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Additional info for Douglas Coupland
The short answer is, of course, fashionable novelists and commentators like Coupland. However, this self-reflexive (and, perhaps, self-mocking) allusion is also indicative of the novelist’s scepticism about the validity of generational categories per se; these names, to appropriate one of his favourite maxims, will ‘time-expire’ rapidly and rarely demonstrate the complexity of human experience: ‘we really do inhabit an odd little nook of time and space’ but ‘it’s where I live – it’s where I am’ (MS, p.
Personal contentment, or its lack, is correlated directly to a nascent awareness that narrative purpose, if it ever existed, has somehow been misplaced. Indeed, a repeated motif of the novels is storytelling as a means to asserting identity. 5 Her narrative becomes an examination into the possibility of storytelling itself. Coupland’s fiction confronts the consequences of the apparent evaporation of a believable narrative from everyday Western life. Is that loss genuinely something to be mourned or does it represent a liberating opportunity?
9). Some voices 32 Douglas Coupland pray that the souls of the dead will be healed whilst others rail against God in the absence of ‘any meaning or evidence of divine logic’ in the ‘bloodshed’ (HN, p. 14). 70 Hey Nostradamus! confronts the violent contingency of the world with characters who still wish to believe that some order, logic or grace shapes reality. Yet it does not pacify a sense of anger at injustice or avoid the devastating consequences of bloodshed. The second section of the novel, narrated by Jason 11 years after the murders, is constructed as a letter to his ‘nephews’, whom he later reveals are his children.