27 November 2012
The past couple of weeks has been quite the whirlwind. The launch of Bloom has been wonderful—lots of enthusiasm and support, not to mention some choice press from the New Yorker, the LA Times, Flavorwire, and The Atlantic (coming soon: a bloggy thing on Bloom at the HuffPo). Today I got a mini-orientation to the wonders of Twitter; which I sort of get, in theory, but only superficially at this point. At any rate, Bloom is at this point something between a magazine and a community, and it’s that community part that needs to engage at both Facebook and Twitter; and if you know me/have been reading my blog, you know that I’m, uh, not the best person to make that happen. But we’ll figure it out.
All this to say that with editorial plates spinning, a novel in-progress, teaching, continuing to write for The Millions, and basic life-care; writing here with any regularity is The Thing That Has to Go. I’ll be signing off for a little while; but I’ll be back. In some form or another. Things have a way of continuing, even as they cease…
(p.s. I’ll keep up my Reading List page, mostly for my own visual record.)
17 September 2012
Thanks to Lisa at Like Fire for alerting us to NYRB’s new e-book series, NYRB Lit — “devoted to publishing contemporary books of literary merit from around the world.” Launching this fall, which means, presumably, now!
I’m way behind when it comes to e-reading; when I speak of “turning the corner,” I mean my relationship to e-reading, not e-reading itself. (I tried the Kindle a couple of years ago and just couldn’t do it — no pages, all that scrolling, ick.) But then again: NYRB launching an e-reading series feels momentous; with their beautiful Classics Series (bringing worthy classic titles back into print), and tabloid-format bimonthly mag (long-form reviews and articles), NYRB has felt to me like the last man standing.
And yet, their new series feels… natural. As if they waited until it felt right, no need to rush, and then went for it. Of course it just makes sense, when your mission is to bring the best (non-blockbuster) literary work into the world, and you want to publish new work, economically risky work, that you’d take advantage of low-cost production and distribution. I’m excited.
As always, it looks as if many of the titles will be works in translation; and the “covers,” i.e. the digital thumbnails, are lovely.
I’ve been thinking about an ipad; if the rumors about an ipad mini are true, then the corner may very well be turned this fall — for me, and for NYRB.
14 February 2012
I’m awfully glad to hear that Carrie Tiffany has a new novel out! (I wrote about her first novel Everyman’s Rules for Scientific Living, at The Second Pass, a couple years back.) It’s called Mateship With Birds and it’s been published by Picador. Read more about it in this interview with CT here.
I’d had a brief email exchange with Carrie Tiffany back in 2009; she said she was really struggling with the second book, and also not finding much time to write (children, full-time job, etc). That the book is being released now, in 2012, makes my heart pitter-patter (appropriately, on this Valentine’s Day?), because it means that this very talented woman, with as many life challenges as anyone to deal with, got down to it: she got it done, despite the obstacles. Three cheers!
Here’s what Tiffany herself says about her slow process (she wrote an entire novel that she ultimately threw away):
If you’re wondering why there were seven years between her novels, part of the answer is that she wrote another novel. Freud in the Bush grew out of that first short story about a snake. In reality, the great psychoanalyst sent a paper to an Australian conference in 1911. Tiffany imagined he attended to give a paper, On the Pouch, and took a train inland from Spencer Street Station. When the novel was finished she threw it away. ”I realised I was making fun of him,” she says. ”The more I read of Freud, the more I was convinced a great many of his discoveries were correct – that what we really want as adults is what we wanted as children, that dreams often point to repressed desires, that sexual repression manifests itself in the body in a variety of ways. I could no longer treat the subject with the irony I had intended.” [...]
Don’t expect another novel from Tiffany in a hurry. She has begun writing one, set in the 1970s. However, she says, ”People write too much. They write to prove they’re still writers”. She writes slowly and in the end, ”I hand in a postage stamp and the publisher says, ‘More, more!’ I’m definitely a miniaturist.”
I’m not sure where to find the novel at this point – it’s not yet on Amazon or Powell’s. But I’ll keep looking.
8 October 2011
This is one of those long-form pieces accessible online that I think is worth your while. At Triquarterly, poet Michael Anania describes the sometimes-absurd ways in which academic institutions attempt to assess the “value” of a potential faculty member’s publications, based on who is publishing their work and how:
At one absurdly comic point, an administrator at my own university drew up a long list of literary magazines and presses which he sent out to people he thought of as experts in the field. He asked that they review the list and assign numerical values to each of the magazines and presses based on literary merit and stature. His plan was to multiply the number of poems, stories, lines or words—I was never quite sure which—by the “quality rating number,” then add the results and get a number that would represent the writer’s achievement. The plan was never put into effect because the chosen experts, those, at least, who didn’t simply laugh and throw his letter and list in the trash, sent their letters and lists to me, either as a not-so-gentle jab at my department or with the presumably flattering suggestion that I would be the person most qualified to assign the ratings.
