ANNOUNCING THE RELEASE OF THE LOUD BOYS
THE QUESTION is whether or not it’s permissible to present hyper-pop writing as literature– mandarins in Manhattan and portions of academia would shake their heads “No!” in strong disagreement– when before the Technocratic Era of American Literature which began during the Cold War– circa 1950– hyper-pop emotional involved-in-the-world populist, naturalist, melodramatic, Dumas and Dickens writing was the standard of value. High Modernism and its distorted offshoot, Postmodernism, were on a railway side track. Definitely not the main line as it was later portrayed to be by those with an assortment of agendas to push.
OUR GOAL at New Pop Lit from the beginning of this ambitious project was to bring literature back to the people, via readable, exciting, entertaining and meaningful writing which can connect with the everyday lives of everybody. NOT solely an insular snobby elite removed from the hectic wars of society which seem to become with each passing year ever more hectic and challenging. For many of us, it’s a fight just to survive. Plodding dull fiction– Stoner by John Williams for example– doesn’t cut it.
The new novella The Loud Boys is an attempt to present the antithesis of the status quo Stoner mindset. The book has roots in a variety of influences, from Stephen Crane, F. Scott Fitzgerald, Ernest Hemingway, Georges Simenon and Raymond Chandler, to movie editing techniques and even graphic novels.
A few posts explaining some of the aesthetic and strategic ideas behind it:
ARE the ideas behind hyper-pop aka multidimensional writing the future of the literary game? We’ll find out!
New Pop Lit 