful coexistence possible. This work concludes with pointing out the crucial role of taking an approach of representation of various perspectives and diversification of voices in creative writing, academia and media in the context of multicultural society.
3
Young, Erin S. "Corporate heroines and utopian individualism: A study of the romance novel in global capitalism". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.
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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao
4
Cleveland, William. ""Why is Everyone So Interested in Texts?": The Shifting Role of the Reader in the Genre of Hard-boiled Fiction". Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/ClevelandW2007.pdf.
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5
Strecker, Geralyn. "Reading prostitution in American fiction, 1893-1917". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213148.
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Many American novels of the late nineteenth and early twentieth centuries discuss prostitution. Some works like Reginald Wright Kauffman's The House of Bondage, (1910) exaggerate the threat of "white slavery," but others like David Graham Phillips's Susan Lenox: Her Fall and Rise (1917) more honestly depict the harsh conditions which caused many women to prostitute themselves for survival. Contemporary critical interpretations of novels addressed in this dissertation began before major shifts in women's roles in the workplace, before trends towards family planning, before women could respectably live on their own, and especially before women won the right to vote. Yet, a century of progress later, this vestigal criticism still influences our study of these texts.Relying on primary source materials such as prostitute autobiographies and vice commission reports, I compare fictional representations of prostitution to historical data, focusing on the prostitute's voice and her position in society. I examine actual prostitutes' life stories to dispel the misconception that prostitution was always a lower-class business. My chapters are ordered in regards to the prominence of the prostitute characters' voices: in Stephen Crane's Maggie: A Girl of the Streets (1893) the heroine seldom speaks for herself; in two Socialist novels--Upton Sinclair's The Jungle (1906) and Estelle Baker's The Rose Door (1911)--prostitutes debate low wages, political corruption, and organized vice; and in Phillips's Susan Lenox, the title character is almost always allowed to speak for herself, and readers can see what she is thinking as well as doing. As my chapters progress, I demonstrate how the fictions become more like the prostitutes' own autobiographies, with self-reliant women telling their stories without shame or remorse. My conclusion, "Revamping `Fallen Women' Pedagogy for Teaching American Literature," suggests how social history and textual scholarship of specific "fallen women" novels should affect our teaching of these texts.Department of English
6
Sipley, Tristan Hardy 1980. "Second nature: Literature, capital and the built environment, 1848--1938". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10911.
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x, 255 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation examines transatlantic, and especially American, literary responses to urban and industrial change from the 1840s through the 1930s. It combines cultural materialist theory with environmental history in order to investigate the interrelationship of literature, economy, and biophysical systems. In lieu of a traditional ecocritical focus on wilderness preservation and the accompanying literary mode of nature writing, I bring attention to reforms of the "built environment" and to the related category of social problem fiction, including narratives of documentary realism, urban naturalism, and politically-oriented utopianism. The novels and short stories of Charles Dickens, Herman Melville, Rebecca Harding Davis, Charlotte Perkins Gilman, Upton Sinclair, and Mike Gold offer an alternative history of environmental writing, one that foregrounds the interaction between nature and labor. Through a strategy of "literal reading" I connect the representation of particular environments in the work of these authors to the historical situation of actual spaces, including the western Massachusetts forest of Melville's "Tartarus of Maids," the Virginia factory town of Davis's Iron Mills, the Midwestern hinterland of Sinclair's The Jungle, and the New York City ghetto of Gold's Jews without Money. Even as these texts foreground the class basis of environmental hazard, they simultaneously display an ambivalence toward the physical world, wavering between pastoral celebrations and gothic vilifications of nature, and condemning ecological destruction even as they naturalize the very socio-economic forces responsible for such calamity. Following Raymond Williams, I argue that these contradictory treatments of nature have a basis in the historical relationship between capitalist society and the material world. Fiction struggles to contain or resolve its implication in the very culture that destroys the land base it celebrates. Thus, the formal fissures and the anxious eruptions of nature in fiction relate dialectically to the contradictory position of the ecosystem itself within the regime of industrial capital. However, for all of this ambivalence, transatlantic social reform fiction of the late-nineteenth and early-twentieth century provides a model for an environmentally-oriented critical realist aesthetic, an aesthetic that retains suspicion toward representational transparency, and yet simultaneously asserts the didactic, ethical, and political functions of literature.
