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Can political fiction matter? Stephen Elliott, the editor of Politically Inspired, an anthology published by MacAdam/Cage in 2003, and its follow-up, Stumbling and Raging: More Politically Inspired Fiction, published by MacAdam/Cage this month, casts his vote in the “definitely yes” column.
In five books written within the past eleven years, incuding The Last of Her Kind, Sigrid Nunez has obscured and sometimes just ignored traditional distinctions of genre by blending elements of fiction and autobiography.
At no time on my book tour did I jump up and down, wave my fists, and scream, “It’s a novel! That means fiction!” At least I don’t think I did. It’s hard to be sure, because, in my head, I had that tantrum about three times daily as I traveled from town to town in southern Michigan, reading, signing books, and attending the Ann Arbor Book Festival. You see, my novel, Flight, was set in that region, where I had lived during my high school and college years.
Two years after publishing a brutal, unflinching account of his drug addiction, James Frey is showing signs of becoming a kinder, gentler writer in his second memoir, My Friend Leonard.
Despite a $10,000 incentive from the Association of American Publishers to United States publishers willing to translate, publish, and promote contemporary Iranian fiction, no commercial houses have come forward since the initiative was announced in late 2004.
C. Michael Curtis, a senior editor at the Atlantic Monthly, who is known not only for selecting award-winning short stories but also for his considerate and sensible letters of rejection to the thousands of submissions he’s read over the years, spoke about the magazine’s new approach to publishing fiction.
In April 2003, an agent sat down with me, pointed to my manuscript, and said the words I had been dreading: I think this should be a novel. I shuddered. I was no novelist. I was a minimalist, a votress of the goddess of gesture, a worshipper at the altar of the succinct. I was a short story writer.
What if genetic cloning had become the defining science of the 20th century? The main characters of Kazuo Ishiguro's new novel contend with such a world—and its moral consequences.
I am in the middle of Don Quixote—where many writers are and, according to Cervantes scholars, where every writer should be. I’m reading it because this year marks the 400th anniversary of its publication. I would like to say that I’ve finished it, but I cannot. The Quixote, as it is affectionately referred to by die-hard fans, is not something you finish. It’s something you rattle around in.
Despite the numerous prestigious awards given to published short story authors, recent news of short fiction contest administrators and judges failing to choose a winner have left emerging writers wondering, "What about me?"
