The Future of Fiction?

News

THIS QUESTION is asked by Valerie Stivers in a new column at Compact Magazine— in which New Pop Lit and its editor are mentioned. The topic? What Stivers calls “Rebellion Lit”– which really means, in the context she uses the term, those writers and literary projects who believe the literary game– the art, how it’s produced and how it’s marketed– needs to radically change.

Stivers lauds the ambition but is skeptical of the ability of those mentioned to achieve the objective. Speaking only for this project– possibly the others– our chief focus at this point is simply to bust open the door and break literature and creative writing out of its stultifying box. To point a direction– and hope others will follow. The idea, first, is to begin moving. Attempting new ideas, as we’ve been doing, whether the idea is multi-dimensional writing, or fiction and poetry involved in the here-and-now. Fortunately(?) some other rebellious literary person (John Pistelli) was used by Stivers as example of the failure to fully embody the New. Which would be like famed jazz drummer Buddy Rich’s remark in 1956 about Elvis Presley and his rockabilly combo that “These guys can’t even play their instruments!” Within a few years, rock music entered new realms of creativity and popularity, while hyper-skilled Buddy Rich was forgotten.

SIMULTANEOUS to these contentions, we posted a day-late “May Day” column of our own at our colorful Fast Pop Lit site, here, about F. Scott Fitzgerald’s novella May Day— a long-ago work which itself might answer questions raised by Valerie Stivers’ column. Does it? If you have thoughts on this or related matters, let us know!

Alex Bernstein and the Pop Short Story

Pop Fiction

WHO WRITES POP SHORT STORIES?

AS WE WORK to develop what we call the 3–D story– a large component of which is pop writing– we’re aware of how few writers even try to write genuine pop anymore. The kind of accessible-and-fun stories which were once hugely popular– a time when the short story mattered. A time when the short story was THE popular American art form, written by the likes of F. Scott Fitzgerald for large circulation magazines like Saturday Evening Post and The Smart Set. In 1930 Fitzgerald was paid $4,000 per story– the equivalent of $60,000 today. A Golden Age for story writers! Writers need to realize why.

Scott Fitzgerald believed he was slumming when writing in this mode– but he wasn’t. Viewed from a distance, many of his pop stories today read as the freshest, most genuine things he wrote.
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MEANWHILE, we feature the reappearance of the best pure pop writer in America today, Alex Bernstein. His latest, “Props,” exhibits the special strength of the form. Which includes a fundamentally positive outlook on life, on people and the world. Which we could all use a little of right now.

I explained that Buster is my constant companion, my soulmate, and also a beautiful, stuffed, potted frond plant. He’s my oldest and most favorite prop, and the first real one I ever created. Buster’s been in every show I ever worked on. (He fades perfectly into the background.) We travel everywhere together. He’s very lucky. And yes, sometimes I talk to him. What’s it to ya?

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(Paintings: “Arc De Triomphe” by Zelda Fitzgerald; “Potted Plant on Windowsill” by Edvard Munch.)

Double Controversy

All-Time American Writers Tournament

NOW we’ve stepped into it! Two literary controversies at one time, both of them connected to the All-Time American Writers Tournament. (We’ve been offering exclusive coverage of the tourney here.)

FIRST is the seldom-discussed matter of T.S. Eliot. Where lies his allegiance? America or Britain? Is Eliot considered a British poet– or an American one? Where should lie our allegiance? Contribute to the discussion, if you dare– should you care– here.

SECOND, we believe we’ve thrown new and historic light on the friendship between the two biggest names in American literary history, Ernest Hemingway and F. Scott Fitzgerald. How deep went their feud? WAS Scott a passive actor– a simple punching bag; on the receiving end of Ernest’s shots and scorns– as our nation’s most esteemed lit critics seem to believe? Or did Fitzgerald get his shots in against one-time protégé Hemingway– not once, but twice?

Are we prepared to take on the entire U.S. lit-crit establishment over this issue?

YES!

Read about the matter here.

State-of-the-art thinking about writing and writers, letters and words, only at New Pop Lit.
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(Public domain image of Ritz Bar in Paris with photo of Scott Fitzgerald.)