Committee in charge: William Rossi, Chairperson, English; Henry Wonham, Member, English; Enrique Lima, Member, English; Louise Westling, Member, English; John Foster, Outside Member, Sociology
7
Tapley, Lance. "A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay Genre". Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/TapleyL2002.pdf.
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Potts, Dale E. "Woods Voices, Woods Knowledge: Work and Recreation in the Popular Literature of the Northeastern Forest, 1850-1963". Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/PottsDE2007.pdf.
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Zachik-Smith, Susie. "Romance by the book: A morphological analysis of the popular romance". CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/810.
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Robinson, Laura M. "Educating the reader, negotiation in nineteenth-century popular girls' stories". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ27853.pdf.
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Chew, Laureen. "Chinese American images in selected children's fiction for kindergarten through sixth grade". Scholarly Commons, 1986. https://scholarlycommons.pacific.edu/uop_etds/2131.
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The purpose of this study is to investigate Chinese American images in selected children's fiction to determine whether or not data support the position of the Council on Interracial Books for Children, that the works of fiction studied tend to stereotype Chinese Americans.
After reading the selected fifteen works of fiction, a criterion checklist was devised by the investigator to examine the behavior and lifestyle of Chinese Americans depicted in a variety of circumstances. validity of the criterion checklist was established by a panel of experts in the area of Chinese American studies. Inter-rater reliability was determined by two readers who utilized the criterion checklist to analyze the content of one lower elementary grade and one upper elementary grade work of fiction. Finally, the criterion checklist was used to analyze the fifteen works of fiction and draw conclusions related to the purpose of this study.
The findings in this study do support the conclusions of the Council on Interracial Books for Children that this group of fiction portrays Chinese Americans in a one dimensional, stereotypic manner. In the checklist items related to environment, food, utensils, physical attributes, cultural celebrations, occupations, and recreation, Chinese Americans were portrayed as adhering to Chinese-specific characteristics. However, in cross-cultural and behavioral items, Chinese Americans were portrayed as desiring Western-specific characteristics. This tendency was especially prevalent in upper elementary grade fiction. A more integrative or multi-dimensional view of Chinese Americans appreciating, and able to function well in, both cultural contexts is disconcertingly absent.
Based on the findings of this study, the following recommendations are made:
1. That teachers, librarians, and other school personnel who use this collection of books, supplement them with materials containing contemporary and realistic information about Chinese Americans.
2. That future writers of children's fiction dealing with Chinese Americans portray them in a multidimensional manner.
3. That curriculum writers of textbooks use a similar criterion checklist to offset the one-dimensionality of Chinese American images in existing children's literature.
4. That future writers of children's fiction on Chinese Americans utilize a criterion checklist such as the one in this study to assist them in developing multi-dimensional characters.
12
Clarke, Joni Adamson. "A place to see: Ecological literary theory and practice". Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187115.
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"A Place to See: Ecological Literary Theory and Practice" approaches "American" literature with an inclusive interdisciplinarity that necessarily complicates traditional notions of both "earliness" and canon. In order to examine how "Nature" has been socially constructed since the seventeenth century to support colonialist objectives, I set American literature into a context which includes ancient Mayan almanacs, the Popol Vuh, early seventeenth and eighteenth century American farmer's almanacs, 1992 Nobel Peace Prize winner Rigoberta Menchu's autobiography, the 1994 Zapatista National Liberation army uprising in Mexico, and Leslie Silko's Almanac of the Dead. Drawing on the feminist, literary and cultural theories of Donna Haraway, Carolyn Merchant, and Michel Foucault, Julia Kristeva, Edward Said, Annette Kolodny, and Joseph Meeker, I argue that contemporary Native American writers insist that readers question all previous assumptions about "Nature" as uninhabited wilderness and "nature writing" as realistic, non-fiction prose recorded in Waldenesque tranquility. Instead the work of writers such as Silko, Louise Erdrich, Simon Ortiz, and Joy Harjo is a "nature writing" which explores the interconnections among forms and systems of domination, exploitation, and oppression across their different racial, sexual, and ecological manifestations. I posit that literary critics and teachers who wish to work for a more ecologically and socially balanced world should draw on the work of all members of our discourse community in cooperative rather than competitive ways and seek to transform literary theory and practice by bringing it back into dynamic interconnection with the worlds we all live in--inescapably social and material worlds in which issues of race, class, and gender inevitably intersect in complex and multi-faceted ways with issues of natural resource exploitation and conservation.
