Author: newpoplit

But Is It Literature?

Announcement

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:

“Open Territory.”

“About Graphic Novels.”

“All About ‘The Loud Boys.'”

“Simultaneity.”

ARE the ideas behind hyper-pop aka multidimensional writing the future of the literary game? We’ll find out!

Christmas 2024: Rich and Poor

Pop Lit Fiction

OUR CHRISTMAS MESSAGE

WHILE many of us enjoy Christmas with family and friends this year, let’s remember that others live in more difficult circumstances, and won’t have any kind of Christmas at all. Given the drastic increase in the cost of living the past few years– rents, food, electricity, gasoline, health care– many are having a hard time not ending up in the streets. Increasingly of course, many Americans– and those in other countries– are on the streets. Not to mention the ever-widening wealth gap, as plutocratic moguls become ever wealthier– potentially to increase even more in 2025, accompanied by a shredded safety net. Not to mention the unspeakable brutalities of our era’s wars, with tech guys at companies like Palantir and Anduril devising ever-more ways to kill and maim people. (Civilized? We call this time we live in civilized?)

AS REMINDER that many poor people are out there, even today, we present this Christmas a classic short story by Fyodor Dostoevsky, “The Heavenly Christmas Tree.”

What to make of Dostoevsky? An out-of-date relic from another time period? Or a timeless artistic genius?

Whichever, we invite you to read his story.

He thought that this was still his mother, but no, it was not she. Who it was calling him, he could not see, but someone bent over and embraced him in the darkness; and he stretched out his hands to him, and . . . and all at once– oh, what a bright light! Oh, what a Christmas tree!

Merry Christmas!

-Karl and Kathleen

Human Potential

Pop Lit Fiction

OUR SOCIETY is designed to place all of us into narrow categories based on this standardized two-dimensional test or that one, gauging our ability to fit into a technocratic economic system.  But can they possibly measure all human abilities? IQ tests and others like it have their uses, but are only one way of quantifying human potential. There are many ways of perceiving and interacting with the world, some which go beyond the easily measured or comprehended.

These thoughts provoked by our brand-new feature short story, “The Meteorologist” by Olaf Kroneman— about an autistic young woman whose abilities run outside the norm. A story in line with our goal to present more work which emphasizes our humanity– in this dawning age of the artificial; of robots and AI. Also, this terrific story is simply a great way to end our year of new featured fiction and poetry. (Though we may have a quick classic surprise come Christmas Eve!)

“Mr. Andrew is going to die,” Sarah said. Her voice was loud and piercing, almost a scream. 

She became mute and returned to her mysterious parallel world, but it seemed like she could still hear everything we said. As her long-time family physician, I had grown accustomed to her living in a private world. She would interact with me when she needed something basic or when I attempted to drag her into my world.

Too Much Technology?

Pop Lit Fiction

2024 or 1984?

DO PEOPLE EVER CONSIDER that George Orwell’s novel 1984 was set forty years ago, that we live in a dystopia but it’s more benign albeit subtle and insidious than Orwell’s vision, creeping incrementally but steadily into every minute aspect of our lives? We’re proverbial frogs in a pot of water only the water is 95% boiled and no one’s noticed. Thoughts provoked by our new feature story, “What Does It Cost to Be Civil?” by Tom Ray, about an ordinary couple in an ordinary community who just haven’t quite adapted, yet, to the changing conditions of the world we live in now. Anyone who was bombarded during the recent election campaign by texts and phone messages from hosts of strange numbers will definitely get it. Enjoy!

“Who are you?”

“You know who I am Albert. When you answer a call from me you become argumentative sometimes. Other times, when you’re on your laptop and have YouTube open, you play ’25 or 6 to 4’ by Chicago for me. That’s funny. Why that song, I wonder? And you know about spoofing, which you’ve explained to people who’ve called your number.”

He exhaled. “I thought you were a computer. If somebody answers, you transfer the call to a real person.”

