Henry Miller and Narrative Form Constructing the Self, Rejecting Modernity (Contexts and Genre in English Literature)

In this bold study James M. Decker argues against the commonly held opinion that Henry Miller’s narratives suffer from ‘formlessness’. He instead positions Miller as a stylistic pioneer, whose place must be assured in the American literary canon. From Moloch to Nexus through such widely-read texts as Tropic of Cancer and Tropic of Capricorn , Decker examines what Miller calls his ‘spiral form’, a radically digressive style that shifts wildly between realism and the fantastic. Drawing on a variety of narratological and critical sources, as well as Miller’s own aesthetic theories, he highlights that this fragmented narrative style formed part of a sustained critique of modern spiritual decay. A deliberate move rather than a compositional weakness, then, Miller’s style finds a wide variety of antecedents in the work of such figures as Nietzsche, Rabelais, Joyce, Bergson and Whitman, and is viewed by Decker as an attempt to chart the journey of the self through the modern city. Henry Miller and Narrative Form affords readers new insights into some of the most challenging writings of the twentieth century and provides a template for understanding the significance of an extraordinary and inventive narrative form. In This Study, James M. Decker Responds To The Common Charge That Henry Miller's Narratives Suffer From Formlessness. He Instead Positions Miller As A Stylistic Pioneer Whose Place Must Be Assured In The American Literary Canon.. From Moloch To Nexus Via Such Widely-read Texts As Tropic Of Cancer And Tropic Of Capricorn, Decker Examines What Miller Calls His Spiral Form, A Radically Digressive Style That Shifts Wildly Between Realism And The Fantastic. Decker Draws On A Variety Of Narratological And Critical Sources, As Well As Miller's Own Aesthetic Theories, In Order To Argue That This Fragmented Narrative Style Formed Part Of A Sustained Critique Of Modern Spiritual Decay. A Deliberate Move Rather Than A Compositional Weakness, Then, Miller's Style Finds A Wide Variety Of Antecedents In The Work Of Such Figures As Nietzsche, Rabelais, Joyce, Bergson, And Whitman, And Is Seen By Decker As An Attempt To Chart The Journey Of The Self Through The Modern City.--book Jacket. Introduction : Spiral Form -- Brooklyn Dawn -- Parisian Tempest -- Californian Tranquility -- Conclusion : Henry Miller And The American Literary Tradition. James M. Decker. Includes Bibliographical References (p. [156]-176) And Index. "In this study, James M. Decker responds to the common charge that Henry Miller's narratives suffer from "formlessness". He instead positions Miller as a stylistic pioneer whose place must be assured in the American literary canon." "From Moloch to Nexus via such widely-read texts as Tropic of Cancer and Tropic of Capricorn, Decker examines what Miller calls his "spiral form", a radically digressive style that shifts wildly between realism and the fantastic. Decker draws on a variety of narratological and critical sources, as well as Miller's own aesthetic theories, in order to argue that this fragmented narrative style formed part of a sustained critique of modern spiritual decay. A deliberate move rather than a compositional weakness, then, Miller's style finds a wide variety of antecedents in the work of such figures as Nietzsche, Rabelais, Joyce, Bergson, and Whitman, and is seen by Decker as an attempt to chart the journey of the self through the modern city."--Résumé de l'éditeur Annotation In this bold study James M. Decker responds to the common charge that Henry Miller's narratives suffer from "formlessness." He instead positions Miller as a stylistic pioneer, whose place must be assured in the American literary canon. From Moloch to Nexus via such widely-read texts as Tropic of Cancer and Tropic of Capricorn, Decker examines what Miller calls his "spiral form," a radically digressive style that shifts wildly between realism and the fantastic. Decker draws on a variety of narratological and critical sources, as well as Miller's own aesthetic theories, in order to argue that this fragmented narrative style formed part of a sustained critique of modern spiritual decay. A deliberate move rather than a compositional weakness, then, Miller's style finds a wide variety of antecedents in the work of such figures as Nietzsche, Rabelais, Joyce, Bergson and Whitman, and is seen by Decker as an attempt to chart the journey of the self through the modern city Introduction : spiral form Brooklyn dawn : Moloch, or, This gentile world, Crazy cock Parisian tempest : Tropic of Cancer, Black spring, Tropic of Capricorn Californian tranquility : Sexus, Plexus, Nexus Conclusion : reassessing Miller.