Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war. Not only does he propound the now-famous theory of the 'little narrative' following the death of the meta-narratives (faith, truth, progress, etc), but this book offers the first public discourse on 'technoscience', the "massive subordination of the cognitive facility to the greatest possible performance", a concept later expanded on in 'The Inhuman'. 'The Postmodern Condition' is however, a generally optimistic look at the post-metaphysical world, aiming to encourage the following of personal narratives rather than society-specific ones such as salvation or truth and argues convincingly, along similar lines to Kuhn, that scienticfic knowledge is subservient to narrative knowledge. 'What is Postmodernism', appended at the end of the book, is the definative definition of the condition of the world in 1979. Little has changed since.

A guilty pleasure!, 14 Apr 1999
Lyotard, who enriched our world with differends, ups the ante in this high-stakes absurdist erotic thriller. From the opening pages, including elements as disparate as virtual reality seduction, Heisenbergian physics, and a Russian roulette-type game of Scrabble, to the unexpected epilogue (bizarrely entitled "What Is Postmodernism?") unravelling a world-wide art scam, Lyotard keeps us guessing. He uses ambiguity to great effect, mixing discussions about science with gruesome descriptions of S&M hell, creating an erotic tension that doesn't let the reader go even after the book is over. The high pace made my head spin, and although the level of violence is relatively low for a French postmodernist book, the excitement never lets up. I cannot wait for the movie version. Always staying on the side of sensuality rather than vulgar lust, Lyotard has given us another guilty pleasure to snuggle up with when the winter nights get too lonely.

A Seminal Tome, 12 Feb 1999
Lyotard's characterization of Postmodernism as "skepticism toward grand narratives," has become the grand narrative of Postmodernism. However, much Postmodern thought has emerged since L's seminal tome: writers such as Jenks on Postmodern architecture, Deleuze and Guitarri, Derrida, Foucault, Cyberpunk and even Madonna-ologists. A good survey of this movement can be found in "Postmodernism for Beginners," by Jim Powell. Also useful: Jenck's "What is Postmodernism?"

Towards a postmodern sociology of knowledge, 06 Dec 1998
Lyotard's "The PostModern Condition", is an exciting atttempt at a postmodern Sociology of Knowledge. Using Weberian and Habermasian concepts of legitimation, Lyotard gices a critique of critique, showing how all forms of knowledge are, in the end, dependent on the Narrative, the story which humansociety tells of itself. From this Levi-Straussian concept, Lyotard builds an interesting framework for Modern, PostModern and Futuristic definitions of knowledge. So why did I give the book only 4 stars? Because Lyotard fails inhis attempts at encorparating Anglo-American philosophy into the book. His total misconception of Wittgenstein can be flabbergasting to anyone who's studied this tradition of philosophy. Still, the book is probably the easiest of its type to understand and it is quite enjoyable to read. But it's a good idea to supplement it with some Foucault and some Habermas.

A seminal work of the late twentieth century, 04 Nov 1997
I'm not sure a rating is particularly appropriate, but that's another story. The Postmodern Condition (or PMC for brevity) is sometimes outrageous, often thought-provoking, and probably worth not ignoring. Commissioned by one or another of Quebec's many bueracratic institutions as a report on education, the PMC instead is an attempt at a sweeping analysis of late-20th century knowledge.

This isn't college so I'm not going to pretend to remember all my fancy debate techniques, but a few things stick out. Lyotard asserts that the late 20th century is characterized by experts who generate self-perpetuated claims to legitimacy (he calls this process legitimation and alludes to Wittgenstein, which I have to admit was always too boring for me to read or understand due to my simple-minded nature). This small group of technocratic experts wields an unbalanced amount of influence in the shaping of knowledge, from governmental gnomes to university academics. I also remember becoming interested in the idea of "intervention". At one point can one intervene in a situation, that is, to seek to alter it? What are the rules of an ethical intervention, as opposed to what Lyotard does, which is to document the destruction? It is interesting to read Habermas as a radical contrast to Lyotard.

Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war. Not only does he propound the now-famous theory of the 'little narrative' following the death of the meta-narratives (faith, truth, progress, etc), but this book offers the first public discourse on 'technoscience', the "massive subordination of the cognitive facility to the greatest possible performance", a concept later expanded on in 'The Inhuman'. 'The Postmodern Condition' is however, a generally optimistic look at the post-metaphysical world, aiming to encourage the following of personal narratives rather than society-specific ones such as salvation or truth and argues convincingly, along similar lines to Kuhn, that scienticfic knowledge is subservient to narrative knowledge. 'What is Postmodernism', appended at the end of the book, is the definative definition of the condition of the world in 1979. Little has changed since.

A guilty pleasure!, 14 Apr 1999
Lyotard, who enriched our world with differends, ups the ante in this high-stakes absurdist erotic thriller. From the opening pages, including elements as disparate as virtual reality seduction, Heisenbergian physics, and a Russian roulette-type game of Scrabble, to the unexpected epilogue (bizarrely entitled "What Is Postmodernism?") unravelling a world-wide art scam, Lyotard keeps us guessing. He uses ambiguity to great effect, mixing discussions about science with gruesome descriptions of S&M hell, creating an erotic tension that doesn't let the reader go even after the book is over. The high pace made my head spin, and although the level of violence is relatively low for a French postmodernist book, the excitement never lets up. I cannot wait for the movie version. Always staying on the side of sensuality rather than vulgar lust, Lyotard has given us another guilty pleasure to snuggle up with when the winter nights get too lonely.

A Seminal Tome, 12 Feb 1999
Lyotard's characterization of Postmodernism as "skepticism toward grand narratives," has become the grand narrative of Postmodernism. However, much Postmodern thought has emerged since L's seminal tome: writers such as Jenks on Postmodern architecture, Deleuze and Guitarri, Derrida, Foucault, Cyberpunk and even Madonna-ologists. A good survey of this movement can be found in "Postmodernism for Beginners," by Jim Powell. Also useful: Jenck's "What is Postmodernism?"

Towards a postmodern sociology of knowledge, 06 Dec 1998
Lyotard's "The PostModern Condition", is an exciting atttempt at a postmodern Sociology of Knowledge. Using Weberian and Habermasian concepts of legitimation, Lyotard gices a critique of critique, showing how all forms of knowledge are, in the end, dependent on the Narrative, the story which humansociety tells of itself. From this Levi-Straussian concept, Lyotard builds an interesting framework for Modern, PostModern and Futuristic definitions of knowledge. So why did I give the book only 4 stars? Because Lyotard fails inhis attempts at encorparating Anglo-American philosophy into the book. His total misconception of Wittgenstein can be flabbergasting to anyone who's studied this tradition of philosophy. Still, the book is probably the easiest of its type to understand and it is quite enjoyable to read. But it's a good idea to supplement it with some Foucault and some Habermas.

A seminal work of the late twentieth century, 04 Nov 1997
I'm not sure a rating is particularly appropriate, but that's another story. The Postmodern Condition (or PMC for brevity) is sometimes outrageous, often thought-provoking, and probably worth not ignoring. Commissioned by one or another of Quebec's many bueracratic institutions as a report on education, the PMC instead is an attempt at a sweeping analysis of late-20th century knowledge.

This isn't college so I'm not going to pretend to remember all my fancy debate techniques, but a few things stick out. Lyotard asserts that the late 20th century is characterized by experts who generate self-perpetuated claims to legitimacy (he calls this process legitimation and alludes to Wittgenstein, which I have to admit was always too boring for me to read or understand due to my simple-minded nature). This small group of technocratic experts wields an unbalanced amount of influence in the shaping of knowledge, from governmental gnomes to university academics. I also remember becoming interested in the idea of "intervention". At one point can one intervene in a situation, that is, to seek to alter it? What are the rules of an ethical intervention, as opposed to what Lyotard does, which is to document the destruction? It is interesting to read Habermas as a radical contrast to Lyotard.