“Oh, I am a computer, but I’m a person, too.”

Late Fall Fiction

Pop Lit Fiction

November! The last days of autumn. A time of falling leaves and dropping temperatures– at least where we’re at. Moments of shortening daylight, cooling breezes, and wistfulness– accompanied by the sudden pulling out of closets sweaters, hats, scarves– and overcoats. Which brings us to our new feature short story, “An Overcoat” by Tony Covatta. About a lawsuit over a missing coat, with glimpses of restaurants, businesses, attorneys, and courts– also a case which must be wrapped up as quickly as possible.

Why is that? You’ll have to read the story to find out!

Here was a chance for astute Gino not only to repair relations with favored client and disgruntled “chief” but also to display his blossoming courtroom chops. Lawyers who try cases—litigators, in short—are a breed apart. They are the jet jockeys of the profession, just as surgeons of essential organs are in medicine. Success, even on a small case involving a missing overcoat, could advance Gino’s climb up the greasy poles of firm acceptance and professional renown. 

Art Perspectives

Pop Lit Fiction

AT NEW POP LIT we’ve long believed in creative innovation. Artistic, human innovation. Among new techniques holding great potential in the literary sphere is what we call multidimensional fiction: offering multiple viewpoints in a single work. A change from the omnipresent solipsistic “I”– sometimes called autofiction– which dominates so much literary writing today. By presenting several perspectives, you create a more rounded work. More realistic, to the extent it simulates our three-dimensional universe.

Which Becky Tuch does well in our new feature short story, “Where the Rivers Meet.” Appropriately, the story’s chief setting is an art museum– places which offer a variety of perspectives.

OUR purpose as a literary site is to offer different perspectives and exhibit the best writing we can find– to be a kind of literary gallery which readers can walk through, and discover in various rooms fresh techniques, new ideas, and stimulating word canvases. Maybe also, works which capture a particular moment in time, as with Becky’s excellent story. Check it out!

Forget the fact that Erika had risen from sales associate to store manager after over a decade of assiduous work, that she had dropped Bess off with a steady rotation of friends in order to attend countless trade shows around the country, that she had stayed continually up to date on what was being done in stores all over the world—wooden wave-shaped chairs in Amsterdam’s Kunst Museum, a floor made of sand in Malta’s Military Nautical History Museum, puzzles, posters, magnets featuring the unsung women of Impressionism. Forget the personalities Erika put up with, the snotty or distracted curators, the petulant or neurotic artists, all to coordinate exhibits inside the store, all so shoppers would have an experience.

Fall Fiction 2024

Pop Lit Fiction

AN ALL-NEW SHORT STORY!

HOSPITALS are places all of us will have experience with at some point in our lives– whether in them as patients ourselves, or through visiting friends, relatives, and loved ones. They’re like throbbing mass organisms with endless bustling activity which to us appears incomprehensible. Who organizes this hectic madness? How do they get things done? Yet they get a lot done, amid tremendous drama.

Our new feature story, “The Memorial” by Brent King, presents some of the drama. Brent has been in the business, so to speak, and knows these places. He does a great job conveying that knowledge, and the emotion which goes with it. The question, though, is what you the reader think.

Check it out!

Tina and I were working together that day. She got the intubation equipment together while I started working on a central line and the nurses started CPR and then got the Lucas set up to compress Sophie’s chest. I knew it was Sophie lying on that gurney and briefly I thought of all the times we’d seen her in the department; tried to get her into rehab, but I pushed all of that down deep and focused on the steps of getting the line and on keeping my breathing steady.

Best of the Net Nominations

Announcement

EVERY YEAR Sundress Publications issues their prestigious Best of the Net anthology, devoted to spotlighting writing appearing online, in digital form. As this has been our chief focus of late– and as this may change, as we’re eager to return to analog print publishing– we decided this would be a good time to submit nominations. As we did last week, ten total, from both our main features and our Fast Pop Lit page, chosen for various reasons.

