Suspend Your Disbelief

Shop Talk

Get totally depressed! Then get your hope on.

by Anne Stameshkin

The book industry–hell, literature itself–is in jeopardy, and even some of the most avid readers are getting blamed. This has been a very traumatic season for publishing…even highly successful celebrity editors have been laid off from houses big and small, and some publishers aren’t signing any new books. It’s clear we need to think about change at every level of the industry; as publishers, booksellers, journalists, and authors raise the alarm, will we find creative ways to fight the fire or curl up on the floor of a burning house? Read how we might learn to publish without perishing, why […]


Newbery skirmish

by Anne Stameshkin

Earlier this fall, School Library Journal published an article called “Has the Newbery Lost Its Way?”, sparking a heated debate about criteria for what has long been recognized as the most prestigious prize in children’s literature. Are the latest Newbery medal-winning books really too “inaccessible” for kids? Should accessibility and popularity be issues in determining a winner? Are popularity and quality mutually exclusive? Does the Newbery tend to favor “good” books over “great” ones? What responsibility does the award have to young readers? What do you think?


How Fiction Works Discussion Review: Fiction and Social Change

by Jeremiah Chamberlin

Fiction can change the world. Now that I’ve dropped that lead balloon on my foot, allow me to leave it there temporarily as penance for not only opening with such a clichéd adage, but also a self-aggrandizing one. Worse yet, I believe it. Deeply. Despite how hackneyed a statement, fiction has the potential to change our world. Perhaps not always in the same way as clean drinking water or penicillin, but alter our lives it can. And powerfully so. James Wood touches on this phenomenon in his essay-chapter “Sympathy and Complexity.” He opens with an anecdote about a Mexican police […]


How Fiction Works Discussion Review: "Realism" in Fiction

by Natalie Bakopoulos

The chapter/essay of How Fiction Works I found most intriguing was the last one: “Truth, Convention, and Realism”; the issues touched on within could easily be the subject of an entire book. What I find the most perplexing is coming to a definition of “realism” in the first place. Is realism truth? Mimesis? Traditional narration? Wood begins the section by citing the novelist Rick Moody, who says that contemporary literature has become dull and needs “a kick in the ass”; his disapproval seems to be aimed more at structure and style than content. Yes, sometimes a novel’s conflict-climax-resolution check mark […]


Jesmyn Ward reads *tonight* in Brooklyn – 8 PM @ BAM Cafe!

by Anne Stameshkin

I’m excited to hear Jesmyn Ward read from her beautiful debut novel Where the Line Bleeds. Her reading tonight is part of “Rear Windows,” a BAM Cafe event presented in partnership with A Public Space. This last installment of the Between the Lines series also features a reading by Ian Chillag, films by Félix Dufour-Laperrière and Eva Weber, and a multimedia performance by Dark Hand and Lamplight. Go here for directions and more information.


How Fiction Works Discussion Review: Telling vs. Untelling Details

by Celeste Ng

In his chapter on “Detail,” Wood takes on a standby of Fiction I: the telling detail. Details, we’re usually told, should be significant, not gratuitous; they should give us some particular insight into the character or the setting. If there are telling details, Wood suggests, there must be untelling details as well. But do “irrelevant” or “untelling” details really exist?


How Fiction Works Discussion Review: Wood Echoing Wood

by Greg Schutz

How Fiction Works is simultaneously a gloss on the history of what James Wood calls “modern realist narration” and an encapsulation of much of Wood’s criticism to date. That is to say, in charting realism’s development, Wood revisits many subjects from his two previous books of essays, The Broken Estate and The Irresponsible Self. Much of what I admire in Wood’s past criticism is on display again here. Yet the way in which Wood repurposes older material occasionally rankles. Consider, for example, the excellent opening of his introduction to Saul Bellow’s Collected Stories: Every writer is eventually called a “beautiful […]


How Fiction Works Discussion Review: An Introduction

by Anne Stameshkin

Over the next week, I will join fellow FWR contributors Greg Schutz, Celeste Ng, Natalie Bakopoulos, and Jeremiah Chamberlin in discussing critic James Wood’s latest collection of essays, How Fiction Works. Feel free to join the conversation by commenting on our blog posts. In How Fiction Works, Wood approaches the elusive how behind craft by “ask[ing] a critic’s questions and offer[ing] a writer’s answers.” He explores such mysteries as the distinction between narrative and authorial language in order, in his own words, “to reconnect that technique to the world, as Ruskin wanted to connect Tintoretto’s work to how we look […]




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