Highly Rec'd., 20 Jul 2008

An authoritative narrative account of American Literary history from - as you might expect - Puritanism to postmodernism.

To the student, I found this book particularly useful in regard to some of the authors that, as an English student, I was less familiar with. Particularly, this book covers the period of writing between 1780-1820 in very good (introductory) detail, while revealing some authors that a nineteenth-century American Literature course may not have time to include at all. However, this is an example of good supplementary reading, I should stress, it is not a theme-orientated exam-focused book by any means.

To the general interest reader, the book is clearly written and will prove an enjoyable read. Clearly, given the length of the book, it goes into relatively little depth, but the economy and clarity of the writing is such that it is surprising how much is packed into this small, almost introductory format.

A reader that is very familiar with the writing of the period may find this book of less interest, although the sheer ease of reading would prove enjoyable and certainly contains interesting insights into comparatively peripheral authors and works other than the acknowledged `big hitters' of American Literature - Emerson, Thoreau, Hawthorne, Whitman, etc.

Overall, a true introductory narrative account with all of the advantages and disadvantages associated with this style.

A Students' Lifesaver!, 08 Dec 2003
As a first year American Literature student I found this book very helpful. Having only studed English Literature in the past, reading this book before embarking on my course enabled me to grasp a few of the concepts of American Literature and contribute to my seminars in a way that would have been impossible without this lifesaver!! A must for any American Literature student and anybody who holds an interest in the subject!

Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war. Not only does he propound the now-famous theory of the 'little narrative' following the death of the meta-narratives (faith, truth, progress, etc), but this book offers the first public discourse on 'technoscience', the "massive subordination of the cognitive facility to the greatest possible performance", a concept later expanded on in 'The Inhuman'. 'The Postmodern Condition' is however, a generally optimistic look at the post-metaphysical world, aiming to encourage the following of personal narratives rather than society-specific ones such as salvation or truth and argues convincingly, along similar lines to Kuhn, that scienticfic knowledge is subservient to narrative knowledge. 'What is Postmodernism', appended at the end of the book, is the definative definition of the condition of the world in 1979. Little has changed since.

A guilty pleasure!, 14 Apr 1999
Lyotard, who enriched our world with differends, ups the ante in this high-stakes absurdist erotic thriller. From the opening pages, including elements as disparate as virtual reality seduction, Heisenbergian physics, and a Russian roulette-type game of Scrabble, to the unexpected epilogue (bizarrely entitled "What Is Postmodernism?") unravelling a world-wide art scam, Lyotard keeps us guessing. He uses ambiguity to great effect, mixing discussions about science with gruesome descriptions of S&M hell, creating an erotic tension that doesn't let the reader go even after the book is over. The high pace made my head spin, and although the level of violence is relatively low for a French postmodernist book, the excitement never lets up. I cannot wait for the movie version. Always staying on the side of sensuality rather than vulgar lust, Lyotard has given us another guilty pleasure to snuggle up with when the winter nights get too lonely.

A Seminal Tome, 12 Feb 1999
Lyotard's characterization of Postmodernism as "skepticism toward grand narratives," has become the grand narrative of Postmodernism. However, much Postmodern thought has emerged since L's seminal tome: writers such as Jenks on Postmodern architecture, Deleuze and Guitarri, Derrida, Foucault, Cyberpunk and even Madonna-ologists. A good survey of this movement can be found in "Postmodernism for Beginners," by Jim Powell. Also useful: Jenck's "What is Postmodernism?"

Towards a postmodern sociology of knowledge, 06 Dec 1998
Lyotard's "The PostModern Condition", is an exciting atttempt at a postmodern Sociology of Knowledge. Using Weberian and Habermasian concepts of legitimation, Lyotard gices a critique of critique, showing how all forms of knowledge are, in the end, dependent on the Narrative, the story which humansociety tells of itself. From this Levi-Straussian concept, Lyotard builds an interesting framework for Modern, PostModern and Futuristic definitions of knowledge. So why did I give the book only 4 stars? Because Lyotard fails inhis attempts at encorparating Anglo-American philosophy into the book. His total misconception of Wittgenstein can be flabbergasting to anyone who's studied this tradition of philosophy. Still, the book is probably the easiest of its type to understand and it is quite enjoyable to read. But it's a good idea to supplement it with some Foucault and some Habermas.

A seminal work of the late twentieth century, 04 Nov 1997
I'm not sure a rating is particularly appropriate, but that's another story. The Postmodern Condition (or PMC for brevity) is sometimes outrageous, often thought-provoking, and probably worth not ignoring. Commissioned by one or another of Quebec's many bueracratic institutions as a report on education, the PMC instead is an attempt at a sweeping analysis of late-20th century knowledge.

This isn't college so I'm not going to pretend to remember all my fancy debate techniques, but a few things stick out. Lyotard asserts that the late 20th century is characterized by experts who generate self-perpetuated claims to legitimacy (he calls this process legitimation and alludes to Wittgenstein, which I have to admit was always too boring for me to read or understand due to my simple-minded nature). This small group of technocratic experts wields an unbalanced amount of influence in the shaping of knowledge, from governmental gnomes to university academics. I also remember becoming interested in the idea of "intervention". At one point can one intervene in a situation, that is, to seek to alter it? What are the rules of an ethical intervention, as opposed to what Lyotard does, which is to document the destruction? It is interesting to read Habermas as a radical contrast to Lyotard.

Highly Rec'd., 20 Jul 2008

An authoritative narrative account of American Literary history from - as you might expect - Puritanism to postmodernism.

To the student, I found this book particularly useful in regard to some of the authors that, as an English student, I was less familiar with. Particularly, this book covers the period of writing between 1780-1820 in very good (introductory) detail, while revealing some authors that a nineteenth-century American Literature course may not have time to include at all. However, this is an example of good supplementary reading, I should stress, it is not a theme-orientated exam-focused book by any means.

To the general interest reader, the book is clearly written and will prove an enjoyable read. Clearly, given the length of the book, it goes into relatively little depth, but the economy and clarity of the writing is such that it is surprising how much is packed into this small, almost introductory format.

A reader that is very familiar with the writing of the period may find this book of less interest, although the sheer ease of reading would prove enjoyable and certainly contains interesting insights into comparatively peripheral authors and works other than the acknowledged `big hitters' of American Literature - Emerson, Thoreau, Hawthorne, Whitman, etc.

Overall, a true introductory narrative account with all of the advantages and disadvantages associated with this style.

A Students' Lifesaver!, 08 Dec 2003
As a first year American Literature student I found this book very helpful. Having only studed English Literature in the past, reading this book before embarking on my course enabled me to grasp a few of the concepts of American Literature and contribute to my seminars in a way that would have been impossible without this lifesaver!! A must for any American Literature student and anybody who holds an interest in the subject!

Postmodern embodiment..., 30 Dec 2005
Richard J. Lane's text on Jean Baudrillard is part of a recent series put out by the Routledge Press, designed under the general editorial direction of Robert Eaglestone (Royal Holloway, University of London), to explore the most recent and exciting ideas in intellectual development during the past century or so. To this end, figures such as Paul Ricouer, Sigmund Freud, Friedrich Nietzsche, Jacques Derrida, Michel Foucault and other influential thinkers in critical thought are highlighted in the series, planned to include more than 21 volumes in all.

