Introduction Erich Hertz and Jeffrey Roessner Part 1: Negotiating Pop Styles 1. More Than Zero: Post-Punk Ideology (And Its Rejection) in Bret Easton Ellis Matthew Luter, Faculty Member, Webb School, USA 2. "Consistently Original, Perennially Unheard Of": Punk, Margin and Mainstream in Jonathan Franzen's Freedom Mark Bresnan, Assistant Professor of Academic Writing, Marymount Manhattan College, USA 3. A Novel Idea for a Soundtrack: Tim Wintons Dirt Music Tanya Dalziell, Professor in English and Cultural Studies, University of Western Australia, Australia 4. "Where the Beat Sounds the Same": American Psycho and the Cultural Capital of Pop Music Carl Miller, Assistant Professor of English, Palm Beach Atlantic University, USA 5. Playing (in) Seattle: Grunge as a Narrative Soundscape in Mark Lindquists Never Mind Nirvana Fiorenzo Iuliano, Lecturer in American Literature, University of Cagliari, Italy Part 2: Gendering Rock and Jazz 6. Masculinity and Jazz in Jackie Kays Trumpet, Jim Craces All That Follows and Alan Platers The Beiderbecke Trilogy Aidan Byrne, Senior Lecturer in English and Cultural Studies, University of Wolverhampton, UK Nicola Allen, University of Wolverhampton, UK 7. Queer Time, Queer Space, and Queer Edge in Lynn Breedloves Godspeed Joseph P. Fisher, George Washington's College of Professional Studies and North Virginia Community College, Alexandria, USA 8. The Popular Music Experiments of Rick Moody's Connecticut WASPs in The Ice Storm Zachary Snider, Writer, USA 9. Every song ends: Musical Pauses, Gendered Nostalgia, and Loss in Jennifer Egans A Visit from the Goon Squad Danica van de Velde, University of Western Australia, Australia Part 3: Sounding Race and Nation 10. Its me or the . . . Eggplant: Pleasure, Politics, and Prince in Hanif KureishisThe Black Album Eric Berlatsky, Associate Professor of English, Florida Atlantic University, USA 11. Rock Music as Cosmopolitan Touchstone in Salman Rushdie's The Ground Beneath Her Feet Tim Gauthier, Director of the Interdisciplinary Degree Programs, University of Nevada, Las Vegas, USA 12. Music Consumption and the Remix of Self in Colson Whiteheads Sag Harbor John Joseph Hess, Visiting Assistant Professor of American Literature, Florida Atlantic University, USA 13. Static Signals: Celia Cruz, Santeria and Markets of Latinidad in Jennine Capo Crucets How to Leave Hialeah Elena Machado Saez, Associate Professor of English, Florida Atlantic University, USA Part 4: Making Pop Art 14. Incommensurate Nostalgias: Changin' Times in Watchmen Benjamin J. Robertson, Instructor, University of Colorado, Boulder 15. To see the world in a liner note: The Limits of Song in Jonathan Lethems The Fortress of Solitude Christopher Gonzalez, Assistant Professor of English, Texas A&M University, Commerce, USA 16. Unrest and Silence: The Faithless Music of the Contemporary British Novel Will May, Senior Lecturer in English, University of Southampton, UK 17. The Rock Star's Responsibility: Privacy, Industry, and Artistry in Novels by DeLillo, Lethem, and Franzen D. Quentin Miller, Professor of English, Suffolk University, UK Contributor Biographies Music in Contemporary Fiction: Selected Bibliography Index