13
Batista, Miguel. "Bildung and initiation : interpreting German and American narrative traditions". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14616.
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This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.
14
Molberg, Jenny 1985. "Marvels of the Invisible". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801890/.
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This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.
15
Griswold, Amy Herring. "Detecting Masculinity: The Positive Masculine Qualities of Fictional Detectives". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.
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Detective fiction highlights those qualities of masculinity that are most valuable to a contemporary culture. In mysteries a cultural context is more thoroughly revealed than in any other genre of literature. Through the crimes, an audience can understand not only the fears of a particular society but also the level of calumny that society assigns to a crime. As each generation has needed a particular set of qualities in its defense, so the detective has provided them. Through the detective's response to particular crimes, the reader can learn the delineation of forgivable and unforgivable acts. These detectives illustrate positive masculinity, proving that fiction has more uses than mere entertainment. In this paper, I trace four detectives, each from a different era. Sherlock Holmes lives to solve problems. His primary function is to solve a riddle. Lord Peter Wimsey takes on the moral question of why anyone should detect at all. His stories involve the difficulty of justifying putting oneself in the morally superior position of judge. The Mike Hammer stories treat the difficulty of dealing with criminals who use the law to protect themselves. They have perverted the protections of society, and Hammer must find a way to bring them to justice outside of the law. The Kate Martinelli stories focus more on the victims of crime than on the criminals. Martinelli discovers the motivations that draw a criminal toward a specific victim and explains what it is about certain victims that makes villains want to harm them. All of these detectives display the traditional traits of the Western male. They are hunters; they protect society as a whole. Yet each detective fulfills a certain cultural role that speaks to the specific problems of his or her era, proving that masculinity is a more fluid role than many have previously credited.
16
Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction". CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.
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Lewis, Darcy Hudelson. "Xenotopia: Death and Displacement in the Landscape of Nineteenth-Century American Authorship". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062864/.
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This dissertation is an examination of the interiority of American authorship from 1815–1866, an era of political, social, and economic instability in the United States. Without a well-defined historical narrative or an established literary lineage, writers drew upon death and the American landscape as tropes of unity and identification in an effort to define the nation and its literary future. Instead of representing nationalism or collectivism, however, the authors in this study drew on landscapes and death to mediate the crises of authorial displacement through what I term "xenotopia," strange places wherein a venerated American landscape has been disrupted or defamiliarized and inscribed with death or mourning. As opposed to the idealized settings of utopia or the environmental degradation of dystopia, which reflect the positive or negative social currents of a writer's milieu, xenotopia record the contingencies and potential problems that have not yet played out in a nation in the process of self-definition. Beyond this, however, xenotopia register as an assertion of agency and literary definition, a way to record each writer's individual and psychological experience of authorship while answering the call for a new definition of American literature in an indeterminate and undefined space.
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Chester, Blanca Schorcht. "Storied voices in Native American texts : Harry Robinson, Thomas King, James Welch and Leslie Marmon Silko". Thesis, 2000. http://hdl.handle.net/2429/11396.
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"Storied Voices in Native American Texts: Harry Robinson, Thomas King, James
Welch and Leslie Marmon Silko" approaches Native American literatures from within an
interdisciplinary framework that complicates traditional notions o f literary "origins" and
canon. It situates the discussion of Native literatures in a Native American context,
suggesting that contemporary Native American writing has its roots in Native oral
storytelling traditions. Each of these authors draws on specific stories and histories from
his or her Native culture. They also draw on European elements and contexts because
these are now part o f Native American experience. I suggest that Native oral tradition is
already inherently novelistic, and the stories that lie behind contemporary Native American
writing explicitly connect past and present as aspects o f current Native reality.
