By Nicholas Spencer
Through constructing the idea that of serious house, After Utopia offers a brand new family tree of twentieth-century American fiction. Nicholas Spencer argues that the unconventional American fiction of Jack London, Upton Sinclair, John Dos Passos, and Josephine Herbst reimagines the spatial issues of overdue nineteenth-century utopian American texts. rather than totally imagined utopian societies, such fiction depicts localized utopian areas that supply crucial aid for the types of background on which those authors concentration. within the midcentury novels of Mary McCarthy and Paul Goodman and the overdue twentieth-century fiction of Thomas Pynchon, William Gaddis, Joan Didion, and Don DeLillo, narratives of social house develop into decreasingly utopian and more and more serious. The hugely diversified "critical house" of such texts attains a place just like that liked through representations of ancient transformation in early twentieth-century radical American fiction. After Utopia reveals that primary points of postmodern American novels derive from the brazenly political narratives of London, Sinclair, Dos Passos, and Herbst.Spencer makes a speciality of exact moments within the upward thrust of serious area up to now century and relates them to the writing of Georg Luk?cs, Ernst Bloch, Antonio Gramsci, Hannah Arendt, Henri Lefebvre, Gilles Deleuze and F?lix Guattari, and Paul Virilio. The systematic and genealogical stumble upon among severe thought and American fiction unearths shut parallels among and unique analyses of those parts of twentieth-century cultural discourse.
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Extra resources for After utopia: the rise of critical space in twentieth-century American fiction
The goal of this process is the coutopianization of nature and human society. Bloch recognizes that “the former pioneering will in America” exempliﬁes the subjective factor that is necessary for the realization of utopia, but he observes that American capitalism “has no relation to nature at all, not even an aesthetically mediated one” (2: 683, 695). In The Valley of the Moon, Billy and Saxon’s scientiﬁc farming exhibits the will of the pioneer and the co-transformation of nature and human society.
As the determinism of class struggle becomes untenable, Everhard’s appeal to the surety of future revolution increasingly relies on a subjectivized call to biological, evolutionary, and individualistic factors. The narrative transition identiﬁed by Homberger also involves a shift from economic determinism to Lukács’s theory of revolutionary subjectivity. Several chapters in History and Class Consciousness are relevant to the revolutionary turn in The Iron Heel. In his essays on Rosa Luxemburg, Lukács expresses divergent views that reﬂect a tension in his overall outlook on revolutionary activity and the process of history.
In the transition from the ﬁrst to the second of these narratives, those other forms of naturalist determinism that class struggle had originally synthesized become more prominent. Speciﬁcally, the Marxist vision of future society is couched increasingly as a Nietzschean appeal to Spencerian processes. Everhard believes in the ultimate victory of the working class because of its “primitive strength” (154), which signals a reversion from the determinism of class struggle to that of biological power.