Lane's text, following the pattern of the others, includes background information on Baudrillard and its significance, the key ideas and sources, and Baudrillard's continuing impact on other thinkers. As the series preface indicates, no critical thinker arises in a vacuum, so the context, influences and broader cultural environment are all important as a part of the study, something with which Baudrillard might agree,

Why is Baudrillard included in this series? This series is primary for critical thinking in a literary sense, but also develops the cultural criticism aspect of which literary theory cannot help but be a part. Baudrillard, as Lane suggests, is not only one of the more famous names in postmodernism, but practically embodies postmodernism in his own work. Key ideas and catch-phrases of Baudrillard include 'simulation', 'hyperreal', and 'implosion of meaning'. Baudrillard is very much a product of the French literary/philosophical school of the 1960s, opting eventually toward a radical reworking of both primitive cultures and post-Marxist thought that some critics see as inconsistent and confused, but definitely not to be ignored.

One of the useful features of the text is the side-bar boxes inserted at various points. For example, during the discussion on Baudrillard's development of writing strategies for postmodernism, there is brief discussion, set apart from the primary strand of the text, on Nihilism, developing further these ideas should the reader not be familiar with them, or at least not in the way with which Baudrillard would be working with ideas derived from them. Each section on a key idea spans fifteen to twenty pages, with a one-page summary concluding each, which gives a recap of the ideas (and provides a handy reference).

One of the more useful pieces in this text is also the 'two worlds' listing, which develops some of contrasting ideas in the shift from modernity to postmodernity. These include hierarchy versus anarchy, selection versus participation, signified versus signifier, and more interesting, sometimes surprising pieces. In discussing the development of culture in all its various aspects in an American context, Baudrillard shows the difference in 'city' culture as one goes from East to West - one of the paradoxes of the postmodern situation in America is that there are two primary city paradigms, New York City and Los Angeles, each of which is a perfect example of the city structure, one built up and close-knit architecturally, and the other spread out and low-rising. The cultures of the two cities are quite different, yet both are quintessentially American and both undoubtedly urban. That two different cities occupy the centre at the same time is the paradox of postmodernity.

Baudrillard has a fascination with America, which can be seen in his development and application of ideas such as the hyperreal and of simulation. The levels of simulation and hyperreality in America extend from the 'real' town square to the simulation of the town square in the shopping mall, which becomes a hyper-reality with controlled climates and selected people both as workers and shoppers; another classic example is that of Disneyland, with its carefully constructed and controlled environments, which is 'real' because it stands in contrast to the 'really real'. Media portrayals of events is also highlighted as examples of this kind of shift in thinking - the media distorts both the rhythm and the nature of the event, through selectivity and varying emphasis on actors and actions involved, and the kinds of manipulation to which media is always subject. News of real events becomes entertainment; entertainment programming becomes more fully developed and thus more real. We have more information, without more understanding, and the experience becomes more complex and involved, yet empty at the same time.

Part of Baudrillard's fascination with America is an interest in the development of technology, and the growth of the production/consumer kind of culture, where everything becomes part of a system of commodities, including language and knowledge. Indeed, Western identity is constructed of these kinds of objects, which the system also requires to be destroyed (think of the built-in redundancy or ever-increasing development of 'new and improved' products) - a dialectical performance writ large over the culture.

The concluding chapter, After Baudrillard, highlights some key areas of development in relation to other thinkers, as well as points of possible exploration for the reader. Baudrillard's ideas impact the development of aesthetic theory (from art to mere performance and entertainment). History and geography are also at issue, for the landscape of the past and of the present shifts with emphasis in different categories. Perhaps the most important development of significance to a postmodern fragmentation of the sort Baudrillard writes about is the internet, and the growth of theory from his influence is only beginning here.

As do the other volumes in this series, Clark concludes with an annotated bibliography of works by Baudrillard in English (or English translation), works on Baudrillard, and a good index.

While this series focuses intentionally upon literary theory, in fact this is only the starting point. For Baudrillard (as for others in this series) the expanse is far too broad to be drawn into such narrow guidelines, and the important and impact of the ideas extends out into the whole range of intellectual development. As intellectual endeavours of every sort depend upon language, understanding, and cultural interpretation, the thorough comprehension of how and why we know what we know is crucial.

Not as clear as it should have been, 01 Sep 2004
The importance of Baudrillard is without question and any book about his work is going to be worth reading. But I have read other books in this series and come away with much clearer pictures of the ideas involved. Any overview of this type needs to be very clearly delineated and outlined, almost to the point of repetition if necessary. Baudrillards ideas are complicated and this book doesn't to my mind do enough to elucidate them.

Having said that, because of the richness of the subject matter, it is worth reading if you can't find anything better.

Brilliant - eerily relevant, 12 Nov 2001
I have just finished reading this and felt obliged to write a review. This is a superbly written book on a difficult but increasingly influential thinker. What is most poignant is the prophetic relevance of his writings after the events of September 11th. Postmodernism is no longer an abstract aesthetic and critical preccupation - the grand narratives are gone and Baudrillard is brilliant travel writer in our god-less world.

Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war. Not only does he propound the now-famous theory of the 'little narrative' following the death of the meta-narratives (faith, truth, progress, etc), but this book offers the first public discourse on 'technoscience', the "massive subordination of the cognitive facility to the greatest possible performance", a concept later expanded on in 'The Inhuman'. 'The Postmodern Condition' is however, a generally optimistic look at the post-metaphysical world, aiming to encourage the following of personal narratives rather than society-specific ones such as salvation or truth and argues convincingly, along similar lines to Kuhn, that scienticfic knowledge is subservient to narrative knowledge. 'What is Postmodernism', appended at the end of the book, is the definative definition of the condition of the world in 1979. Little has changed since.

A guilty pleasure!, 14 Apr 1999
Lyotard, who enriched our world with differends, ups the ante in this high-stakes absurdist erotic thriller. From the opening pages, including elements as disparate as virtual reality seduction, Heisenbergian physics, and a Russian roulette-type game of Scrabble, to the unexpected epilogue (bizarrely entitled "What Is Postmodernism?") unravelling a world-wide art scam, Lyotard keeps us guessing. He uses ambiguity to great effect, mixing discussions about science with gruesome descriptions of S&M hell, creating an erotic tension that doesn't let the reader go even after the book is over. The high pace made my head spin, and although the level of violence is relatively low for a French postmodernist book, the excitement never lets up. I cannot wait for the movie version. Always staying on the side of sensuality rather than vulgar lust, Lyotard has given us another guilty pleasure to snuggle up with when the winter nights get too lonely.

A Seminal Tome, 12 Feb 1999
Lyotard's characterization of Postmodernism as "skepticism toward grand narratives," has become the grand narrative of Postmodernism. However, much Postmodern thought has emerged since L's seminal tome: writers such as Jenks on Postmodern architecture, Deleuze and Guitarri, Derrida, Foucault, Cyberpunk and even Madonna-ologists. A good survey of this movement can be found in "Postmodernism for Beginners," by Jim Powell. Also useful: Jenck's "What is Postmodernism?"

Towards a postmodern sociology of knowledge, 06 Dec 1998
Lyotard's "The PostModern Condition", is an exciting atttempt at a postmodern Sociology of Knowledge. Using Weberian and Habermasian concepts of legitimation, Lyotard gices a critique of critique, showing how all forms of knowledge are, in the end, dependent on the Narrative, the story which humansociety tells of itself. From this Levi-Straussian concept, Lyotard builds an interesting framework for Modern, PostModern and Futuristic definitions of knowledge. So why did I give the book only 4 stars? Because Lyotard fails inhis attempts at encorparating Anglo-American philosophy into the book. His total misconception of Wittgenstein can be flabbergasting to anyone who's studied this tradition of philosophy. Still, the book is probably the easiest of its type to understand and it is quite enjoyable to read. But it's a good idea to supplement it with some Foucault and some Habermas.

