Thomas LeClair

Anything can happen : interviews with contemporary American novelists

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Deconstructing the Logos: Don DeLillo's End Zone

The deconstructive ideas and operations of Jacques Derrida have found an amenable target in American experimental fiction of the last decade. Three recent books on postmodern fiction—Allen Thihers Words in Reflection, Charles Caramellos Silverless Mirrors, and Jerome Klinkowitzs The Self-Apparent Word—provide Derrida-influenced readings of Barth, Barthelme, Coover, Gass, Pynchon, and those novelists, most of whom are associated with the Fiction Collective, that Klinkowitz introduced in his Literary Disruptions: Ron Sukenick, Raymond Federman, Walter Abish, Gilbert Sorrentino, and Steve Katz. Although the names of some new writers—Kenneth Gangemi, Frederick Tuten, Stephen Dixon, Guy Davenport—do surface in these three books, for the most part criticism repeats, covers the same texts with the same approach, a procedure at odds with Derridas own methods. What I offer here is a Derridean

Joseph McElroy and the Art of Excess

The most interesting and often the best American novels of the 1970s are excessive. The art of excess, as the word itself suggests, is relative and quantitative, different but not altogether new. The works of Joseph McElroy, Thomas Pynchon, William Gaddis, and others I mention below are often called experimental, but they do not claim a purity of invention or neutrality of intention as, say, the works of Stein and Robbe-Grillet do. The excessive novels of the seventies