While Allen’s movies have been coming along unabated for decades, there’s been less on offer for fans of Allen’s writing. But this month, for the first time in 25 years, Allen has a new humor collection out. Mere Anarchy collects many of Allen’s recent New Yorker pieces as well as some new material. Supplementing that slim volume is The Insanity Defense, which puts Allen’s three earlier collections under one cover – Without Feathers is joined by Getting Even and Side Effects. Both new books are must haves for Allen fans.
On January 19th, while many of us held our collective breath over the results of one national contest, the American Society of Magazine Editors released their list of finalists for the 2017 National Magazine Awards for Print and Digital Media. Curiously absent from the announcement were nominees in fiction, which ASME chose not to promote for the first time in nearly 50 years. The announcement made no mention of the category’s sudden disappearance.
For Michael Ray, editor of Zoetrope: All-Story, the distinction was particularly significant. Writing last Thursday via email, he said the award “breached the ostensibly isolated atmosphere of literature and recognized the fiction writer among a broader peer group of writers and before a more diverse and populous audience of potential new readers.”
Anthony Marra, whose 2016 NMA winning story, “The Grozny Tourist Bureau,” Ray edited, expressed his disappointment in ASME’s omission. “Writing, editing, and publishing short stories in literary magazines is a labor of love for all involved,” he said. “They aren’t clickbait. They don’t make much noise or much money. And yet the best of them long outlast the paper on which they were first printed.”
While ASME has retained the category of “General Excellence in Literature, Science, and Politics,” such broad scope leaves little room for individual recognition, instead favoring the total yearly production of a magazine over excellence in a single piece. This year, Poetry is the only literary magazine nominated in that category.
Last September, Women’s Wear Daily released an email circulated to editors around the magazine industry from ASME Chief Executive Sid Holt. In what amounts to the closest document to a public announcement, the message cites declining fiction entries and, most surprisingly, concern that “few ASME members say they are competent to judge the category.” ASME’s website describes its members as “senior editors, art directors, and photography editors employed by qualified publications.”
Susan Russ, senior vice president of communications at ASME, said that with the diminished numbers of submissions, fiction entries had “less than a fifth the number of entries [than] comparable categories.” While the decision to “suspend” the category, she said, “was not a judgment on the value of fiction or [ASME’s] ability to judge entries,” it is unclear — outside of an attendant fall in submissions fees, perhaps — how the small pool affected the organization.
The arts face an almost certainly precarious future. As a genre, short fiction has long struggled with recognition, and is too often minimized as a stepping-stone to more serious literary enterprises. According to Russ, “ASME is considering alternative ways of honoring fiction,” leaving open the possibility of a new award outside the existent NMA format. But such a move could further isolate fiction from the rest of print culture.
It’s entirely possible, however, that fiction may be back for next year’s contest. Losing touch with the power of writing is not something we can now afford to risk. And National Magazine Award or not, over the coming years, we’ll be needing all the good stories we can get.
For Sayonara, Gangsters by Genichiro Takahashi: “Sayonara, Gangsters is one of those rare books that actually defies description… It’s funny, sure. And beautiful. And slightly insane. And haunting. And heart-breaking. But all those words miss the point. The point is you have to read it. So read it.”For The Gangster We Are All Looking For by Le Thi Diem Thuy: “A beautiful, deeply moving story of a family. The more I read, the more I felt the family was mine.”For It’s All Right Now by Charles Chadwick: “This novel is huge — in size, ambition, intelligence, and heart.”For The Only Good Thing Anyone Has Ever Done by Sandra Newman: “Sandra Newman has an original way of thinking. The Only Good Thing Anyone Has Ever Done is often hysterically funny, profoundly strange, and unbearably beautiful. Often all at once.”For My Life with Corpses by Wylene Dunbar: “My Life with Corpses is overwhelming: in its beauty, emotional force, and uniqueness. While I finished the book a few weeks ago already, I have the strange feeling that I’m still reading it — it’s that resonant.”For Please Don’t Kill the Freshman by Zoe Trope: “I am in awe of Zoe Trope. This book is more than the kind of good story we’ve become satisfied with. It’s more than interesting. It’s art.”For The Know-It-All by A.J. Jacobs: “The Know-It-All is funny, original, and strangely heroic. I found myself rooting on Jacobs’s quixotic, totally endearing quest.”For The Noodle Maker by Ma Jian: “The Noodle Maker is hugely entertaining and deeply serious. It’s something to celebrate.”
A Salon.com piece from last week is creating a buzz among publishing industry watchers. In it, an anonymous “midlist” author bemoans the consolidation of publishing companies and the ever shallower tastes of the reading public for contributing to the demise of authors who don’t write blockbusters. Almost taunting the reader, she drops clues throughout the article, tempting diligent gossips to discover her true identity. (Were she outed, I suspect she wouldn’t mind the publicity.) First, here is the article. (Use the day pass to view the article… you just have to watch an ad first). As soon as the article was published, the gossip erupted at, where else, gawker.com. Here the speculation begins, readers begin jumping into the fray, and, finally, Gawker, wanting to put the subject to rest, guesses: Amy Bloom. As they freely admit, though, Bloom is not a perfect fit, and I’m not convinced either. I’m on the case, though. Maybe I can figure it out. As far as whether or not I agree with her: I agree that publishing industry consolidation makes for a dull literary marketplace, but I refuse to believe that quality writing, no matter how uncommercial, is unsellable. The American people are not as dumb as some like to think, but I’ll tell you one thing, they don’t like whiners. Possibly more on this later.A PunditI always enjoy hearing from people who have been willing to publicly change their opinions on things. Somehow I find them more believable than the one note folks who populate the right and the left. This is why I like reading Christopher Hitchens. He is incredibly prolific, putting out what seems like a book a year and appearing almost daily in newspapers articulately presenting his singular points of view. As an example, check out his review in Canada’s Globe and Mail of the new book by Ian Baruma (another frequently-published commentator whose writing I enjoy).