(Keep in mind that a literary project is limited to two fiction, two creative nonfiction, and six poetry nominations. Book reviews not allowed, unfortunately.)

Our ten nominees are:

Dominik Slusarczyk, “Little Church,” 9/11/2023.

Michael Maiello, “Jon Fosse: Reaction,” 10/05/2023.

James Croal Jackson, “Moment (October),” 10/18/2023.

Ali J. Prince, “Slick,” 11/17/2023.

Bela Seitz, “Give the People Guns,” 12/08/2023.

Ken Kakareka, “Encounter,” 2/20/2024.

James Lee, “Marillion On My Face,” 4/12/2024.

Perry Genovesi, “Sketch Rex,” 4/16/2024.

Brian Pilling, “Today’s Poetry Scene,” 5/13/2024.

Haoyi Zhang, “Ad Break,” 6/26/2024.

There were several pieces we would’ve liked to have nominated, but couldn’t or didn’t. Intense debate at New Pop Lit HQ? Maybe!

The chief idea was to choose those works whose writing and presentation best fit the digital medium. And frankly, we wanted the nominees to be eye-or-mind catching in some way, whether in aesthetic effect, in style, subject, or theme. How well we accomplished that will be for you– and for “Best of the Net” judges themselves– to judge.

-Karl and Kathleen

Time and Art

Pop Lit Fiction

ANYONE interested in figuring out an art form’s place within a society, a culture, a civilization, begins thinking about such things as waves and cycles, growth, peaks, plateaus and declines, as if everything’s on a long-term rollercoaster-style chart. The universe pulses and breathes, as does every part of it. Far be it for our tiny human brains to understand the patterns or plan– but we try. A key part of this modest project is understanding where literature is— where it’s been and may possibly be going. Determine that, and we might just own the literary future. In the same way, maybe, Brian Epstein saw a raw working-class band performing in a smoky underground club in Liverpool, England, and realized that he witnessed the future of popular music.

One writer we’ve published, Zach Smith, writes imaginative stories centered around ideas of time, space, aging– and about the universe itself. His newest story, “Millennia After Millennia After Millennia,” which we’re running as our newest feature, delves speculatively into those questions as much as anything we’ve seen from him. We hope you find it entertaining and thought-provoking!

“One hundred years ago, we took off from the launchpad of Quark. Our planet was dying, and we set forth with all the raw materials we needed to build a new society on a planet in the Zygorch Star system. The starship was a wonder, the pinnacle of what our society could create. She was covered fore and aft with panels that drew power directly from the stars, sails that could ride the wind of the stars, and twenty-seven rockets to blast her off the planet. We called her the Eringostar.”

The old man took a sip of his whiskey, a drink he claimed to invent, the recipe a secret he shared with few, as the potion was quite powerful.

Why New Pop Lit?

Rant

Why do we exist? What are our goals?

WE EXIST to present alternatives to the two poles of the current literary scene: on one hand, overwrought “literary” writing with overemphasis on well-written sentences to the exclusion of passion and plot. On the other hand, generic genre fiction produced in large quantities by the “Big 5” publishing giants, supplemented by an enormous self-publishing crowd (supplemented by AI-generated knockoffs), the focus chiefly on fantasy and romance, all of it already-been-done. In Leo Tolstoy’s phrase in “What Is Art?”: imitations of imitations of imitations.

Today’s literary intelligentsia, centered in London and New York, are the biggest obstacle to artistic progress, as they’re trapped in their high modern/postmodern paradigm– their well-enclosed toy box– and refuse to climb out.

It’s their job (or was) to move the art forward. Instead– to use a summer metaphor– they’re more a lawn mower that’s stalled and won’t restart.

WE BELIEVE all forms of the literary art can be way better than they are now. Than they’ve ever been. More compelling. More original in design and mix of elements. More dramatic. More idealistic. More relevant. We look for writers to adopt that cause, that goal. The road toward creating the New lies open. . . .