fictions present

Contrasting Lynne Tillman's text with the "complicitous critique" of Donald Barthelme and other postmodern ironists, Sue-Im Lee argues that Tillman's narration displays the "mobility" of Adornian cultural criticism, in which contradiction is not a problem but a mode of interrogating the present.

Most recent "Great American Novels" are not great, but merely big. Lynne Tillman's American Genius, A Comedy, by contrast, is designed with scale, not size, in mind. So argues Kasia Boddy, who reads the novel as a critical engagement with book reviewers' favorite cliché for ambitious social fiction. Instead of resisting cultural obsolescence through sheer assertion, Tillman's book examines how the cracks and contradictions of American ideology have imprinted themselves on the individual body, bearer of the national disease: sensitivity.

"Like skin, the comma both connects and divides." Peter Nicholls traces Tillman's endlessly subordinating, endlessly equivocating sentences, showing how their quest for historical and social clarity passes through an interminable sequence of deferral and denial.

How does one write science fiction when the atom bomb (and later 9/11) makes the future seem impossible to predict? Justin Roby reviews Paul Youngquist's Cyberfiction: After the Future, which explores how postwar "cy-fi" critiqued life in the age of cybernetic control systems.

Can the rising cost of cosmopolitan real estate have brought the New York City novel to a low point? Tom LeClair measures recent fictions from and about New York City - including three "9/11 novels" - against the Systems Novel of the mid-1970s.