Reviews
"An innovative examination of the idea of authenticity and its significance to postwar American culture. Cheever reveals that what was cast as a concern with conformity was actually often a fear of uniformity, and her discerning critical eye finds that anxiety expressed in a surprising range of postwar genres—as prevalent in stories of serial killers and teenage loners as it was in tales of passing and corporate ambition. Her study gives us a new grasp on the contours of the postwar self."
—Sean McCann, author of A Pinnacle of Feeling: American Literature and Presidential Government
Description
The epithet “phony” was omnipresent during the postwar period in the United States. It was an easy appellation for individuals who appeared cynically to conform to codes of behavior for social approbation or advancement. Yet Holly Golightly “isn’t a phony because she’s a real phony,” says her agent in Breakfast at Tiffany’s. In exploring this remark, Abigail Cheever examines the ways in which social influence was thought to deform individuals in midcentury American culture. How could a person both be and not be herself at the same time? The answer lies in the period’s complicated attitude toward social influence. If being real means that one’s performative self is in line with one’s authentic self, to be a real phony is to lack an authentic self as a point of reference—to lack a self that is independent of the social world. According to Cheever, Holly Golightly “is like a phony in…
 |
Cloth |
 |
Paper List price: Your price: 2/1/2010 |