Adventure and Style in Fiction

STANDARD in classic fiction of the past, especially from short story writers, was a sense of style or adventure– or both. Jack London and O. Henry emphasized adventure— albeit very different types of adventure: wilderness and oceans on the one hand, stray unpredictable adventures which could assault a person in cities like New York on the other. Writers Edith Wharton, Henry James, and F. Scott Fitzgerald placed more emphasis on the kinds of styles exhibited by their characters, and from the sophisticated settings in which they moved. This was back when the short story was the popular American art form.

Today we present a story which captures that much-needed sense of mystery, adventure, and style, “The Names Divine” by C. A. Shoultz. Our first feature of 2021, with more to follow.

In due course they arrived atop the stairs. Simon walked beyond the masked man and beheld a table covered in black velvet. A sign above it, written in gold script, said: “Choose your mask. Choose your name.” Sure enough, upon the table were a small number of masks just like his escort was wearing. They were widely and irregularly spaced apart, a sign that many others had come here before him and done what he was about to do.

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(Art: Above: “At the Masked Ball” by Jean-Louis Forain. Below: A section of a poster for a movie by Gaumont Films.)

Talent Search 2020

Announcement

WHO ARE THE BEST NEW WRITERS?

We are going on a more relaxed posting schedule in the next so-many weeks, so we can focus on our behind-the-scenes activities.

Which include:

-Creating a few print-zeen prototypes. The most ambitious aspect of the New Pop Lit project.

-Further development of our version of the “3-D” multidimensional story.

-Increased emphasis on locating striking new writing talent– with the proviso that talent isn’t enough. We seek ability to adapt to our artistic ideas of pop clarity and energy, as well as charismatic attributes.

Will we be staging an “NPL Combine” to access the best indie writers on today’s literary scene? Possibly!

We’re looking for the Billie Eilish of the literary world. Talent and pop attitude. If you’re that person, get in touch!

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IN THE MEANTIME, we have much terrific writing upcoming– including a new fiction feature, more “Pop Quiz” Q & A’s, and for April, poetry and poetry-themed prose for this year’s Poetry Month. THEN, more excellent fiction. Not to miss.

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(Art: “The Bach Singer” by Johannes Itten; “Portrait of Jean Metzinger” by Robert Delaunay.)

Technicolor World

Essay

THIS WEEKEND is the largest of the many “Dream Cruise” events taking place every summer in the Detroit area. A parade of many hundreds of colorful classic cars– most from the 50’s, 60’s, and 70’s– in this instance cruising up and down Woodward Avenue, long the main drag in town.

A dream cruise is a celebration of summer and of car culture, engaged in by fans of the unique blend of technology and artistry which the automobile at its best represents. They’re a celebration of Detroit, and really, of America.

But what they are also is a celebration of color and style. Technicolor-level style and color, which seem to have vanished from today’s monochrome world.

Many movie directors today bleed much of the color out of their flicks. Gone are the glories of a vibrant assault of sensation, as experienced by moviegoers of a bygone era. The problem is that this same process has taken place in the world at large. Including in many aspects of today’s culture.

(Melodrama? What’s melodrama? Where any longer is an over-the-top expression of emotion and plot?)

We’ve become a cautious, timid society, everyone monitoring their words, thoughts, and emotions. Can’t have too many emotions, or you’ll be medicated. The watchword is safety. Play it safe! Which for the creative artist is death.

A handful of snarky New York City film critics dismissed Quentin Tarantino’s new film, “Once Upon a Time in Hollywood,” as too retro. Artistically reactionary. A celebration of a bygone era never to come back. But is it? Isn’t it rather a celebration of the glories of style and ART?
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The past two summers we’ve featured what might be considered Technicolor fiction. Awash in color, and also romance. Young love. Upbeat expressions of the possibilities of life, which still exist if we step out of our cocoons of doom and grab for them.

Last year we ran “The Austin Strangler” by Nick Gallup.

This year, we featured Angelo Lorenzo‘s “Spoiler Alert.”

These are both fun, “pop” reads with a pop sensibility and outlook– painted as much as written on the page.

Read them, or reread them. They represent the basic foundation of what we and the pop-lit style are all about.
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(Painting: “Airplanes on the Metropolis” by Tullio Crali.)

New Pop-Lit Fiction

Pop Lit Fiction

WHAT’S Pop-Lit Fiction?

What we call Pop-Lit Fiction is fiction written with perfect clarity that at the same time “pops” with color and tangible life– making for an enjoyable reading experience. A story whose well-structured form provides a feeling of harmony. An artistic sense of unity and completeness.

No easy feat– but accomplished in our new feature story, “Spoiler Alert” by young Philippine writer Angelo Lorenzo. Structure using simple plot which results in surprising emotion. Tangible details. Manifest humanity.

Read it and see if you agree.

But here she is beside you, and you can’t help but be grateful. Now, the screen shows
the action sequence. You see the superheroes in iron suits, capes and tight fitting spandex
dueling against an armored purple alien and his massive army on a red planet. You wonder if each thundering blast comes from the screen, or from the fast-paced beating in your chest amplified by the theater’s Dolby Digital surround sound system.
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(Art: “Man and Woman” by Fernand Leger.)

Fiction Reinvention

Pop Lit Fiction

REVAMPING THE SHORT STORY ART

WHY do we illustrate this post with the famous painting of Gertrude Stein by Pablo Picasso?

BECAUSE with her innovative writing style, Gertrude Stein kicked off one of those period attempts to reinvent writing. This effort had its greatest effect via Stein protege Ernest Hemingway, whose collection of short fiction, In Our Time, at the time revolutionized the short story art.

