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"Many of the authors Robert Clark discusses have yet to be recognized for their individual contributions to the emergence and continuing vitality of the movement. School of Images is organized based on chronology and lines of influence. In the introduction, Clark offers a definition of the mode and then describes its early stages. He then explores six works that reflect the core characteristics of the mode: Ernest Hemingway's In Our Time, Raymond Carver's Cathedral, Susan Minot's Monkeys, Jay McInerney's Bright Lights, Big City, Sandra Cisneros's Caramelo, and Cormac McCarthy's The Road. In the conclusion, he discusses contemporary authors and filmmakers whose work represents the ongoing evolution of the category"-- Provided by publisher.
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Theorizes the development of a minimalist mode in American fiction since 1970, frequently seen to interrogate US postmodernity. Minimalism and Affect in American Literature, 1970-2020 responds to existing studies of literary minimalism by pursuing three original and interrelated objectives. It provides a more inclusive and precise definition of minimalism that enables further inquiry into the mode. It also exposes the presence of minimalism beyond critical demarcations that attempt to limit the aesthetic to a particular school, medium, movement, form or decade. Finally, it argues that writers of American literary minimalism are uniquely privileged in their ability to formalize precarity and threatening cultural currents into the fragile construct that is ordinary life. Building upon theories of affect and the everyday, Minimalism and Affect in American Literature, 1970-2020 analyses minimalist aesthetics within the works of canonical minimalists alongside writers more frequently associated with other movements. Through readings of Ernest Hemingway, Joan Didion, Raymond Carver, Paul Auster and Don DeLillo, among others, and cultural phenomena ranging from sedation to telephony, this book exposes the persistence and political importance of minimalism within American literature from the 20th century into the 21st.
The New Yorker staff writer and Filterworld author Kyle Chayka examines the deep roots-and untapped possibilities-of our newfound, all-consuming drive to reduce. “Less is more”: Everywhere we hear the mantra. Marie Kondo and other decluttering gurus promise that shedding our stuff will solve our problems. We commit to cleanse diets and strive for inbox zero. Amid the frantic pace and distraction of everyday life, we covet silence-and airy, Instagrammable spaces in which to enjoy it. The popular term for this brand of upscale austerity, “minimalism,” has mostly come to stand for things to buy and consume. But minimalism has richer, deeper, and altogether more valuable gifts to offer. In The Longing for Less, one of our sharpest cultural critics delves beneath the glossy surface of minimalist trends, seeking better ways to claim the time and space we crave. Kyle Chayka's search leads him to the philosophical and spiritual origins of minimalism, and to the stories of artists such as Agnes Martin and Donald Judd; composers such as John Cage and Julius Eastman; architects and designers; visionaries and misfits. As Chayka looks anew at their extraordinary lives and explores the places where they worked-from Manhattan lofts to the Texas high desert and the back alleys of Kyoto-he reminds us that what we most require is presence, not absence. The result is an elegant synthesis of our minimalist desires and our profound emotional needs. With a new afterword by the author.
Minimalism is the thing that gets us past the things so we can make room for life's most important things—which actually aren't things at all. At age 30, best friends Joshua Fields Millburn & Ryan Nicodemus walked away from their six-figure corporate careers, jettisoned most of their material possessions, and started focusing on what's truly important. In their debut book, Joshua & Ryan, authors of the popular website The Minimalists, explore their troubled pasts and descent into depression. Though they had achieved the American Dream, they worked ridiculous hours, wastefully spent money, and lived paycheck to paycheck. Instead of discovering their passions, they pacified themselves with ephemeral indulgences—which only led to more debt, depression, and discontent. After a pair of life-changing events, Joshua & Ryan discovered minimalism, allowing them to eliminate their excess material things so they could focus on life's most important "things": health, relationships, passion, growth, and contribution.
Addresses minimalism as demonstrating a parallel poetic to that of the short story, and analyzes many works of short fiction by Raymond Carver, Amy Hempel and Mary Robison which reflect this relationship. This book traces the evolution of literary minimalism as a by-product of the short story.
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"Forget the aesthetics of mainstream minimalism and discover a life of authenticity and intention with this practical guide to living with less...your way"--
William and Molly lead a life of small pleasures, riddles at the kitchen table, and games of string and orange peels. All around them a city rages with war. When the uprising began, William’s wife was taken, leaving him alone with their young daughter. They keep their heads down and try to remain unnoticed as police patrol the streets, enforcing a curfew and arresting citizens. But when an old friend seeks William out, claiming to know what happened to his wife, William must risk everything. He ventures out after dark, and young Molly is left to play, reconstructing his dangerous voyage, his past, and their future. An astounding portrait of fierce love within a world of random violence, The Curfew is a mesmerizing feat of literary imagination.
The most celebrated story collection from “one of the true American masters” (The New York Review of Books)—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark that includes the iconic and much-referenced title story featured in the Academy Award-winning film Birdman. "Raymond Carver's America is ... clouded by pain and the loss of dreams, but it is not as fragile as it looks. It is a place of survivors and a place of stories.... [Carver] has done what many of the most gifted writers fail to do: He has invented a country of his own, like no other except that very world, as Wordsworth said, which is the world to all of us." —The New York Times Book Review