Acabo de actualizar mi otro blog estúpidamente llamado "Realismo Literario" con algunos artículos que tenía apartados. No todos tienen que ver siempre con el realismo literario pero sí con las aristas que ha provocado el debate en los últimos años. La recopilación que estoy haciendo no tiene ninguna pretención teórica ni mucho menos; más bien es todo lo contrario, una visión práctica del asunto. Y no sé, a lo mejor a alguien le interesa.
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David Amsden "The Perpetual Debut Novelist", en The Believer.
The publishing world, turned on its head in a self-defeating quest for marketable youth, prizes the potential of first novelists more than the seasoned graces of veteran talents. So what if a writer found a way to pen only inaugural efforts?
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Heidi Julaivitz "REJOICE! BELIEVE! BE STRONG AND READ HARD!", en The Believer.
Before I start outright lamenting, I’d prefer to take a sober look at the way we use book reviews, and how this use has changed as the book’s cultural status has diminished. I’m from the generation that grew up with the idea of “service,” one based less on a religious model than a business one, and thus, as an editor, I’m interested in who or what a book review best “serves.” The reader? The author? The culture? The critic?
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Laura Miller, "The war for the soul of literature", en Salon.com.
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Christopher Lehmann, "Why Americans can't write political fiction.", en Washington Monthly.
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A. O. Scott, "In Search of the Best", en New York Times Book Review.
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Meghan O'Rourke, "Debating the Best American Fiction In praise of "small" novels.", en Slate.
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Laura Miller, "Sentenced to death", en Salon.com.
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"Considering B.R.Myers'Reader's Manifesto", en Complete Review.
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Robert McCrum "The end of literary fiction", en The Guardian.
Two critics, one revered and the other almost universally reviled, protest that the literary world has been taken over by big, bad, "ambitious" novels.
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Christopher Lehmann, "Why Americans can't write political fiction.", en Washington Monthly.
Whatever its many other deficiencies, American political reality has often seemed tailor-made for fictionalizing. Just consider the rich welter of issues and personalities that hover around our present-day national politics: Congress' special session on the Terri Schiavo case; the 2004 Swift Boat Veterans ads; the ongoing agons of the Valerie Plame case and the 9/11 commissions.
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A. O. Scott, "In Search of the Best", en New York Times Book Review.
More than a century ago, Frank Norris wrote that "the Great American Novel is not extinct like the dodo, but mythical like the hippogriff," an observation that Philip Roth later used as the epigraph for a spoofy 1973 baseball fantasia called, naturally, "The Great American Novel."
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Meghan O'Rourke, "Debating the Best American Fiction In praise of "small" novels.", en Slate.
The bias against the short novel has deep roots. The American novel (and American canon-making) has always been a highly self-conscious enterprise. The aim of our early writers was not merely to write a great work of art, but to make a great American work of art.
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Laura Miller, "Sentenced to death", en Salon.com.
Literary critics get sluggish in the summer, when usually the most we're expected to do is come up with a list of "beach reads" and scan the fall catalogs. Slowly but surely, though, a response has materialized to B.J. Myers' long essay in the July/August 2001 issue of the Atlantic Monthly, "A Reader's Manifesto," subtitled "An attack on the growing pretentiousness of American literary prose."
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"Considering B.R.Myers'Reader's Manifesto", en Complete Review.
B.R.Myers' piece, A Reader's Manifesto, was published in the July/August 2001 issue of The Atlantic Monthly; [...] The piece made quite a splash, receiving wide coverage (for a literary issue) in the press -- both domestic and international -- and eliciting responses from a number of commentators.
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Robert McCrum "The end of literary fiction", en The Guardian.
What is 'literary fiction'? To many, it's the titles on the short list for the Booker Prize. To some, it's those serious-minded novels of high artistic intent by writers with a passionate commitment to the moral purpose of fiction. To others, it's a slippery piece of book jargon. It's certainly a label that's attracted its share of critical opprobrium. 'Literary' can be synonymous with 'highbrow', but I've heard 'pretentious' and even 'unreadable'.