A seminal work of the late twentieth century, 04 Nov 1997
I'm not sure a rating is particularly appropriate, but that's another story. The Postmodern Condition (or PMC for brevity) is sometimes outrageous, often thought-provoking, and probably worth not ignoring. Commissioned by one or another of Quebec's many bueracratic institutions as a report on education, the PMC instead is an attempt at a sweeping analysis of late-20th century knowledge.

This isn't college so I'm not going to pretend to remember all my fancy debate techniques, but a few things stick out. Lyotard asserts that the late 20th century is characterized by experts who generate self-perpetuated claims to legitimacy (he calls this process legitimation and alludes to Wittgenstein, which I have to admit was always too boring for me to read or understand due to my simple-minded nature). This small group of technocratic experts wields an unbalanced amount of influence in the shaping of knowledge, from governmental gnomes to university academics. I also remember becoming interested in the idea of "intervention". At one point can one intervene in a situation, that is, to seek to alter it? What are the rules of an ethical intervention, as opposed to what Lyotard does, which is to document the destruction? It is interesting to read Habermas as a radical contrast to Lyotard.

Highly Rec'd., 20 Jul 2008

An authoritative narrative account of American Literary history from - as you might expect - Puritanism to postmodernism.

To the student, I found this book particularly useful in regard to some of the authors that, as an English student, I was less familiar with. Particularly, this book covers the period of writing between 1780-1820 in very good (introductory) detail, while revealing some authors that a nineteenth-century American Literature course may not have time to include at all. However, this is an example of good supplementary reading, I should stress, it is not a theme-orientated exam-focused book by any means.

To the general interest reader, the book is clearly written and will prove an enjoyable read. Clearly, given the length of the book, it goes into relatively little depth, but the economy and clarity of the writing is such that it is surprising how much is packed into this small, almost introductory format.

A reader that is very familiar with the writing of the period may find this book of less interest, although the sheer ease of reading would prove enjoyable and certainly contains interesting insights into comparatively peripheral authors and works other than the acknowledged `big hitters' of American Literature - Emerson, Thoreau, Hawthorne, Whitman, etc.

Overall, a true introductory narrative account with all of the advantages and disadvantages associated with this style.

A Students' Lifesaver!, 08 Dec 2003
As a first year American Literature student I found this book very helpful. Having only studed English Literature in the past, reading this book before embarking on my course enabled me to grasp a few of the concepts of American Literature and contribute to my seminars in a way that would have been impossible without this lifesaver!! A must for any American Literature student and anybody who holds an interest in the subject!

Postmodern embodiment..., 30 Dec 2005
Richard J. Lane's text on Jean Baudrillard is part of a recent series put out by the Routledge Press, designed under the general editorial direction of Robert Eaglestone (Royal Holloway, University of London), to explore the most recent and exciting ideas in intellectual development during the past century or so. To this end, figures such as Paul Ricouer, Sigmund Freud, Friedrich Nietzsche, Jacques Derrida, Michel Foucault and other influential thinkers in critical thought are highlighted in the series, planned to include more than 21 volumes in all.

Lane's text, following the pattern of the others, includes background information on Baudrillard and its significance, the key ideas and sources, and Baudrillard's continuing impact on other thinkers. As the series preface indicates, no critical thinker arises in a vacuum, so the context, influences and broader cultural environment are all important as a part of the study, something with which Baudrillard might agree,

Why is Baudrillard included in this series? This series is primary for critical thinking in a literary sense, but also develops the cultural criticism aspect of which literary theory cannot help but be a part. Baudrillard, as Lane suggests, is not only one of the more famous names in postmodernism, but practically embodies postmodernism in his own work. Key ideas and catch-phrases of Baudrillard include 'simulation', 'hyperreal', and 'implosion of meaning'. Baudrillard is very much a product of the French literary/philosophical school of the 1960s, opting eventually toward a radical reworking of both primitive cultures and post-Marxist thought that some critics see as inconsistent and confused, but definitely not to be ignored.

One of the useful features of the text is the side-bar boxes inserted at various points. For example, during the discussion on Baudrillard's development of writing strategies for postmodernism, there is brief discussion, set apart from the primary strand of the text, on Nihilism, developing further these ideas should the reader not be familiar with them, or at least not in the way with which Baudrillard would be working with ideas derived from them. Each section on a key idea spans fifteen to twenty pages, with a one-page summary concluding each, which gives a recap of the ideas (and provides a handy reference).

One of the more useful pieces in this text is also the 'two worlds' listing, which develops some of contrasting ideas in the shift from modernity to postmodernity. These include hierarchy versus anarchy, selection versus participation, signified versus signifier, and more interesting, sometimes surprising pieces. In discussing the development of culture in all its various aspects in an American context, Baudrillard shows the difference in 'city' culture as one goes from East to West - one of the paradoxes of the postmodern situation in America is that there are two primary city paradigms, New York City and Los Angeles, each of which is a perfect example of the city structure, one built up and close-knit architecturally, and the other spread out and low-rising. The cultures of the two cities are quite different, yet both are quintessentially American and both undoubtedly urban. That two different cities occupy the centre at the same time is the paradox of postmodernity.

Baudrillard has a fascination with America, which can be seen in his development and application of ideas such as the hyperreal and of simulation. The levels of simulation and hyperreality in America extend from the 'real' town square to the simulation of the town square in the shopping mall, which becomes a hyper-reality with controlled climates and selected people both as workers and shoppers; another classic example is that of Disneyland, with its carefully constructed and controlled environments, which is 'real' because it stands in contrast to the 'really real'. Media portrayals of events is also highlighted as examples of this kind of shift in thinking - the media distorts both the rhythm and the nature of the event, through selectivity and varying emphasis on actors and actions involved, and the kinds of manipulation to which media is always subject. News of real events becomes entertainment; entertainment programming becomes more fully developed and thus more real. We have more information, without more understanding, and the experience becomes more complex and involved, yet empty at the same time.

Part of Baudrillard's fascination with America is an interest in the development of technology, and the growth of the production/consumer kind of culture, where everything becomes part of a system of commodities, including language and knowledge. Indeed, Western identity is constructed of these kinds of objects, which the system also requires to be destroyed (think of the built-in redundancy or ever-increasing development of 'new and improved' products) - a dialectical performance writ large over the culture.

The concluding chapter, After Baudrillard, highlights some key areas of development in relation to other thinkers, as well as points of possible exploration for the reader. Baudrillard's ideas impact the development of aesthetic theory (from art to mere performance and entertainment). History and geography are also at issue, for the landscape of the past and of the present shifts with emphasis in different categories. Perhaps the most important development of significance to a postmodern fragmentation of the sort Baudrillard writes about is the internet, and the growth of theory from his influence is only beginning here.

As do the other volumes in this series, Clark concludes with an annotated bibliography of works by Baudrillard in English (or English translation), works on Baudrillard, and a good index.

While this series focuses intentionally upon literary theory, in fact this is only the starting point. For Baudrillard (as for others in this series) the expanse is far too broad to be drawn into such narrow guidelines, and the important and impact of the ideas extends out into the whole range of intellectual development. As intellectual endeavours of every sort depend upon language, understanding, and cultural interpretation, the thorough comprehension of how and why we know what we know is crucial.

