Too many stories about mopey suburbanites. Too many well-off white people. A surfeit of descriptions, a paucity of action. Too much privileging of prose for the sake of prose, too little openness to rougher energies. And those endings?
At the New Yorker, Jonathan Franzen writes about “the New Yorker story” as a genre that emerged in the fifties from the inkwells of Cheever et al., with all its well-educated white male melancholy, and the regional variations from the likes of Welty and Nabokov, all beaming with affluent brilliance.