In Jennifer Egan's manhattan beach, certain aspects of american culture—farmland in brooklyn, the ziegfeld follies, Jean Harlow's curls, the “old salts” who sailed in wooden ships (259)—are recalled at the moment of their vanishing. These and other disappearances provide evidence that, in the novel, historical change is treated as an epic trope. At the same time, disappearances mark swerves in an individual character's destiny as novelistic events. In its blending of history with individuals' stories, Manhattan Beach can be called an epic novel, along the lines of Herman Melville's Moby-Dick and Don DeLillo's Libra. Whereas novels particularize individual experience in an evolving present, epics position individual destinies in a fixed, complete history. Novels differ from epics in the distance that they take from their respective subjects, though the two genres demonstrate “all-inclusiveness” and “expansiveness” (Merchant 71, 93). The epic novel mobilizes at the point where national ambitions overlay personal stories. hrough the trope of disappearance, Manhattan Beach correlates the epic ambition to show historical transformation with the novelistic ambition to represent personal renewal. Disappearances may be escapes, but they also forecast characters' fresh starts and future convergences.