Another response to The New Yorker‘s 20 under 40 list, this time from Dzanc Books. Dzanc polled “nearly 100 independent publishers, agents, editors, bloggers and reviewers” and went through two rounds of voting to come up with 20 Writers to Watch: An Alternate List.
20 Writers to Watch
A Quality of Immortality
"When watching [Abbas] Kiarostami films, one also has a great sense of another kind of freedom not found in Hollywood movies, nor in most European art films: freedom from the creeping realization that a film we are watching was made by a cynical shit or a self-deluded megalomaniac." Here's something you don't see every day -- an essay that begins with an Independence Day showing of The Purge: Election Year, and somehow ends up at a poetic examination of Kiarostami's artistic legacy.
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We Can’t Make This Up
If you thought Cameron Diaz's windshield sex scene in The Counselor was weird, things just got weirder for Cormac McCarthy. His ex-wife was arrested for pulling a gun out of her vagina after a domestic dispute about aliens escalated. Pair with: Our essay on McCarthy's foray into screenwriting.
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A Poetry Reading Workshop
“Poets ought to learn how to present work as well as produce it,” says Joe Weil, who shares some invaluable Tips for Doing a Poetry Reading. (Bonus: our own Janet Potter offers a tutorial on the appropriate way to introduce an author [or poet] before their reading.)
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Claire Vaye Watkins Takes Home the Dylan Thomas Prize
Kudos to Claire Vaye Watkins for taking home the Dylan Thomas Prize! Worth £30,000, the prize went to Watkins because, in the words of of the chair of the judging panel, she possesses “some of Dylan Thomas's extraordinary skill in the short story form.” (Read more about Watkins’s work in Geoff Mak’s review of her 2012 book Battleborn.)
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The Cultural Logic of Margaret Atwood
Fredric Jameson reviews Margaret Atwood's Year of the Flood for the London Review of Books.
I like this list, and yet find myself a little puzzled that Paul Harding didn’t make the final cut. If winning a Pulitzer for your debut novel doesn’t make you a writer to watch, what does?
Biased list. A lot of those writers are published by Dzanc (which the writer of selfsame is associated with).
Several have commented on the lack of diversity in the Dzanc list. The New Yorker list was much more diverse. Could someone tell me if all 20 writers on Dzanc’s list are indeed white? If not, who’s not? Thanks.
Jonathan – Their methodology seems sound, but I find myself wondering if the decision to include agents in the voting could have weighted the list in favor of Dzanc. They reached out to people they know in the industry, and if you’re a publisher, it stands to reason that many of the agents you know are going to be the ones you’ve worked with; in this case, agents who’ve placed writers with Dzanc. But that said, the only writer I’ve actually read on that list is Laura van den Berg, who’s possibly the best short story writer I’ve ever read, so I’ll stop well short of arguing that any Dzanc writers shouldn’t be there.
Not Sure —
They are all white. This is unlike The Millions’ alternate list of 20 Under 40 and The New Yorker list. In addition to the racial and ethnic diversity of The New Yorker, 7 of their 20 are from other countries: Nigeria (Adichie), Peru (Alarcón), Latvia (Bezmozgis), China (Li), Ethiopia (Mengestu), Yugoslavia (Obreht), and Russia (Shteyngart) And native born African-Americans like Packer and Adrian, Hispanics like Alarcon, and Asian-Americans like Bynum.
The Dzanc 20 is less diverse than any Republican president’s cabinet.
If they’re going to concentrate on indie presses, how could they omit Tao Lin? He’s more an indie press “writer to watch” than anyone on their list. But, oh, he ain’t white.
It’s probably worth bearing in mind that the parameters of the Dzanc list are different from the parameters of the New Yorker list. Dzanc focused solely on North American writers.
Given that non-white authors were recognized in early rounds of voting, the suggestion that Tao Lin didn’t appear on the list because he isn’t white is startling to me.
I used to admire Dzanc, but I lost all respect for them after I read this list. Almost all of these writers are either published by Dzanc or close personal friends of the publishers of Dzanc.I have always respected the way Dzanc has done everything they could to promote their writers and friends, and independent publishing in general, but this is going too far. How can you accuse the New Yorker for being exclusive, and then publish an “alternative” list of all of your friends?