Robert Coover and the Generosity of the Page is an unconventional study of Robert Coover''s work from his early masterpiece The Origin of the Brunists (1966) to the recent Noir (2010). Written in the second person, it offers a self-reflexive investigation into the ways in which Coover''s stories often challenge the reader to resist the conventions of sense-making and even literary criticism. By portraying characters lost in surroundings they often fail to grasp, Coover''s work playfully enacts a "(melo)drama of cognition" that mirrors the reader''s own desire to interpret and make sense of texts in unequivocal ways. This tendency in Coover''s writing is indicative of a larger refusal of the ready-made, of the once-and-for-all or the authoritative, celebrating instead, in its generosity, the widening of possibilities—thus inevitably forcing the reader-critic to acknowledge the arbitrariness and artificiality of her responses.

Robert Coover and the Generosity of the Page is an unconventional study of Robert Coover''s work from his early masterpiece The Origin of the Brunists (1966) to the recent Noir (2010). Written in the second person, it offers a self-reflexive investigation into the ways in which Coover''s stories often challenge the reader to resist the conventions of sense-making and even literary criticism. By portraying characters lost in surroundings they often fail to grasp, Coover''s work playfully enacts a "(melo)drama of cognition" that mirrors the reader''s own desire to interpret and make sense of texts in unequivocal ways. This tendency in Coover''s writing is indicative of a larger refusal of the ready-made, of the once-and-for-all or the authoritative, celebrating instead, in its generosity, the widening of possibilities—thus inevitably forcing the reader-critic to acknowledge the arbitrariness and artificiality of her responses.

Robert Coover and the Generosity of the Page is an unconventional study of Robert Coover''s work from his early masterpiece The Origin of the Brunists (1966) to the recent Noir (2010). Written in the second person, it offers a self-reflexive investigation into the ways in which Coover''s stories often challenge the reader to resist the conventions of sense-making and even literary criticism. By portraying characters lost in surroundings they often fail to grasp, Coover''s work playfully enacts a "(melo)drama of cognition" that mirrors the reader''s own desire to interpret and make sense of texts in unequivocal ways. This tendency in Coover''s writing is indicative of a larger refusal of the ready-made, of the once-and-for-all or the authoritative, celebrating instead, in its generosity, the widening of possibilities—thus inevitably forcing the reader-critic to acknowledge the arbitrariness and artificiality of her responses.