Contemporary Native American writers are continuing an on-going and vital storytelling
tradition through written forms.
A comparison of the texts o f a traditional Native storyteller, Robinson, with the
highly literate novels of King, Welch and Silko, shows how orally told stories connect
with the process o f writing. Robinson's storytelling suggests how these stories "theorize"
the world as he experiences it; the Native American novel continues to theorize Native
experience in contemporary times. Native writers use culturally specific stories to express
an on-going Native history. Their novels require readers to examine their assumptions
about who is telling whose story, and the traditional distinctions made between fact and
fiction, history and story. King's Green Grass. Running Water takes stories from Western
European literary traditions and Judeao-Christian mythology and presents them as part of
a Native creation story. Welch's novel Fools Crow re-writes a particular episode from
history, the Marias River Massacre, from a Blackfeet perspective. Silko's Almanac of the
Dead recreates the Mayan creation story o f the Popol Vuh in the context o f twentiethcentury
American culture. Each of these authors maintains the dialogic fluidity of oral
storytelling performance in written forms and suggests that stories not only reflect the
world, but that they create it in the way that Robinson understands storytelling as a form
of theory.
19
Baraban, Elena V. "Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s". Thesis, 2003. http://hdl.handle.net/2429/15156.
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The subject matter of my study is representations of Russia in Anglo-American
and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable
for representing the world split between good and evil, these genres played a prominent
role in constructing the image of the other during the Cold War. Crime fiction then is an
important source for grasping the changes in representing Russia after the Cold War. My
hypothesis is that despite the changes in the political roles of Russia and the United
States, the end of the Cold War and the demise of the Soviet Union continued to have a
significant impact on popular fiction about Russia in the 1990s. A comparative
perspective on depictions of Russia in the 1990s is particularly suitable in regard to
American and Russian popular cultures because during the Cold War, Soviet and
American identities were formed in view of the other. A comparative approach to the
study of Russian popular fiction is additionally justified by the role that the idea of the
West had played in Russian cultural history starting from the early eighteenth century.
Reflection on depictions of Russia in crime fiction by writers coming from the
two formerly antagonistic cultures poses the problem of representation in its relationship
to time, history, politics, popular culture, and genre. The methods used in this
dissertation derive from the field of cultural studies, history, and structuralist poetics. A
combination of structuralist readings and social theory allows me to uncover the ways in
which popular detective genres changed in response to the sentiments of nostalgia and
anxiety about repressed or lost identities, the sentiments that were typical of the 1990s.
My study of Anglo-American and Russian spy novels, mysteries, and action thrillers
contributes to our understanding of the ways American and Russian cultures invent and
reinvent themselves after a significant historical rupture, how they mobilize the past for
making sense of the present. Drawing on readings of literature and culture by such
scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen,
Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and
Russian representations of Russia are a result of cultural asymmetries and cultural
chronotopes in the United States and in Russia. I argue that Russian and American crime
fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and
historical sensibilities after the end of the Cold War and the fall of the Soviet Union.
Memories of the Cold War and coming to terms with the end of the Cold War played a
defining role in depicting Russia by Anglo-American detective authors of the 1990s; this
role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly,
reconsideration of Russian history became an essential characteristic in the development
of the new Russian detektiv.
20
Lupfer, Eric Christopher. "The emergence of American nature writing, 1860-1909 John Burroughs, Henry David Thoreau, and Houghton, Mifflin and Company /". Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116110.
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Erickson, Paul Joseph. "Welcome to Sodom: the cultural work of city-mysteries fiction in antebellum America". Thesis, 2005. http://hdl.handle.net/2152/1543.
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Andrews, Chad Michael. ""Minds will grow perplexed": The Labyrinthine Short Fiction of Steven Millhauser". Thesis, 2014. http://hdl.handle.net/1805/4023.
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Indiana University-Purdue University Indianapolis (IUPUI)Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.