There is always a push-pull where the short story is concerned. Creators and innovators like Hemingway (or Gordon Lish and his minimalist friends Raymond Carver and Susan Minot in the 1980’s and 90’s) attempt to breathe new life into the form– only to see their efforts counteracted by the stodgy mindset represented by prestigious Iowa-style writing programs and The New Yorker magazine– which some would say are the same thing.

WE at New Pop Lit would like to kick off a round of short fiction innovation. Toward that end we are doing two things:

1.) Beginning what we call The Short Story Process— a creative procedure through which we hope to arrive at the promised land of a reinvented art.

2.) Spotlighting new writers whose work in subject or style colors outside the lines of the artistically acceptable, the bourgeois, the already done. Toward that end we present a new story, “Ain’t Worth a Dollar,” by Atticus Davis, who writes under the name Savage Ckhild, a handle that may say it all.

She’s sitting in the car with her hair tied up, I forget how beautiful she is, I always think I’m going to be immune to her, to them—so she smiles this unblemished smile, that lasts one second before it collapses into this miserable, needy, fearful smile. I feel guilty for being here.

Fiction: The American Scene

Pop Lit Fiction

ABOUT AMERICAN CULTURE

IS there an American culture distinct from other cultures? Apart? Unique?

WHAT would be traditional aspects of that culture?

One hallmark of American culture for sure is American-style football, around which much energy is expended every week, every fall, at several levels– pro, college, and high school. A sport of unique speed and strategy, accompanied by uniquely American color and noise.

The smell of autumn. Homecoming. Marching bands. Cheerleaders. Local rivalries. The Prom. The Big Game.

As we’re currently into football season, New Pop Lit this week presents a short story, “The Austin Strangler” by Nick Gallup, which perfectly captures that milieu, along with everything right and harmonious in partaking of tradition, romance, and games.

He was definitely intrigued and bolted outside. He saw a Carolina-blue ‘55 T-Bird with the top down. That was beautiful, but what was inside was even more beautiful, a girl he’d known for years, but only from afar. He now knew her name, Lauren, and he’d never seen her in anything but shorts. She was a cheerleader for Austin High School, the cross-town rival of his high school, Harrington.

(Art: “Autumn” by Franklin Carmichael; “Football” by J.C. Leyendecker.)

Fiction, Film, Editors, and Gurus

Pop Lit Fiction

THE SUBJECT of editorial independence has come up within the literary world much of late– especially with the recent ouster of Ian Buruma at New York Review of Books.

TO STAY topical we present a new short story from that always entertaining observer of American business, manners, and culture, Alan Swyer. His new tale, “The Sage,” looks at creative smarts and editorial independence within the film industry– a business Alan Swyer knows much about.

CAN Swyer’s lead character, a movie maker named Tarlowe, rescue a troubled film project involving a difficult celebrity wise man– and maintain his integrity while doing so? An inside look at a tumultuous world.

The non-stop travel, coupled with interviews that ranged from eye-opening to scintillating, proved to be a dizzying experience. But even as he reported in periodically, informing his benefactor about what had been said, and by whom, a question kept gnawing at Tarlowe. How would the man who billed himself as The Sage, but who came off in person like a somewhat epicene song-and-dance man, fit in among such luminaries?

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(Art: “Burning the Darkness” by Nicholas Roerich.)

Revamping Fiction

Pop Lit Fiction

WE’VE begun to rethink several aspects of this project. One of the items on our planning table is fiction– the style offered. We’re toying with prototypes– will eventually implement tighter requirements. That it be dynamic, punchy, readable, fast, and if possible, fun. The future story will need to slap the reader in the face and grab that person by the collar, in order to survive as an art form.

EVIDENCE shows that the finely-detailed, well-crafted literary story is as slow and obsolete as a Studebaker automobile.

It reaches no one beyond a finely educated clique. A literary priesthood, stodgy and complacent, well-suited for preserving the literary art but not for taking it to new areas.

OUR NEWEST offering, “Hats Off to Bob” by Bob Lorentson– a story about hats!– gives a basic template to build on. Likeable and readable, with a modest-but-amusing punchline. Lorentson isn’t Ernest Hemingway. (Who is?) But we think Hemingway would appreciate what Bob Lorentson does with this unpretentious tale. If not a Corvette, then a Mini Cooper.

Confidence. As much as he hated to admit it, he knew that he lacked the confidence that all those other people had. Or appeared to have. All thanks to his wimpy name and bland, impotent face. Things he had absolutely no control over. It wasn’t fair. How could he go about getting more confident?

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OUR LATEST New Pop Lit News report is about dinosaur booksellers, specifically Barnes and Noble. Read it here.

WHAT’S the future of books and literature? We’re not sure, but we know they belong to everyone.
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(Art: “Her Paintings, Her Objects” by Sonia Delaunay.)

Toward Three-Dimensional Literature

Pop Lit Fiction

MANY have been those writers who realize we’re trapped in a linear mode not just of thinking, but writing. Yet many are the modes the writer can use to convey his tale– to depict three-dimensional reality– and isn’t using them.

The trick in experimentation in fiction writing is to keep the prose readable. Today we have a story by literary magician Elias Keller which is very readable, but– and that’s all we’re going to say. (Note, however, subtle shifts in style.) The story is “On the Rails, Off the Rails.” You have to read it. Let us know what you think.

There was only one road leading out of the parking lot and he was blocking that. Surrounding the lot otherwise was the woods. She had no chance in raw combat, but she did run three miles a day.

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(Art: “Portrait of Albert Gleizes” by Jean Metzinger.)