What might the post-postmodern, contemporary Holocaust novel look like, and what should it strive to do?
Is plagiarism really a crime? A moral failure? Forrest Anderson wonders if it might be a necessary step in learning how to write–in uncovering the authentic self.
Debra Spark on what’s funny in fiction–and what’s not. “The humor that works in literary fiction, the humor I like, is female. I mean ‘female’ in a pretty stereotypical way here. I don’t mean that the literary work is by women per se, but that it is relational.”
Stephen King’s 1978 Night Shift takes advantage of the “safe” scare, but the story collection’s real artistry is in accessing his reader’s willingness to endure “safe” fear and turning it on the reader himself.
M. Allen Cunningham on the way his fundamentalist evangelical upbringing formed him as a writer, delivering him an awareness of narrative and how story shapes our lives.
We live on the edge of a continent. Our world teeters between land and sea, washed in whimsical coastal weather. Here, cusp is truth. Liminal is how things are, and the World is a story we make up. And tear down. And make up again.
Depicting inarticulate speech patterns in fiction should be easy, right? Somehow, it isn’t—but it’s necessary, because humans are generally an inarticulate bunch.
J.T. Bushnell on Amy Tan’s “Rules of the Game,” a “quintessentially American story, one that has roots in a literary tradition that dates back to Flaubert and Chekhov.”
Steven Wingate tackles his process on tackling the next project.
Not making any friends: Rachel Howard explores the “unlikable” narrator who won her over, despite efforts to the contrary, in Jean Rhys’ shrewd, heartbreaking, and pitiless novel Voyage in the Dark.