When you want to distinguish fiction and poetry writing from academic work or journalism, you use a straightforward term: creative writing. But what if that term is not the one you should use? At Slate, an article on the subject by Cydney Alexis, originally published by Inside Higher Ed.
“[G]uess what, spending hours of your spare time plowing through some dense and symbol-laden carnival of affectation and ambiguity only makes you resentful of the publishing industry that pushed the book on you in the first place.” Alex Balk at The Awl takes the piss out of recent studies that have suggested reading literary fiction might make us better people. Writer John Vaillant, whom we interviewed last year, might disagree.
Out this week: The Color Master, a new short story collection by Aimee Bender; an English-language translation of The Infatuations by Javier Marias; and Brief Encounters with the Enemy, the new Saïd Sayrafiezadeh book that Scott Cheshire reviewed for us on Monday. Read more about these and other releases in our Great 2013 Second-Half Book Preview.
Don’t Cry author Mary Gaitskill reviews Gillian Flynn’s wildly successful thriller, Gone Girl, for the pages of Bookforum. What she finds is that the book isn’t really frightening because of its plot per se, but rather because its two main characters “do not resemble actual people so much as grotesquely smiling masks driven by forces of extreme artifice, and it’s exactly that extreme artificial quality that’s frightening to the point of sickening.” For what it’s worth, Edan Lepucki, Michael Bourne, Ed Park, Janet Potter, and Jennifer duBois each named Flynn’s book in their most recent Year in Reading pieces.