Not as clear as it should have been, 01 Sep 2004
The importance of Baudrillard is without question and any book about his work is going to be worth reading. But I have read other books in this series and come away with much clearer pictures of the ideas involved. Any overview of this type needs to be very clearly delineated and outlined, almost to the point of repetition if necessary. Baudrillards ideas are complicated and this book doesn't to my mind do enough to elucidate them.

Having said that, because of the richness of the subject matter, it is worth reading if you can't find anything better.

Brilliant - eerily relevant, 12 Nov 2001
I have just finished reading this and felt obliged to write a review. This is a superbly written book on a difficult but increasingly influential thinker. What is most poignant is the prophetic relevance of his writings after the events of September 11th. Postmodernism is no longer an abstract aesthetic and critical preccupation - the grand narratives are gone and Baudrillard is brilliant travel writer in our god-less world.

The Pandora's Box of Culture unpacked, 03 Jan 2002
Eagleton's 'The Idea of Culture'can't be read over the cornflakes, but is worth perseverance and will make those who indulge in easy talk about 'culture' think again. Eagleton makes us realise that when we speak about Capital-C Culture we are talking about something different to commercially-organised 'mass culture' which is widely believed to be a threat to 'civilized values'. There is a difference between the culture of the National Gallery and that of football supporters. There are some limpid sayings: 'We are not so much splendid syntheses of nature and culture, materiality and meaning, as amphibious animals caught on the hop between angel and beast.' (p.98). We inhabit many different cultural worlds, and simplistic condemnation of contemporary life is no substitute for patient discernment of those commonplaces where, wehether we are believers or not, we encounter angels unawares. As Eagleton says, 'There was always something mildly risible about the idea that humanity might be saved by studying Shakespeare. To become a truly popular force, such elitist culture really needs to take the religious road. What the West ideally requires is some version of culture which would win the life-and-death allegiance of the people, and the traditional name for this allegiance is, precisely, religion.... Religion is not effective because it is otherworldly, but because it incarnates this otherworldliness in a practical form of life.' (p.69). This raises the interesting question of the relation of religious thought to 'culture'. Although for many this path is a necessary one, it also poses dangers; in the background are falling skyscrapers resulting from its fanatical limits.

Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war. Not only does he propound the now-famous theory of the 'little narrative' following the death of the meta-narratives (faith, truth, progress, etc), but this book offers the first public discourse on 'technoscience', the "massive subordination of the cognitive facility to the greatest possible performance", a concept later expanded on in 'The Inhuman'. 'The Postmodern Condition' is however, a generally optimistic look at the post-metaphysical world, aiming to encourage the following of personal narratives rather than society-specific ones such as salvation or truth and argues convincingly, along similar lines to Kuhn, that scienticfic knowledge is subservient to narrative knowledge. 'What is Postmodernism', appended at the end of the book, is the definative definition of the condition of the world in 1979. Little has changed since.

A guilty pleasure!, 14 Apr 1999
Lyotard, who enriched our world with differends, ups the ante in this high-stakes absurdist erotic thriller. From the opening pages, including elements as disparate as virtual reality seduction, Heisenbergian physics, and a Russian roulette-type game of Scrabble, to the unexpected epilogue (bizarrely entitled "What Is Postmodernism?") unravelling a world-wide art scam, Lyotard keeps us guessing. He uses ambiguity to great effect, mixing discussions about science with gruesome descriptions of S&M hell, creating an erotic tension that doesn't let the reader go even after the book is over. The high pace made my head spin, and although the level of violence is relatively low for a French postmodernist book, the excitement never lets up. I cannot wait for the movie version. Always staying on the side of sensuality rather than vulgar lust, Lyotard has given us another guilty pleasure to snuggle up with when the winter nights get too lonely.

A Seminal Tome, 12 Feb 1999
Lyotard's characterization of Postmodernism as "skepticism toward grand narratives," has become the grand narrative of Postmodernism. However, much Postmodern thought has emerged since L's seminal tome: writers such as Jenks on Postmodern architecture, Deleuze and Guitarri, Derrida, Foucault, Cyberpunk and even Madonna-ologists. A good survey of this movement can be found in "Postmodernism for Beginners," by Jim Powell. Also useful: Jenck's "What is Postmodernism?"

Towards a postmodern sociology of knowledge, 06 Dec 1998
Lyotard's "The PostModern Condition", is an exciting atttempt at a postmodern Sociology of Knowledge. Using Weberian and Habermasian concepts of legitimation, Lyotard gices a critique of critique, showing how all forms of knowledge are, in the end, dependent on the Narrative, the story which humansociety tells of itself. From this Levi-Straussian concept, Lyotard builds an interesting framework for Modern, PostModern and Futuristic definitions of knowledge. So why did I give the book only 4 stars? Because Lyotard fails inhis attempts at encorparating Anglo-American philosophy into the book. His total misconception of Wittgenstein can be flabbergasting to anyone who's studied this tradition of philosophy. Still, the book is probably the easiest of its type to understand and it is quite enjoyable to read. But it's a good idea to supplement it with some Foucault and some Habermas.

A seminal work of the late twentieth century, 04 Nov 1997
I'm not sure a rating is particularly appropriate, but that's another story. The Postmodern Condition (or PMC for brevity) is sometimes outrageous, often thought-provoking, and probably worth not ignoring. Commissioned by one or another of Quebec's many bueracratic institutions as a report on education, the PMC instead is an attempt at a sweeping analysis of late-20th century knowledge.

This isn't college so I'm not going to pretend to remember all my fancy debate techniques, but a few things stick out. Lyotard asserts that the late 20th century is characterized by experts who generate self-perpetuated claims to legitimacy (he calls this process legitimation and alludes to Wittgenstein, which I have to admit was always too boring for me to read or understand due to my simple-minded nature). This small group of technocratic experts wields an unbalanced amount of influence in the shaping of knowledge, from governmental gnomes to university academics. I also remember becoming interested in the idea of "intervention". At one point can one intervene in a situation, that is, to seek to alter it? What are the rules of an ethical intervention, as opposed to what Lyotard does, which is to document the destruction? It is interesting to read Habermas as a radical contrast to Lyotard.

Highly Rec'd., 20 Jul 2008

An authoritative narrative account of American Literary history from - as you might expect - Puritanism to postmodernism.

To the student, I found this book particularly useful in regard to some of the authors that, as an English student, I was less familiar with. Particularly, this book covers the period of writing between 1780-1820 in very good (introductory) detail, while revealing some authors that a nineteenth-century American Literature course may not have time to include at all. However, this is an example of good supplementary reading, I should stress, it is not a theme-orientated exam-focused book by any means.

To the general interest reader, the book is clearly written and will prove an enjoyable read. Clearly, given the length of the book, it goes into relatively little depth, but the economy and clarity of the writing is such that it is surprising how much is packed into this small, almost introductory format.

A reader that is very familiar with the writing of the period may find this book of less interest, although the sheer ease of reading would prove enjoyable and certainly contains interesting insights into comparatively peripheral authors and works other than the acknowledged `big hitters' of American Literature - Emerson, Thoreau, Hawthorne, Whitman, etc.

Overall, a true introductory narrative account with all of the advantages and disadvantages associated with this style.

A Students' Lifesaver!, 08 Dec 2003
As a first year American Literature student I found this book very helpful. Having only studed English Literature in the past, reading this book before embarking on my course enabled me to grasp a few of the concepts of American Literature and contribute to my seminars in a way that would have been impossible without this lifesaver!! A must for any American Literature student and anybody who holds an interest in the subject!

