Category Archives: the mfa

The Craft of Fiction

Dan Green finds the advice garnered from Tin House’s writers’ workshop (collected in the recent book The Writer’s Notebook: Craft Essays from Tin House) overly formulaic:

Thus Tom Grimes informs us that “our stories are amorphous until we discover how time controls them. Every great story contains a ‘clock,’ an intrinsic timekeeper.” “Determine whether or not your story has a ‘clock,'” he concludes. “It can be a day, a week, a month, a season, etctera, but the story has to have it.” If a story “has to have” a clock, then should one discover one’s story doesn’t really seem to depend much on timekeeping, on the sort of narrative “development” the passage of time provides, then apparently one doesn’t really have a story at all. This seems a reductively literal insistence on “story” as the sine qua non of short fiction, when of course much modern/postmodern fiction has explicitly worked to undermine “story” as the essence of fiction. Not many of Donald Barthelme’s stories, for example would be able to pass the “clock” test administered by Grimes. They’re much too “amorphous.”

Some of Dan’s concerns touch on the same territory covered in Mark McGurl’s recent book The Program Era, discussed here.

LADY CHATTERLEY'S BROTHER

Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


THE LATIN AMERICAN MIXTAPE

5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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