文档介绍：Contents
Acknowledgments vii
Introduction: “Individuality in Name Only” 1
1 Postwar Teenagers and the Attitude of
Authenticity 23
2 From Madness to the Prozac Americans 56
3 “They Didn’t Do It for Thrills”: Serial Killing and
the Problem of Motive 105
4 Assimilation, Authenticity, and “Natural
Jewishness” 141
5 “The Man He Almost Is”: Performativity and
the Corporate Narrative 191
Conclusion: “Collage Is the Art Form of the
Twentieth Century” 239
Notes 249
Works Consulted 281
Index 297
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Acknowledgments
this book began when Walter Benn Michaels challenged me e
up with something interesting to say about The Catcher in the Rye. I have
benefited from the generosity of many people since that early attempt to
work through some of the ideas under consideration here. Laura Browder,
Christy Burns, Daniel S. Cheever Jr., Beth Crawford, Theo Davis, Frances
Dickey, Lucinda Havenhand, Kathleen Hewett-Smith, Amy Hungerford,
Oren Izenberg, John Marx, John D. Rockefeller V, Matthew Sewell,
Gretchen Soderlund, Carol Summers, Sydney Watts, and Winston
all read mented on these chapters at various points. Their care-
ful attention substantially improved the manuscript, and I am grateful for
their contributions. In particular, I am indebted to Jerome Christensen and
Walter Benn Michaels for asking demanding questions and providing cru-
cial guidance; to Deak Nabers for his willingness to read and discuss this
manuscript at great length; and to Abby Aldrich Record, whose research
assistance and support were fundamental to pletion.
I did much of the work on this volume at the University of Richmond,
where numerous conversations with Thomas Allen, Joanna Drell, Elisabeth
Gruner, Raymond Hilliard, Suzanne Jones, Edward Larkin, Peter Lurie,
Ilka Saal, Louis Schwartz, Louis Tremaine, and Hugh West improved both
my thinking and my days in the office. My students have actively engaged