Noir: A Novel by Robert Coover

By Robert Coover

With impeccable ability, Robert Coover, one among America's pioneering postmodernists, has grew to become the vintage detective tale inside-out.Here Coover is on the best of his shape; and Noir is a real page-turner-wry, absurd, and desolate.

You are Philip M. Noir, deepest Investigator. A mysterious younger widow hires you in finding her husband's killer-if he was once killed. Then your patron is killed and her physique disappears-if she was once your buyer. Your look for clues takes you thru all degrees of the town, from elegant lounges to lowlife dives, from jazz bars to a wealthy intercourse kitten's bed room, from yachts to the morgue. "The Case of the Vanishing Black Widow" unfolds over 5 days aboveground and 3 or 4 in smugglers' tunnels, although flashback and anecdote, and expands time into whatever a lot higher. You don't continually get the shaggy dog story, notwithstanding most folks imagine what's taking place is beautiful humorous.

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Lessons of Romanticism: A Critical Companion. Eds. Thomas Pfau and Robert F. Gleckner. Durham: Duke UP, 1998. 41–54. Print. Schelling, Friedrich Wilhelm Joseph. Schelling. Comp. and ed. Michaela Boenke. München: Diederichs, 1995. Print. Schlegel, Friedrich. Kritische Friedrich-Schlegel-Ausgabe. Ed. Ernst Behler. 35 vols. Paderborn: Schöningh, 1958ff. [KFSA]. Print. Seyhan, Azade. Representation and Its Discontents: The Critical Legacy of German Romanticism. Berkeley: U of California P, 1992.

The Romantic Age. 1955. A History of Modern Criticism 1750–1950. Vol. 2. London: Cape, 1970. Print. 2 History and Poetry Fundamental Aspects and Effects of the Relations between Literature and Philosophy in English Romanticism Eric Dayre This chapter begins with some of the original founding expressions of Romanticism, key terms, and definitions of poetry, such as “emotion recol­ lected in tranquillity,” “willing suspension of disbelief,” and their origin in philosophical thought. In doing so, I refer to the philosophical tradition that is present and modified in Romantic thought.

It thus grasps the Idea not as something transcendent, but as the very process of its self-reflexive production. (27–28) Or with Marc Redfield’s of 1998: Building on the work of Walter Benjamin and Maurice Blanchot,7 Lacoue-Labarthe and Nancy analyze the philosophical structure of the idea of the literary text as a “self-conscious” text, an idea now commonplace but which emerged fully for the first time in the work of Romantic writers, as an aspect of the Romantic development or elaboration of modern aesthetics.

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