Postmodern embodiment..., 30 Dec 2005
Richard J. Lane's text on Jean Baudrillard is part of a recent series put out by the Routledge Press, designed under the general editorial direction of Robert Eaglestone (Royal Holloway, University of London), to explore the most recent and exciting ideas in intellectual development during the past century or so. To this end, figures such as Paul Ricouer, Sigmund Freud, Friedrich Nietzsche, Jacques Derrida, Michel Foucault and other influential thinkers in critical thought are highlighted in the series, planned to include more than 21 volumes in all.

Lane's text, following the pattern of the others, includes background information on Baudrillard and its significance, the key ideas and sources, and Baudrillard's continuing impact on other thinkers. As the series preface indicates, no critical thinker arises in a vacuum, so the context, influences and broader cultural environment are all important as a part of the study, something with which Baudrillard might agree,

Why is Baudrillard included in this series? This series is primary for critical thinking in a literary sense, but also develops the cultural criticism aspect of which literary theory cannot help but be a part. Baudrillard, as Lane suggests, is not only one of the more famous names in postmodernism, but practically embodies postmodernism in his own work. Key ideas and catch-phrases of Baudrillard include 'simulation', 'hyperreal', and 'implosion of meaning'. Baudrillard is very much a product of the French literary/philosophical school of the 1960s, opting eventually toward a radical reworking of both primitive cultures and post-Marxist thought that some critics see as inconsistent and confused, but definitely not to be ignored.

One of the useful features of the text is the side-bar boxes inserted at various points. For example, during the discussion on Baudrillard's development of writing strategies for postmodernism, there is brief discussion, set apart from the primary strand of the text, on Nihilism, developing further these ideas should the reader not be familiar with them, or at least not in the way with which Baudrillard would be working with ideas derived from them. Each section on a key idea spans fifteen to twenty pages, with a one-page summary concluding each, which gives a recap of the ideas (and provides a handy reference).

One of the more useful pieces in this text is also the 'two worlds' listing, which develops some of contrasting ideas in the shift from modernity to postmodernity. These include hierarchy versus anarchy, selection versus participation, signified versus signifier, and more interesting, sometimes surprising pieces. In discussing the development of culture in all its various aspects in an American context, Baudrillard shows the difference in 'city' culture as one goes from East to West - one of the paradoxes of the postmodern situation in America is that there are two primary city paradigms, New York City and Los Angeles, each of which is a perfect example of the city structure, one built up and close-knit architecturally, and the other spread out and low-rising. The cultures of the two cities are quite different, yet both are quintessentially American and both undoubtedly urban. That two different cities occupy the centre at the same time is the paradox of postmodernity.

Baudrillard has a fascination with America, which can be seen in his development and application of ideas such as the hyperreal and of simulation. The levels of simulation and hyperreality in America extend from the 'real' town square to the simulation of the town square in the shopping mall, which becomes a hyper-reality with controlled climates and selected people both as workers and shoppers; another classic example is that of Disneyland, with its carefully constructed and controlled environments, which is 'real' because it stands in contrast to the 'really real'. Media portrayals of events is also highlighted as examples of this kind of shift in thinking - the media distorts both the rhythm and the nature of the event, through selectivity and varying emphasis on actors and actions involved, and the kinds of manipulation to which media is always subject. News of real events becomes entertainment; entertainment programming becomes more fully developed and thus more real. We have more information, without more understanding, and the experience becomes more complex and involved, yet empty at the same time.

Part of Baudrillard's fascination with America is an interest in the development of technology, and the growth of the production/consumer kind of culture, where everything becomes part of a system of commodities, including language and knowledge. Indeed, Western identity is constructed of these kinds of objects, which the system also requires to be destroyed (think of the built-in redundancy or ever-increasing development of 'new and improved' products) - a dialectical performance writ large over the culture.

The concluding chapter, After Baudrillard, highlights some key areas of development in relation to other thinkers, as well as points of possible exploration for the reader. Baudrillard's ideas impact the development of aesthetic theory (from art to mere performance and entertainment). History and geography are also at issue, for the landscape of the past and of the present shifts with emphasis in different categories. Perhaps the most important development of significance to a postmodern fragmentation of the sort Baudrillard writes about is the internet, and the growth of theory from his influence is only beginning here.

As do the other volumes in this series, Clark concludes with an annotated bibliography of works by Baudrillard in English (or English translation), works on Baudrillard, and a good index.

While this series focuses intentionally upon literary theory, in fact this is only the starting point. For Baudrillard (as for others in this series) the expanse is far too broad to be drawn into such narrow guidelines, and the important and impact of the ideas extends out into the whole range of intellectual development. As intellectual endeavours of every sort depend upon language, understanding, and cultural interpretation, the thorough comprehension of how and why we know what we know is crucial.

Not as clear as it should have been, 01 Sep 2004
The importance of Baudrillard is without question and any book about his work is going to be worth reading. But I have read other books in this series and come away with much clearer pictures of the ideas involved. Any overview of this type needs to be very clearly delineated and outlined, almost to the point of repetition if necessary. Baudrillards ideas are complicated and this book doesn't to my mind do enough to elucidate them.

Having said that, because of the richness of the subject matter, it is worth reading if you can't find anything better.

Brilliant - eerily relevant, 12 Nov 2001
I have just finished reading this and felt obliged to write a review. This is a superbly written book on a difficult but increasingly influential thinker. What is most poignant is the prophetic relevance of his writings after the events of September 11th. Postmodernism is no longer an abstract aesthetic and critical preccupation - the grand narratives are gone and Baudrillard is brilliant travel writer in our god-less world.

The Pandora's Box of Culture unpacked, 03 Jan 2002
Eagleton's 'The Idea of Culture'can't be read over the cornflakes, but is worth perseverance and will make those who indulge in easy talk about 'culture' think again. Eagleton makes us realise that when we speak about Capital-C Culture we are talking about something different to commercially-organised 'mass culture' which is widely believed to be a threat to 'civilized values'. There is a difference between the culture of the National Gallery and that of football supporters. There are some limpid sayings: 'We are not so much splendid syntheses of nature and culture, materiality and meaning, as amphibious animals caught on the hop between angel and beast.' (p.98). We inhabit many different cultural worlds, and simplistic condemnation of contemporary life is no substitute for patient discernment of those commonplaces where, wehether we are believers or not, we encounter angels unawares. As Eagleton says, 'There was always something mildly risible about the idea that humanity might be saved by studying Shakespeare. To become a truly popular force, such elitist culture really needs to take the religious road. What the West ideally requires is some version of culture which would win the life-and-death allegiance of the people, and the traditional name for this allegiance is, precisely, religion.... Religion is not effective because it is otherworldly, but because it incarnates this otherworldliness in a practical form of life.' (p.69). This raises the interesting question of the relation of religious thought to 'culture'. Although for many this path is a necessary one, it also poses dangers; in the background are falling skyscrapers resulting from its fanatical limits.

On track of Postmodernism, 15 Sep 2002
Looking into postmodernism is also looking into the fall of what Sayers calls the "Aristotelian perfection of a beginning, a middle and an end". In this respect especially detective/ mystery fiction is interesting, as it has its origin as a very defined and linear genre whose plot structure always leads the reader from a to b. Postmodernism most definitely does not lead the reader from a to b at least not necesarilly in that order. That is what this book of essays attempts and succeeds at describing by looking at the structure and content of the so-called "metaphysical detective story" from Poe to Pynchon, Auster and other postmodern writers. Excellently Merivale and the rest of the writers on this book trace similarities of form and content from, as it promises, "Poe to Postmodernism", while discussing the differences between early detective fiction and modern-day "metaphysical" or "anti-detective" stories. Especially Stephen Bernstein's "The Question Is the Story Iself" and Jeffrey T. Nealson's "Work of the Detective, Work of the Writer" were great in my eyes by looking at elements of Auster's tantalizing "New York Trilogy" and placing them in the context of mystery fiction and, as a matter of course, the development of the genre. The book is hardly easy reading, but it is neither too difficult or, what some might call, to pretentious. Instead it offers interesting perspectives on postmodernism and detective fiction in general for the interested reader. A definite must-own book!!!

Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war. Not only does he propound the now-famous theory of the 'little narrative' following the death of the meta-narratives (faith, truth, progress, etc), but this book offers the first public discourse on 'technoscience', the "massive subordination of the cognitive facility to the greatest possible performance", a concept later expanded on in 'The Inhuman'. 'The Postmodern Condition' is however, a generally optimistic look at the post-metaphysical world, aiming to encourage the following of personal narratives rather than society-specific ones such as salvation or truth and argues convincingly, along similar lines to Kuhn, that scienticfic knowledge is subservient to narrative knowledge. 'What is Postmodernism', appended at the end of the book, is the definative definition of the condition of the world in 1979. Little has changed since.

A guilty pleasure!, 14 Apr 1999
Lyotard, who enriched our world with differends, ups the ante in this high-stakes absurdist erotic thriller. From the opening pages, including elements as disparate as virtual reality seduction, Heisenbergian physics, and a Russian roulette-type game of Scrabble, to the unexpected epilogue (bizarrely entitled "What Is Postmodernism?") unravelling a world-wide art scam, Lyotard keeps us guessing. He uses ambiguity to great effect, mixing discussions about science with gruesome descriptions of S&M hell, creating an erotic tension that doesn't let the reader go even after the book is over. The high pace made my head spin, and although the level of violence is relatively low for a French postmodernist book, the excitement never lets up. I cannot wait for the movie version. Always staying on the side of sensuality rather than vulgar lust, Lyotard has given us another guilty pleasure to snuggle up with when the winter nights get too lonely.

A Seminal Tome, 12 Feb 1999
Lyotard's characterization of Postmodernism as "skepticism toward grand narratives," has become the grand narrative of Postmodernism. However, much Postmodern thought has emerged since L's seminal tome: writers such as Jenks on Postmodern architecture, Deleuze and Guitarri, Derrida, Foucault, Cyberpunk and even Madonna-ologists. A good survey of this movement can be found in "Postmodernism for Beginners," by Jim Powell. Also useful: Jenck's "What is Postmodernism?"

Towards a postmodern sociology of knowledge, 06 Dec 1998
Lyotard's "The PostModern Condition", is an exciting atttempt at a postmodern Sociology of Knowledge. Using Weberian and Habermasian concepts of legitimation, Lyotard gices a critique of critique, showing how all forms of knowledge are, in the end, dependent on the Narrative, the story which humansociety tells of itself. From this Levi-Straussian concept, Lyotard builds an interesting framework for Modern, PostModern and Futuristic definitions of knowledge. So why did I give the book only 4 stars? Because Lyotard fails inhis attempts at encorparating Anglo-American philosophy into the book. His total misconception of Wittgenstein can be flabbergasting to anyone who's studied this tradition of philosophy. Still, the book is probably the easiest of its type to understand and it is quite enjoyable to read. But it's a good idea to supplement it with some Foucault and some Habermas.

A seminal work of the late twentieth century, 04 Nov 1997
I'm not sure a rating is particularly appropriate, but that's another story. The Postmodern Condition (or PMC for brevity) is sometimes outrageous, often thought-provoking, and probably worth not ignoring. Commissioned by one or another of Quebec's many bueracratic institutions as a report on education, the PMC instead is an attempt at a sweeping analysis of late-20th century knowledge.

This isn't college so I'm not going to pretend to remember all my fancy debate techniques, but a few things stick out. Lyotard asserts that the late 20th century is characterized by experts who generate self-perpetuated claims to legitimacy (he calls this process legitimation and alludes to Wittgenstein, which I have to admit was always too boring for me to read or understand due to my simple-minded nature). This small group of technocratic experts wields an unbalanced amount of influence in the shaping of knowledge, from governmental gnomes to university academics. I also remember becoming interested in the idea of "intervention". At one point can one intervene in a situation, that is, to seek to alter it? What are the rules of an ethical intervention, as opposed to what Lyotard does, which is to document the destruction? It is interesting to read Habermas as a radical contrast to Lyotard.

Highly Rec'd., 20 Jul 2008

An authoritative narrative account of American Literary history from - as you might expect - Puritanism to postmodernism.

To the student, I found this book particularly useful in regard to some of the authors that, as an English student, I was less familiar with. Particularly, this book covers the period of writing between 1780-1820 in very good (introductory) detail, while revealing some authors that a nineteenth-century American Literature course may not have time to include at all. However, this is an example of good supplementary reading, I should stress, it is not a theme-orientated exam-focused book by any means.

To the general interest reader, the book is clearly written and will prove an enjoyable read. Clearly, given the length of the book, it goes into relatively little depth, but the economy and clarity of the writing is such that it is surprising how much is packed into this small, almost introductory format.

A reader that is very familiar with the writing of the period may find this book of less interest, although the sheer ease of reading would prove enjoyable and certainly contains interesting insights into comparatively peripheral authors and works other than the acknowledged `big hitters' of American Literature - Emerson, Thoreau, Hawthorne, Whitman, etc.

Overall, a true introductory narrative account with all of the advantages and disadvantages associated with this style.

A Students' Lifesaver!, 08 Dec 2003
As a first year American Literature student I found this book very helpful. Having only studed English Literature in the past, reading this book before embarking on my course enabled me to grasp a few of the concepts of American Literature and contribute to my seminars in a way that would have been impossible without this lifesaver!! A must for any American Literature student and anybody who holds an interest in the subject!

Postmodern embodiment..., 30 Dec 2005
Richard J. Lane's text on Jean Baudrillard is part of a recent series put out by the Routledge Press, designed under the general editorial direction of Robert Eaglestone (Royal Holloway, University of London), to explore the most recent and exciting ideas in intellectual development during the past century or so. To this end, figures such as Paul Ricouer, Sigmund Freud, Friedrich Nietzsche, Jacques Derrida, Michel Foucault and other influential thinkers in critical thought are highlighted in the series, planned to include more than 21 volumes in all.

Lane's text, following the pattern of the others, includes background information on Baudrillard and its significance, the key ideas and sources, and Baudrillard's continuing impact on other thinkers. As the series preface indicates, no critical thinker arises in a vacuum, so the context, influences and broader cultural environment are all important as a part of the study, something with which Baudrillard might agree,

Why is Baudrillard included in this series? This series is primary for critical thinking in a literary sense, but also develops the cultural criticism aspect of which literary theory cannot help but be a part. Baudrillard, as Lane suggests, is not only one of the more famous names in postmodernism, but practically embodies postmodernism in his own work. Key ideas and catch-phrases of Baudrillard include 'simulation', 'hyperreal', and 'implosion of meaning'. Baudrillard is very much a product of the French literary/philosophical school of the 1960s, opting eventually toward a radical reworking of both primitive cultures and post-Marxist thought that some critics see as inconsistent and confused, but definitely not to be ignored.

One of the useful features of the text is the side-bar boxes inserted at various points. For example, during the discussion on Baudrillard's development of writing strategies for postmodernism, there is brief discussion, set apart from the primary strand of the text, on Nihilism, developing further these ideas should the reader not be familiar with them, or at least not in the way with which Baudrillard would be working with ideas derived from them. Each section on a key idea spans fifteen to twenty pages, with a one-page summary concluding each, which gives a recap of the ideas (and provides a handy reference).

