AND THE D O M E S T I C A T I O N IN M C E L R O Y , DANIELEWSKI DELILLO, THRILLER AND WALLACE, CHRISTOPHER K . COFFMAN, BOSTON UNIVERSITY La fascination est le regard de la solitude, le regard de I'incessant et de l'interminable, en qui l'aveuglement est vision encore, vision qui n'est plus possibility de voir, mais impossibility de ne pas voir, l'impossibilite qui se fait voir, qui persevere - toujours et toujours - dans une vision qui n'en finit pas : regard mort, regard devenu le fantome d'une vision eternelle. (Blanchot 23) Novels describing conspiracies, detection, and international intrigue have occupied prominent places on best-seller lists for several decades, indicating readers' fascination with the worlds of John le Carre and Ian Fleming. While some of the generic characteristics notable in fiction of this sort may be traced to the detective stories of Edgar Allan Poe and even the first novels produced on this side of the Atlantic, such as Charles Brockden Brown's Ormond, Tim Engles ascribes the significant current interest in such works to particularly contemporary phenomena, notably the "post- World War II establishment of such national intelligence organizations as
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Taming Paranoia: Underground Cinema and the Domestication of the Thriller in McElroy, DeLillo, Wallace, and Danielewski
Coffman, Christopher K.
Follow Genre: Forms of Discourse and Culture
, Volume 42 (3-4)
Duke University Press – Sep 1, 2009
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