Erich Hertz is Associate Professor of English at Siena College, USA.
Jeffrey Roessner is Full Professor of English and Dean of Arts and Humanities at Mercyhurst University, USA.
Erich Hertz and Jeffrey Roessner
Part 1: Negotiating Pop Styles
1. More Than Zero: Post-Punk Ideology (And Its Rejection) in Bret Easton Ellis
Matthew Luter, Faculty Member, Webb School, USA
2. "Consistently Original, Perennially Unheard Of": Punk, Margin and Mainstream in Jonathan Franzen's Freedom
Mark Bresnan, Assistant Professor of Academic Writing, Marymount Manhattan College, USA
3. A Novel Idea for a Soundtrack: Tim Winton's Dirt Music
Tanya Dalziell, Professor in English and Cultural Studies, University of Western Australia, Australia
4. "Where the Beat Sounds the Same": American Psycho and the Cultural Capital of Pop Music
Carl Miller, Assistant Professor of English, Palm Beach Atlantic University, USA
5. Playing (in) Seattle: Grunge as a Narrative Soundscape in Mark Lindquist's Never Mind Nirvana
Fiorenzo Iuliano, Lecturer in American Literature, University of Cagliari, Italy
Part 2: Gendering Rock and Jazz
6. Masculinity and Jazz in Jackie Kay's Trumpet, Jim Crace's All That Follows and Alan Plater's The Beiderbecke Trilogy
Aidan Byrne, Senior Lecturer in English and Cultural Studies, University of Wolverhampton, UK
Nicola Allen, University of Wolverhampton, UK
7. Queer Time, Queer Space, and Queer Edge in Lynn Breedlove's Godspeed
Joseph P. Fisher, George Washington's College of Professional Studies and North Virginia Community College, Alexandria, USA
8. The Popular Music Experiments of Rick Moody's Connecticut WASPs in The Ice Storm
Zachary Snider, Writer, USA
9. “Every song ends”: Musical Pauses, Gendered Nostalgia, and Loss in Jennifer Egan's A Visit from the Goon Squad
Danica van de Velde, University of Western Australia, Australia
Part 3: Sounding Race and Nation
10. “It's me or the . . . Eggplant”: Pleasure, Politics, and Prince in Hanif Kureishi'sThe Black Album
Eric Berlatsky, Associate Professor of English, Florida Atlantic University, USA
11. Rock Music as Cosmopolitan Touchstone in Salman Rushdie's The Ground Beneath Her Feet
Tim Gauthier, Director of the Interdisciplinary Degree Programs, University of Nevada, Las Vegas, USA
12. Music Consumption and the Remix of Self in Colson Whitehead's Sag Harbor
John Joseph Hess, Visiting Assistant Professor of American Literature, Florida Atlantic University, USA
13. Static Signals: Celia Cruz, Santería and Markets of Latinidad in Jennine Capó Crucet's How to Leave Hialeah
Elena Machado Sáez, Associate Professor of English, Florida Atlantic University, USA
Part 4: Making Pop Art
14. Incommensurate Nostalgias: Changin' Times in Watchmen
Benjamin J. Robertson, Instructor, University of Colorado, Boulder
15. “To see the world in a liner note”: The Limits of Song in Jonathan Lethem's The Fortress of Solitude
Christopher González, Assistant Professor of English, Texas A&M University, Commerce, USA
16. Unrest and Silence: The Faithless Music of the Contemporary British Novel
Will May, Senior Lecturer in English, University of Southampton, UK
17. The Rock Star's Responsibility: Privacy, Industry, and Artistry in Novels by DeLillo, Lethem, and Franzen
D. Quentin Miller, Professor of English, Suffolk University, UK
Music in Contemporary Fiction: Selected Bibliography
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