WE PRESENT not just pop lit, but sometimes straight pop, on our path toward true “fusion” fiction. No less a personage than Jonathan Franzen has claimed to have a similar goal– except that in his ultra-long novels there’s less entertainment value than in a single story by Alan Swyer– and less than one-tenth the heart.
Doubt it? Read Alan’s new tale “Country Sweetheart” to see what the pop lit revolution is about.
Writers are reinventing the short story art! We’ve been covering this in our ongoing series, “Hyper-Talents of the New Literary Age.” In conjunction with running Alan’s story we present Part IV of the series at our News blog. This section is devoted to– what else?– pop writers.
Grab the New!
“When the world gets weird, instead of doing a Dusty Springfield –”
“‘Wishing And Hoping’ that things’ll change, you’ve got to do something so that you’re who’s changing.”
“That what you do?”
“It’s what I’m doing.”
WHEN ONE CONSIDERS a project like our proposed “All-Time American Writers Tournament,” one bumps up against notions of the Canon. That collection of writers and literary works designated by the academy as worthy of preservation and study.
YET the world has changed so drastically the realization hits that for all its impact on society, there is no Canon. Or: no one cares. For the general public, a Neil Gaiman or Stephenie Meyer has more importance than a score of canonical writers. Names like Ralph Waldo Emerson and Pearl Buck barely register. Inside the classroom it’s hardly better, according to a college professor we know. The chief struggle is to keep students off their smartphones and have them read the assignments. Compared to the overwhelming noise of media found on phones, the internet, and television, of what impact is an assigned poem, play, or novel?
Professors themselves aren’t the respected figures they once were. A quaint person in a classroom– artifact from another era. Quickly forgotten.
So low is the standing of “Literature” in the culture that we ask ourselves, “Why bother?”
We’ll likely make the attempt regardless. An impossible task– to have readers become interested in dusty figures of history at a time when for most of the population there is no past, only NOW. A task but also a challenge. A test to see if the best writers, as personalities and talents, can be made interesting. Even provocative.
The Canon? Is there a Canon? Should writers today blow up all notion of a Canon? Or reinvent the Canon?
These are questions our tournament will address. . . .
Meanwhile take a look at our new book review blog with sample review. We have several reviews of our favorite authors to put up– but are also looking for reviews, commentary, or gossip by others, short and to the point. Make it new. Make it exciting. Make it pop!
AT ITS BEST flash fiction gives you real life in short bursts. Could one say the effect, from an artistic standpoint, is cubist? Sample two new flash pieces by Andrew Sacks to see. One story’s about a marriage. The other, about a job interview. Fast-but-sharp reading.
Miles had always tried to compensate by a self-confidence bordering on bluster. Certainly not a bully, he did in fact seem to intimidate many people, or at least put them on their heels a bit, by his overriding assertiveness and swagger. His belief in himself was absolute. . . .
We’ve also tweaked our “Young Writers” essay, including the fourth profile, of Jess Mize. Are these four writers the future of literature? Do they point a way forward for the literary art– bringing new imagination, charisma, and talent? Read the essay. We’ll be spotlighting other young writers in coming months.
(Painting by Juan Gris.)
To demonstrate our ongoing commitment to pop fiction we present as feature a new Norbert Kovacs story, “The Fight.” American literature became thoroughly American when it became thoroughly vigorous– expressing the tough lives and harsh environment of the American landscape. Back in the days when American lit, via writers like Jack London and Rex Beach, was thoroughly populist– not simply a plaything for generously-educated elitists in Brooklyn wine bistros or Manhattan drawing rooms.
We believe you’ll find the Kovacs story a far cry from that refined lifestyle! (Incidentally, when we continue our Overview of new literature, we’ll address the “Pop” side of the pop lit equation– this story a preview.)
Bruises colored his chest like dark blue medallions. His shoulder received a scarlet gash from a punch that had torn him. Mort strained to stand up under McCurdley’s new blows. He had to tell himself to fight. Deliver, he thought. Hit. He lunged and swung.
(Painting by Fyodor Bronnikov.)
AMERICA is captivated by the ongoing NCAA basketball tournament. Office pools choosing winners and losers have made their picks. Tremendous interest in the sport thereby generated.
What if there were a writers tournament?
And so, we’ll soon begin at this site the semi-fictional “All-Time American Writers Tournament,” pitting novelists against playwrights against poets to decide WHO is the best of them all.
Would such a tournament work?
Only if others contribute– in aligning the brackets and judging the contests.
Hemingway against Updike? Mary McCarthy versus Joyce Carol Oates? It could be competitive and fun.
The question arises: IS there such thing as American literature?
The nation was far into its history before its literature was taken seriously by the rest of the world– only when it became the true voice of the land and the people; ALL the American people. It’d be crazy to throw that away.
Our literature has been expressed through a diverse collection of writers who are uniquely American. Melville to Millay. Emerson to Ellison. Beecher Stowe to Maya Angelou.
(We’ll also be getting back to our other ongoing feature, “Hyper-Talents of the New Literary Age,” very soon.)
