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| This book is fiction. But there is always a chance that such a work
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| of fiction may throw some light on what has been written as fact.
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| —Ernest Hemingway (A Moveable Feast 230)
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| [I]t is the author’s contention that good fiction—if the writer
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| can achieve it—is more real, that is, more nourishing to our
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| sense of reality, than non-fiction. . . . novelists have a unique
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| opportunity—they can create superior histories out of an enhancement
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| of the real, the unverified, and the wholly fictional.
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| —Norman Mailer (Harlot’s Ghost 1287–8)
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| {{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so,why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are
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| they rumors of grace? How does God-language function in the work of
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| Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?
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| === Notes ===
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| {{notelist}}
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| ===Citations===
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| {{Reflist}}
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| ===Works Cited===
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| {{Refbegin}}
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| * {{cite book |last=Lucáks |first=George |date=1971 |title=The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Literature|location=Trans. Anna Bostock. Cambridge |publisher=MIT Press |pages= |ref=harv }}
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| * {{cite journal |last= |first= |title= |url= |journal= |volume= |issue= |date= |pages= |access-date= |ref=harv }}
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| * {{cite magazine |last= |first= |date= |title= |url= |magazine= |pages= |access-date= |ref=harv }}
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| * {{cite news |last= |first= |date= |title= |url= |work= |location= |access-date= |ref=harv }}
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| * {{cite web |url= |title= |last= |first= |date= |website= |publisher= |access-date= |quote= |ref=harv }}
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| {{Refend}}
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