How Fiction Works: Discussion Review
Anne Stameshkin, Greg Schutz, Celeste Ng, Natalie Bakopoulos, and Jeremiah Chamberlin lead a series of discussions on critic James Wood’s latest collection of essays, How Fiction Works.
Anne Stameshkin, Greg Schutz, Celeste Ng, Natalie Bakopoulos, and Jeremiah Chamberlin lead a series of discussions on critic James Wood’s latest collection of essays, How Fiction Works.
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 […]
This season, a love of literature might seem vestigial, escapist. Moby-Dick won’t feed the Darfur orphans; Anna Karenina won’t hasten ratification of the Kyoto Protocol. These books merely delight us, nothing more. But in The Irrelevant English Teacher, J. Mitchell Morse argues that there is nothing mere about delight.
Set in and around the fictional town of Vaughn, Brown’s stories contain characters driven by duty and guilt down paths furrowed by their own lapses and eccentricities. A cloud of fatalism hangs over many; the weight of the past—personal, familial, historical—presses constantly at their backs.