(Artwork by Jacques-Louis David.)
We’re stylists. We look for writers who are creating what we consider to be pop lit style. That elusive hybrid that’s both “pop” and “literature.”
One of the best of them is Calder Lorenz. His story for us, “The Good Road Gone,” has elements of noir combined with a terse style and a sense of the literary. Pop writing that means something. We think you’ll like it.
He heard the car door. He looked at the clock on the windowsill: 3:04. He smiled at that. He got the rifle and then he loaded the clip. He wore a gold medal around his neck: St. Anthony. It was a gift. Something lucky he’d gotten before he’d gone off.
(Also read our News blog notice on Calder’s just-released novel.)
Art by Sonia Delaunay.
We make the point again and again. In this noisy age literature in all its forms has to change. To become far more exciting– within the culture; to the general populace.
In Part III of our overview, “Hyper-Talents of the New Literary Age,” we’ve profiled young writers who bring new perspectives to fiction. Who have the talent to reinvent the art. Few fit this designation better than Jess Mize, who’s been making noise across a variety of upstart lit sites. We have an excerpt from Jess’s novel-in-progress. Fittingly, the story is about reinvention.THEN stay tuned for a new profile of Jess and her writing, due in a few days.
At New Pop Lit, the future is NOW.
The young boy learned in one fell swoop of his powers and of the neurotic, mysterious trance of performance art. It was like seeing lightning strike a natural object right in front of your eyes, the electrical force penetrating your mind and becoming a live, vibrating current in the conduit of your brain waves.
(Art by Jean Metzinger.)
At New Pop Lit we’re on a mad search for future writing styles– and for new styles for writers themselves. We foresee a changed literary landscape where writers’ personas are inseparable from their work. Once, writers were public figures. They deserve to be so again.
Which brings us to Lauren N. Jackson, third of our “Young Writers,” part of an long examination of literature today which we’re calling “Hyper-Talents of the New Literary Age.” The four examples we’re using are each extremely talented, albeit in markedly different ways.
Are there commonalities between the four of them? Yes!
First, their writing styles are striking and economical. A Pop Lit requirement.
Second, all of the four convey a sense of unease, even bewilderment, at the world before them.
This is the case with Lauren N. Jackson’s entry in our series, “The Spore Guild.”
Does art equal madness, and madness art? Read her tale and decide for yourself.
(THEN read commentary on Lauren and her writing, as we add to our “Hyper-Talents” essay. Be sure to scroll down.)
Now the question I’ve finally allowed on my lips is – what’s out there? What haunts us, hunts us, destroys us? How much longer do we have? Will I go truly mad? What if I already am? Perhaps my whole reality has shifted in my head and I only think I’m living my true life.
(Art: “The Revolt” by Luigi Russolo.)
–in which we continue Part III, “The Young Writers,” of our overview of today’s literary scene, “Hyper-Talents of the New Literary Age.” Continue reading the essay here, as we’ve added commentary about the second of four young writers to be profiled, Eli Cranor. THEN read Eli’s excellent short story about the teaching profession, “Five Minutes.”
As you’ll see, the question posed during this part of the essay is, “Can writers become cultural stars?” Our answer to the question is a resounding “YES!”– but we acknowledge it won’t be easy. Every cultural force has its beginnings. With the Beatles it was dive clubs in Liverpool and Hamburg. With revived literature, it might be right here. . . .
Mr. Koontz first few weeks at school had involved very little details. Instead there were a lot of situations like this: a large blonde woman sits down in front of you and she has a daughter, they look nice enough, but you can’t remember the girl’s name, not even a detail like her name.
(Painting: “The Fate of the Animals” by Franz Marc.)
Our series on new happenings in today’s literary world continues. “Hyper-Talents of the New Literary Age.”
Part III looks at the new generation of writers– literature’s hope and future. We were going to call this section “The Lost,” as a nod to the Lost Generation of the 1920’s, a huge influence on a couple of the best young writers we’ll be featuring. We decided that designation was too downbeat. We’re optimists. We might as likely call this section “The Found”– talented individuals who found writing as their preferred means of expression, when they might instead have been painters or musicians or movie directors.
(Of course, there are no longer painters; musicians are reduced to the atonal or electronic, the human element cut out. Movies? Are there still movies to speak of? The Academy Awards are this weekend, and by all accounts contain not an outstanding crop.)
No, the future belongs to writers– to new literature. We kick off this part of our overview with a new story by Samuel Stevens, “Greener Country Grass.” This will be followed by new work by three other young talents, as fast as we can ready and post them.
Despite his youth (he’s still in college), Samuel Stevens is a thinker, essayist, and novelist, as well as writing in the shorter form. Definitely a name on the literary scene for years to come. Read his story now.
“Do you have a lot of money like Ray?” one of them asked.
She took me aback. “No,” I said. Ray did come from a well off family. The girls were all a little drunk; Loeb must have been keeping them supplied while I talked to the bartender. I pulled up a chair and sat down.
(Painting: “The Red Tower” by Robert Delaunay.)