For a long time, recent criticism, put forward by Zadie Smith or Mark Greif, has been based on the motto that American literature shows a clear dichotomy: realism or avant-garde Both together seemed impossible, not least because of the profit maximization strategies of the corporate publishers, which, according to the thesis of those noughties, had more or less abolished the independent publishers and with them the authors and their non-commercial ideas. In recent years, however, in a postmodern counter-movement, the American novel itself has undergone a kind of capitalization, albeit with rather sparse results. Scott Fitzgerald’s “The Great Gatsby” or Ayn Rand’s “Atlas Shrugged” are special literary variations on the topos of finance and fiction.
Now that alone, after a brief look at American literature in the 20th century, would not be worth mentioning in and of itself – F. In his novel “Treue”, which is now being published in German, Diaz addresses another myth of American origins: that of the beginnings of late capitalism and the glittering seductions of the New York financial world in the early 1920s.
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