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Slate and Salon
It occurs to me that the people who write literature pieces for Slate and Salon actually know better than one might guess by what tends to get said in their pieces, but have to write toward the audience.
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Recommended Books DeLillo's major work before White Noise is probably his most underrated novel. Its all right here--the politics of paranoia, terrorism, the unnamable--set in an evocative, timeless Greece.
The most bizarre Abe novel I've yet read, which is indeed saying something. About a subclass of Japanese men who go around wearing boxes from the waist up (and then use them as domiciles in the evening), the book is also an experiment in perspective shifts, a highly unstable, metafictional first-person narrative, and an exploration of voyeurism, consumerism, and aberrant sexuality.
Charting the path to three gunshots--the one that killed filmmaker Theo Van Gogh, the one that disabled his Islamic extremist assassin, Mohammed Bouyeri, and the one that led to Vincent Van Gogh’s one hundred years earlier--Olsen tells three separate stories that resonate with one another on numerous levels: the logic of extremism, the role of the dissident in Dutch society, the limits of tolerance, the purpose of the artist, the feeling of the most important five minutes of your life. Read my interview with the author.
Creatively structured, well-executed epic novel of rural South Africa from 1950 - 2000. Takes on a lot and lives up to it magnificently. Highly recommended.
A book that's an interview about the book you're supposedly holding in your hands. Creative, potent, and full of life. Just what metafiction should be. Read my post on it.
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Marketing the Bolano
Graphs, Maps, Trees
The Names by Don DeLillo (1982)
The Box Man by Kobo Abe (1973, English 1974)
Head in Flames by Lance Olsen (2009)
Agaat by Marlene van Niekerk (2006, English 2010)
The Weather Fifteen Years Ago by Wolf Haas (2006, English 2009)
If so, why can’t they write above that mark and bring their audiences with them?
Not the audience, proper, so much as the editors and what the editors understand to be the desires and capacities of the audience — rightly or not.
There are always various assumptions embedded in a house style. With Slate, there is a strong emphasis on what they call “making an argument.” This boils down to being contrarian in some way. There is seldom much more to it than that.
I just happened to be looking at this review by Judith Shulevitz in Slate, and it stands up pretty well. But then she’s not there any longer.
Oh that just makes those sites so sad.