Laura McHugh – The Wolf Wants In (Spiegel & Grau)
”Part of the appeal of rural noir is that, to people living elsewhere, the way of life might seem a bit exotic and unexplored. The isolation and the forbidding landscape lend a sense danger and tension. Anything could happen in a place that feels beyond the bounds of law, where people might cross lines to survive, where there are plenty of places to hide bodies so they’ll never be found.
While I’ve been thrilled to see my home represented on a larger stage, not everyone here is happy about the boom in rural noir. Some people complain that it’s making us look bad to the rest of the world, that we’re being portrayed as degenerate hillbillies. There’s merit in that argument. There’s a fine line between depicting the flavor of a region and crossing into mockery by reinforcing stereotypes, but for me it goes back to my poverty-stricken childhood in the Ozarks and the feeling that my own life, my own stories, were not valid or relevant, that they weren’t worthy of being visible to an audience. For a decade, Missouri was the meth capital of the United States. Poverty and drugs and a lack of opportunity are real problems here.”
Citerat ur ”In Rural Noir, I Found Myself” av Laura McHugh
I ”The Problem of Neoliberal Realism in Contemporary Fiction” argumenterar Madeline ffitch, framgångsrikt, tycker jag, bland annat för att konflikten i samtidsprosan reducerats till en gimmick och en teknik som lärs ut på skrivarskolorna. Resultatet är något hon kallar för nyliberal realism. Den undviker inte konflikter, men den gör dem mer banala, binärt förutsägbara och den fjärmar oss därför från verklighetens konflikter.
”[Joan Didion] has remained cool, and it is perhaps this enduring quality that has transformed ‘Didion’ into a word beyond just a proper noun. With the coy assistance of suffixes, her surname has become an adjective, with ‘Didion-like’ and ‘Didion-esque’ signifying all things Didion: a detached but insightful, prescient but vulnerable female writer, acidly exposing American faults to American readers.”
Citerat ur ”Slouching towards Didion: the book blurb bywords holding the industry back” av Rafia Zakaria i The Guardian. Zakaria gör iakttagelsen att det bara är vita kvinnors verk som blir betecknade som Didion-esque och menar att etiketten används ytligt och är hämmande för litteraturen.
”In the past few years, authors concerned about the accuracy of their cultural representations have started using a new tool. Sensitivity reading, or beta reading, involves manuscript review where the author is writing about a marginalized group to which they doesn’t belong. A sensitivity reader might have a particular medical condition, sexual orientation, ethnic background, or any experience or identity that may be poorly understood by the majority culture.”
Citerat ur ”On the use of sensitivity readers in publishing” av Christine Ro i Lit Hub.
Via Wellcome Library, London
”The last dozen years or so have seen the emergence of a new strain within the Anglo-American novel. What has been variously referred to as the novel of consciousness or the psychological or confessional novel—the novel, at any rate, about the workings of a mind—has transformed itself into the neurological novel, wherein the mind becomes the brain.”
Citerat ur ”The Rise of the Neuronovel” av Marco Roth i n+1, Nr. 8 hösten 2009.
”Endurance lit – stories of extreme athletic feats in which one daring sportsman survives enormous hardship, et cetera to emerge on the other side a more thoughtful, ethical human being, et cetera – is a thriving subgenre, but what explains its appeal? ‘Here’s the most revealing facet of endurance lit: most of the best sellers in this genre are about self-imposed hardship. They are about sport, in its widest sense.'”
Citerat ur The Paris Rieview blogg The Daily.
”Over the past few years, the art world has been throwing around the term ‘post-Internet’ to describe the practices of artists who use the Web as the basis for their work but don’t make a big deal about it. […] We’re beginning to see a similar turn in poetry. Earlier Web-based poetries tended to either exploit the technical side of the Web or underscore the weirdness of it. E-poetry animated words and letters in browser windows. Conceptual poetry made dry, programmatic works that mimicked the structures of the Web. Flarf harvested strange language from Google searches and then presented it newly as kitschy objet trouvé. Alt Lit aped the goopy sincerity of social media, recasting it in poems. These movements produced very different types of poetry, but they shared the idea that the Web was a distinct rupture in the way that poetry was made: after the Web, we would never write the same way again. […] But a book like Zultanski’s ‘Bribery’ uses the Web while downplaying or taking for granted its influence.”
Citerat ur ”Post-Internet Poetry Comes of Age” av Kenneth Goldsmith i The New Yorker, 10 mars 2015. Läs en dikt av Sam Riviere som nämns i artikeln som ett exempel på en författare som skriver post-internet-poesi:
Veckans dikt 32: ”american sincerity” av Sam Riviere