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Since 9/11, war literature has become a key element in American popular culture, spurring critical debate about depictions of combat--Who can write war literature? When can they do it? This book presents a new way to closely read war narratives, questioning the idea of "combat gnosticism"--the belief that the experience of war is impossible to communicate to those who have not seen it--that has dominated the discussion. Adapting Kenneth Burke's scapegoat mechanism to the criticism of literature and film, the author examines three novels from 2012--Ben Fountain's Billy Lynn's Long Halftime Walk, David Abrams's FOBBIT and Kevin Powers' The Yellow Birds--that represent the U.S. military responses to 9/11.
Since 9/11, war literature has become a key element in American popular culture, spurring critical debate about depictions of combat--Who can write war literatu
"The Scapegoat is a novel of disquiet and disturbance, with an atmosphere of perfect dread. Think Patricia Highsmith or Jim Thompson, that blend of menace and b
In the Choat family, you never have to look hard to find a culprit. Missing TV remote? Blame the goat! Lost coat? Keys in the moat? Broken boat? Blame the goat!
Since 9/11, war literature has become a key element in American popular culture, spurring critical debate about depictions of combat--Who can write war literatu
For a hundred and fifty points, you can spend an hour with a designated scapegoat. No one outside will ever know what you do there. You are encouraged to shout,
