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Signs of the Signs

The Literary Lights of Incandescence and Neon

William Brevda

This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The "sign" is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the "sign." In fiction, poetry, and commentary, the electric sign became a "sign" of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself.

If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a "sign" of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the "fire sign" his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's "The Man of the Crowd." Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's "empire" was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence.

University Press Copublishing Division / Bucknell University Press

Pages: 405 • Trim: 6½ x 9½

978-1-61148-042-9 • Hardback • June 2011 • $143.00 • (£110.00)

Subjects: Literary Criticism / Semiotics & Theory, Literary Criticism / American / General, Literary Criticism / General

Signs of the Signs

The Literary Lights of Incandescence and Neon

Hardback

Summary

This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The "sign" is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the "sign." In fiction, poetry, and commentary, the electric sign became a "sign" of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself.

If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a "sign" of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the "fire sign" his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's "The Man of the Crowd." Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's "empire" was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence.

Details

University Press Copublishing Division / Bucknell University Press

Pages: 405 • Trim: 6½ x 9½

978-1-61148-042-9 • Hardback • June 2011 • $143.00 • (£110.00)

Subjects: Literary Criticism / Semiotics & Theory, Literary Criticism / American / General, Literary Criticism / General

Author

William Brevda is professor of English at Central Michigan University.

Table of Contents

Preface
Acknowledgments
Prologue: The Sign of Ishmael
1. Everything Possible, Nothing Real: Electric Signs of America, 1890–1925
2. Sunlight and Moonlight in The Great Gatsby
3. How do I get to Broadway? Reading Dos Passo's Manhattan Transfer Sign
4. Neon Light in August: Faulkner's Quarrel with Modernity
5. Broadway by Night by Hollywood: Fitzgerald Revisited
6. Search for the Originary Sign of Noir: Poe's "The Man of the Crowd"
7. The Double Nihilation of the Neon: Raymond Chandler's Los Angeles
8. Neon Lights Around Everything: West's "West," Hitler's "Empire," Postmodernism's "Reality"
9. Under the Neon Rainbow: Nelson Algren's Chicago
10. Sad Paradise: Signs of Beat America
11. Redbrick and Neon: Kerouac's Legend of Duluoz
Epilogue
Notes
Bibliography
Index
About the Author

Signs of the Signs

The Literary Lights of Incandescence and Neon

William Brevda

Signs of the Signs

The Literary Lights of Incandescence and Neon

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