New York and the novel of manners

Wilson, Sarah; Patell, Cyrus R. K.; Waterman, Bryan

doi:10.1017/ccol9780521514712.009

Cited by 4 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In this case, Eichler simply defines the European as part of the American and goes on to discuss largely European manners in American guise. Other etiquette writers, such as Emily Post (1927), Lucy Margery Wilson (1922), and Helen Starrett (1920), literally drop their references to European or American standards and instead discuss the standards of “Best Society,” “good society,” the “truly cultivated,” and so on. Post perhaps defines Best Society most eloquently:…”

Section: Charting the Paradox Of American Mannersmentioning

confidence: 99%

Etiquette for the People: The Paradox of Manners in American Culture

Whittenberger‐Keith

1992

Pop. cult. rev.

View full text Add to dashboard Cite

Section: Charting the Paradox Of American Mannersmentioning

confidence: 99%

Etiquette for the People: The Paradox of Manners in American Culture

Whittenberger‐Keith

1992

Pop. cult. rev.

View full text Add to dashboard Cite

New York Fiction

Salmela¹,

Ameel²

2016

The Palgrave Handbook of Literature and the City

View full text Add to dashboard Cite

“It’s Six A.M. Do You Know Where You Are?” Urban Peripherality and the Narrative Framing of Literary Beginnings

Ameel¹

2015

Literature and the Peripheral City

View full text Add to dashboard Cite

You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge.. .. The night has already turned on that imperceptible pivot where two A.M. changes to six A.M. You know this moment has come and gone, but you are not yet willing to concede that you have crossed the line beyond which all is gratuitous damage and the palsy of unravelled nerve endings. (McInerney 1) "Do you know where you are?"-it is a question that one might as well ask, not only of the protagonist of this particular novel-Jay McInerney's New York novel Bright Lights, Big City (1984)-who is trying to come to terms with a strange environment, but also of any reader who is immersed in a literary text for the first time, and who will have to make sense of new surroundings fairly quickly if he or she is not to put the book aside. For the protagonist in Bright Lights, Big City, as for the reader, the question reveals not only a position in place, but a relationship to it. It is the narrative construction of this unfolding relationship that will be the subject of this article, in which I will attempt a two-pronged analysis of the beginning of McInerney's novel. My first concern is with how, in the opening pages of a city novel-at L. Ameel et al. (eds.), Literature and the Peripheral City

show abstract

New York and the novel of manners

Cited by 4 publications

References 0 publications

Etiquette for the People: The Paradox of Manners in American Culture

Etiquette for the People: The Paradox of Manners in American Culture

New York Fiction

“It’s Six A.M. Do You Know Where You Are?” Urban Peripherality and the Narrative Framing of Literary Beginnings

Contact Info

Product

Resources

About