Abstract
Loon Lake has baffled critics for whom its overall meaning has remained largely elusive and its structure difficult to decode because they have read it without attention to its proper generic context. This article shows how E. L. Doctorow, relying on his deep apprehension of the pastoral romance, consistently uses topoi, thematic and structural motifs and allusions to particular exemplars which evoke this genre and allow him to develop his characters and ideas with freshness and vitality.
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