Patrick Appel, filling in at Andrew Sullivan’s The Daily Dish, has dusted off an excellent column from the July/August 2001 Atlantic—B.R. Myers’ A Reader’s Manifesto.
For years now editors, critics, and prize jurors, not to mention novelists themselves, have been telling the rest of us how lucky we are to be alive and reading in these exciting times. The absence of a dominant school of criticism, we are told, has given rise to an extraordinary variety of styles, a smorgasbord with something for every palate. As the novelist and critic David Lodge has remarked, in summing up a lecture about the coexistence of fabulation, minimalism, and other movements, “Everything is in and nothing is out.” Coming from insiders to whom a term like “fabulation” actually means something, this hyperbole is excusable, even endearing; it’s as if a team of hotel chefs were getting excited about their assortment of cabbages. From a reader’s standpoint, however, “variety” is the last word that comes to mind, and more appears to be “out” than ever before. More than half a century ago popular storytellers like Christopher Isherwood and Somerset Maugham were ranked among the finest novelists of their time, and were considered no less literary, in their own way, than Virginia Woolf and James Joyce. Today any accessible, fast-moving story written in unaffected prose is deemed to be “genre fiction”—at best an excellent “read” or a “page turner,” but never literature with a capital L. An author with a track record of blockbusters may find the publication of a new work treated like a pop-culture event, but most “genre” novels are lucky to get an inch in the back pages of The New York Times Book Review.
Check out the full article here.