One of the more useful pieces in this text is also the 'two worlds' listing, which develops some of contrasting ideas in the shift from modernity to postmodernity. These include hierarchy versus anarchy, selection versus participation, signified versus signifier, and more interesting, sometimes surprising pieces. In discussing the development of culture in all its various aspects in an American context, Baudrillard shows the difference in 'city' culture as one goes from East to West - one of the paradoxes of the postmodern situation in America is that there are two primary city paradigms, New York City and Los Angeles, each of which is a perfect example of the city structure, one built up and close-knit architecturally, and the other spread out and low-rising. The cultures of the two cities are quite different, yet both are quintessentially American and both undoubtedly urban. That two different cities occupy the centre at the same time is the paradox of postmodernity.

Baudrillard has a fascination with America, which can be seen in his development and application of ideas such as the hyperreal and of simulation. The levels of simulation and hyperreality in America extend from the 'real' town square to the simulation of the town square in the shopping mall, which becomes a hyper-reality with controlled climates and selected people both as workers and shoppers; another classic example is that of Disneyland, with its carefully constructed and controlled environments, which is 'real' because it stands in contrast to the 'really real'. Media portrayals of events is also highlighted as examples of this kind of shift in thinking - the media distorts both the rhythm and the nature of the event, through selectivity and varying emphasis on actors and actions involved, and the kinds of manipulation to which media is always subject. News of real events becomes entertainment; entertainment programming becomes more fully developed and thus more real. We have more information, without more understanding, and the experience becomes more complex and involved, yet empty at the same time.

Part of Baudrillard's fascination with America is an interest in the development of technology, and the growth of the production/consumer kind of culture, where everything becomes part of a system of commodities, including language and knowledge. Indeed, Western identity is constructed of these kinds of objects, which the system also requires to be destroyed (think of the built-in redundancy or ever-increasing development of 'new and improved' products) - a dialectical performance writ large over the culture.

The concluding chapter, After Baudrillard, highlights some key areas of development in relation to other thinkers, as well as points of possible exploration for the reader. Baudrillard's ideas impact the development of aesthetic theory (from art to mere performance and entertainment). History and geography are also at issue, for the landscape of the past and of the present shifts with emphasis in different categories. Perhaps the most important development of significance to a postmodern fragmentation of the sort Baudrillard writes about is the internet, and the growth of theory from his influence is only beginning here.

As do the other volumes in this series, Clark concludes with an annotated bibliography of works by Baudrillard in English (or English translation), works on Baudrillard, and a good index.

While this series focuses intentionally upon literary theory, in fact this is only the starting point. For Baudrillard (as for others in this series) the expanse is far too broad to be drawn into such narrow guidelines, and the important and impact of the ideas extends out into the whole range of intellectual development. As intellectual endeavours of every sort depend upon language, understanding, and cultural interpretation, the thorough comprehension of how and why we know what we know is crucial.

Not as clear as it should have been, 01 Sep 2004
The importance of Baudrillard is without question and any book about his work is going to be worth reading. But I have read other books in this series and come away with much clearer pictures of the ideas involved. Any overview of this type needs to be very clearly delineated and outlined, almost to the point of repetition if necessary. Baudrillards ideas are complicated and this book doesn't to my mind do enough to elucidate them.

Having said that, because of the richness of the subject matter, it is worth reading if you can't find anything better.

Brilliant - eerily relevant, 12 Nov 2001
I have just finished reading this and felt obliged to write a review. This is a superbly written book on a difficult but increasingly influential thinker. What is most poignant is the prophetic relevance of his writings after the events of September 11th. Postmodernism is no longer an abstract aesthetic and critical preccupation - the grand narratives are gone and Baudrillard is brilliant travel writer in our god-less world.

The Pandora's Box of Culture unpacked, 03 Jan 2002
Eagleton's 'The Idea of Culture'can't be read over the cornflakes, but is worth perseverance and will make those who indulge in easy talk about 'culture' think again. Eagleton makes us realise that when we speak about Capital-C Culture we are talking about something different to commercially-organised 'mass culture' which is widely believed to be a threat to 'civilized values'. There is a difference between the culture of the National Gallery and that of football supporters. There are some limpid sayings: 'We are not so much splendid syntheses of nature and culture, materiality and meaning, as amphibious animals caught on the hop between angel and beast.' (p.98). We inhabit many different cultural worlds, and simplistic condemnation of contemporary life is no substitute for patient discernment of those commonplaces where, wehether we are believers or not, we encounter angels unawares. As Eagleton says, 'There was always something mildly risible about the idea that humanity might be saved by studying Shakespeare. To become a truly popular force, such elitist culture really needs to take the religious road. What the West ideally requires is some version of culture which would win the life-and-death allegiance of the people, and the traditional name for this allegiance is, precisely, religion.... Religion is not effective because it is otherworldly, but because it incarnates this otherworldliness in a practical form of life.' (p.69). This raises the interesting question of the relation of religious thought to 'culture'. Although for many this path is a necessary one, it also poses dangers; in the background are falling skyscrapers resulting from its fanatical limits.

On track of Postmodernism, 15 Sep 2002
Looking into postmodernism is also looking into the fall of what Sayers calls the "Aristotelian perfection of a beginning, a middle and an end". In this respect especially detective/ mystery fiction is interesting, as it has its origin as a very defined and linear genre whose plot structure always leads the reader from a to b. Postmodernism most definitely does not lead the reader from a to b at least not necesarilly in that order. That is what this book of essays attempts and succeeds at describing by looking at the structure and content of the so-called "metaphysical detective story" from Poe to Pynchon, Auster and other postmodern writers. Excellently Merivale and the rest of the writers on this book trace similarities of form and content from, as it promises, "Poe to Postmodernism", while discussing the differences between early detective fiction and modern-day "metaphysical" or "anti-detective" stories. Especially Stephen Bernstein's "The Question Is the Story Iself" and Jeffrey T. Nealson's "Work of the Detective, Work of the Writer" were great in my eyes by looking at elements of Auster's tantalizing "New York Trilogy" and placing them in the context of mystery fiction and, as a matter of course, the development of the genre. The book is hardly easy reading, but it is neither too difficult or, what some might call, to pretentious. Instead it offers interesting perspectives on postmodernism and detective fiction in general for the interested reader. A definite must-own book!!!

A seminal text for anyone interested in postmodern culture, 11 Sep 2001
So much paper has been spent (and, unfortunately, very often, wasted) on what has come to be called 'postmodernism', by philosophers, critics, students, or journalists.

Whether postmodernism is a 'good thing' or a 'bad thing', whether it is something to be embraced or contested, whether it is already passe or if it even ever existed (!) are questions that have preoccupied many people and are still yet to be answered (or are never to be answered, for fervent adherents to the 'movement'). Partly this had to do with a certain amount of confusion surrounding the term; but this confusion is not necessarily part of the term itself, it has also to do with a lot of critical excesses and theoretical gibberish that have been noted in the area. You will not find that Linda Hutcheon's book.

What is especially distinctive about Hutcheon's position is that it is very clearly defined - something which is really important in an area such as postmodernism - although some postmodernists might deny even that! But Hutcheon does know where she stands, she builds her argument very carefully, contextualises it with regard to previous literature, and applies it effectively to texts she treats as postmodernist.

Some might disagree with Hutcheon's orientation, in that she follows a strong Marxist path throughout her book. But to have a specific orientation was never a minus, and whether one agrees with Hutcheon in that is purely a matter of personal attitude.

It is a book highly recommendable for anyone interested in the study of postmodernism.

Essential for any study of postmodernity, 18 May 2002
This is it. Lyotard does to postmodernity what Karl von Clausewitz did to war.