Posts Tagged: genre
Alexandra Naughton is a writer who grew up in Philadelphia but converted to a California girl in 2008. She runs BE ABOUT IT, a small press and reading series and is an active member in Bay Area literary shenanigans.
Over the course of some days I talked via Google Docs, and later email, with Naughton about her first novel American Mary as well as her creative process, writing across genres, and the books that most influenced her....more
I first met Maggie Shipstead in 2011 when she was a Stegner Fellow at Stanford University. She had not yet published her first novel, Seating Arrangements, which would later become a New York Times bestseller, but even then the magnitude of her ambition, shrewdness, and intellectual generosity was evident....more
Laurie Sheck is the author, most recently, of Island of the Mad, and A Monster’s Notes, a re-imagining of Mary Shelley’s Frankenstein. A Pulitzer Prize finalist in poetry for The Willow Grove, she has been a Guggenheim Fellow, as well as a fellow at the Radcliffe Institute for Advanced Study at Harvard, and at the Cullman Center for Scholars and Writers at the New York Public Library....more
In a political climate in which undocumented immigrants are painted as criminals and rapists and half the country is crying for deportation, this week’s story reminds us that immigrants are fathers who love their daughters, who work hard and send money home to dying mothers, who will go to the ends of the Earth for their loved ones—they are normal Americans with normal hearts, just like the rest of us....more
Thalia Field’s latest work, Experimental Animals: (A Reality Fiction), published by Solid Objects, is a novel that makes you wonder anew about the possibilities of the genre. Told in the voice of Marie Francoise “Fanny” Bernard, wife of Claude Bernard, a founder of physiology and zealous practitioner of vivisection, the book is the culmination of over a decade of research and work....more
The artist statement is not just a representation of what you are working on, but an intervention in what you are working on. If you start saying, I aim to do this and not to do this, maybe it keeps you from thinking of your perfect aim, which is none of those things.
I wonder about this in terms of genre. Just as I don’t want to identify as non-binary, regardless of the potential room for accuracy, I don’t want to identify as a “writer of neither genres.” But how much does want matter when perception is what labels us in the mainstream?
It just means that we have a desire for our language to be able to perform in a different way than it performs, and we have a desire for a reconciliation between the individual and the social that poetry can’t fulfill, but can help made felt.
There’s a tendency to take writers who write about race and shuffle them into a genre, into a predetermined conversation, whether they wanted to be there or not. But even if the constraints of the game are rigged, what Jenny Zhang, Tanwi Nandini Islam, and Karan Mahajan have to say cuts through the BS pretty quickly:
It’s a real detriment to the quality of these spaces when they end up being dominated by white folks.
Wherever the boundary between fiction and nonfiction, Geoff Dyer has long since crossed it. For Hazlitt, Kyle Chayka talked to the author of White Sands about the continuum of the critical and the narrative:
If people call it an essay collection, then I immediately want to say, hey, but there are stories as well!
The then-girls, now-women who grew up reading Harry Potter are revitalizing the book market and steering publishing trends, and here’s what they want now: crime thriller fiction featuring calculating and vengeful female protagonists, now its own genre umbrella-ed by the term “grip lit.” MPR writes that the dark, psychological magic of Harry Potter inspired this burst of crime thrillers, such as The Girl on the Train by Paula Hawkins or the big screen-adapted Gone Girl by Gillian Flynn....more
Over at Lit Hub, Jennifer R. Bernstein confronts the disciplinary rift that has grown between psychology and literature to show how the two are linked, even nested inside one another in our studies of self and pain:
For these authors were writing literature of a kind; you could hear it in the music of their prose and their command of figurative language.