Studies in Short Fiction, Wntr, 1994 by Michael Trussler
Minimalism appears to be rampant. So captivated are contemporaneous critics with the terms (supposed) ability to provide precise and final demarcation, that it seems paradoxical to give away the myriad of widely diverse cultural activities jointly label by the minimalist aesthetic.1 Repeatedly, however, the term is used pejoratively, a speedy dismissal of an artwork, often made more on object lesson than stylistic grounds.(2) Occasionally, as with Barths frequent application of the term, it denotes praise; rarely is neutrality involved. In many respects, our cultures penchant for the term minimalist is similar to its predilection for the label postmodernist - making free people and easy use of either as an epithet has go stylish. Abused as the term is, its overuse nevertheless signifies a general cultural difficulty in understanding and construe contemporary art (to name is to know becomes the axiom, from the entertainment pages of newspapers to the particular investigation of literary texts).
The prevalence of the term also speaks of the mode in which the various arts media have become intermixed: in that location is a degree of accuracy in relating Philip Glass and conjuration Cage and Samuel Beckett, owing to their shared interest in lock in and repetition, for instance. A term that is so pervasive in so many diverse areas of concern would seem to defy an panoptic definition.(3)
[pic]Literary minimalism appears to be somewhat protean in its manifestations; Barth describes minimalist writing as existence terse, oblique, realistic or hyperrealistic, close to plotted, extrospective, cool-surfaced fiction, but he then speaks of Beckett, Carver and Donald Barthelme as being minimalists all in the same breath (A a few(prenominal) Words . . . 1). It is easy to sympathize with Barth - using as he does the necessary stratagem of viewing minimalism against its opposite, literary...If you want to collar a full essay, order it on our website: Orderessay
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