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He furnishes a template for the pop-savvy intellectual, the preferred model in what remains of literary life.
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The novelist Benjamin Kunkel, in his recent essay collection “Utopia or Bust,” extolls the criticism of Jameson, who has taught Marxist literary theory at Duke University for decades.
(Kunkel also mentions “The Corrections,” noting that Chip gets his salmon at a shop winkingly named the Nightmare of Consumption.) The critic Astra Taylor, in “The People’s Platform: Taking Back Power and Culture in the Digital Age,” argues that Adorno and Max Horkheimer, in their 1944 book “Dialectic of Enlightenment,” gave early warnings about corporations “drowning out democracy in pursuit of profit.” And Walter Benjamin, whose dizzyingly varied career skirted the edges of the Frankfurt collective, receives the grand treatment in “Walter Benjamin: A Critical Life” (Harvard), by Howard Eiland and Michael W.
Jonathan Franzen’s 2001 novel, “The Corrections,” a disgraced academic named Chip Lambert, who has abandoned Marxist theory in favor of screenwriting, goes to the Strand Bookstore, in downtown Manhattan, to sell off his library of dialectical tomes. Adorno, Jürgen Habermas, Fredric Jameson, and various others cost Chip nearly four thousand dollars to acquire; their resale value is sixty-five.
“He turned away from their reproachful spines, remembering how each of them had called out in a bookstore with a promise of a radical critique of late-capitalist society,” Franzen writes.
In a way, it is both a philosophical concept and a literary style.