Anania focuses on the perspective of academic hiring committees, and on scholarly and poetry publishing, but I think his discussion here pertains to an “at-large” view on a writer’s “value” and “success” as well:
Fiction that makes its way into quality paperbacks or Penguin paperbacks can retain its commercially conferred value, while fiction that moves into mass-market paperback tends to lose value. In this strange form of what might otherwise be called thought, some commerce is good but too much commerce is bad or at least less good. Lingering here is the notion that the more commercial something looks, the more valuable it is, unless that look is wholly commercial and thus lowbrow, all of which is more than a bit distressing since universities are supposedly places where ideas of value are hashed out independent of corporate influence [...]
In regards to the publication of scholarly monographs, i.e. the economic evolution in this area of publishing:
The question is: are these drab, expensive monographs less good than their fancied-up predecessors? And now that scholarly, as well as literary, publishing is moving to electronic, rather than paper, media, will it be less valuable? Less tenurable? [...]
(The word “tenurable” here is, I think, rather brilliant and somewhat chilling.)
Anania also celebrates the excellence of small indie presses and debunks the notion that small and nimble means of lesser merit or value.
The increase in the numbers and variety of poets writing and publishing has been met by an increase in the number of small poetry presses. This essentially positive literary development creates new areas for the kinds of misunderstanding that are generated in tenure and promotions committees. Is a press with a name that is unfamiliar to committee members or located far away from Manhattan respectable? That is to say, does it represent a judgment a committee can rely on? Does it represent any editorial judgment at all? [...]
Here are some of the tangles you get into if you confuse commercial publishing with literary value. For years Marvin Bell had Atheneum as his publisher. He changed to Copper Canyon, a non-profit small press. Did his value as a poet decrease? Charles Wright went from Wesleyan, where he published for twenty years, to Farrar Straus, so presumably he became a better, more consequential poet [...] Lucille Clifton went from Random House to BOA. A similar decline? Gwendolyn Brooks left her New York publishers for Broadside in Detroit, though with that change her career seems to have soared [...] (Anania goes on in this vein to cite many other poets whose publishing trajectories have shifted with the times, nimbly, and for the ultimate good/value of the poet’s career.)
In regards to the flux-y moment we are in, where we can’t quite decide if print is still at the peak of the prestige pyramid, Anania writes:
To choose one combination of technical adaptations over another as having a lock on literary value is simply silly.
And finally — here, here:
One last thing—and it’s the darkest recess of the “publisher” question. There is, if only implicitly, an invasion of academic and aesthetic freedom involved here. Large, commercial publishers and glossy magazines do not necessarily represent higher judgments of literary merit. In the short term, they might offer access to larger audiences. What they do represent—you could argue “enforce”—is a fairly limited set of social and aesthetic choices. Saying that you should publish in the New Yorker is not merely a wish for greater success for you but an insistence that you become a different kind of poet, that you change your subject matter, your poetics, and your voice in order to find a shiny place among the hotel and jewelry ads. Saying that you should publish with Knopf has the same effect. I would be happy if on your own terms you were swooped up by either or both, but not if you tried to remodel yourself and your work to suit what you imagine they want.
I myself get excited about more indie presses popping up; smart and creative folks reclaiming literary publishing as a vocation, a passion, a deep commitment to the life of each book that is acquired and launched into a reading world that truly needs these books. Every business must survive, yes; and I hope all the new small presses sit down and study the economics of the thing and consider how everyone can make a decent living in the long run, how each project has the potential for profit and growth. I also hope that perceptions and judgments about literary value and success evolve in stride.
4 August 2011
At the Hindustan Times, Sanjay Sipahimalani calls The Late American Novel: Writers on the Future of Books “a breath of fresh air” and quotes my essay in the final paragraph of the review.
It’s Sonya Chung, though, who strives to look at the present in just the right manner. The pendulum will swing back one day, she writes, but meanwhile, “…whether you are optimistic or pessimistic, hopeful or dispirited, it is clear that our needs, desires, fears, and values are at stake; and what could be more exciting for literature?” A new age of Modernism could be around the corner, in other words. As that quartet from Athens, Georgia, might well have sung: It’s the end of the book as we know it, and I feel fine.
An R.E.M. comparison?! Definitely a first.
Read the entire review here.