“The label ‘Immigrant Fiction’ derives from the same problematic Pantheon in which ‘Women’s Literature,’ ‘Black Literature,’ and more, exist. Unlike the genre of, say, science fiction, which describes the content and style of the writing, categories like ‘immigrant’ or ‘Black’ fiction seem to be concerned more with the author’s identity and/or perceived audience.” On literary categories and immigrant fiction, over at Guernica.
It’s not always a given that good people make good characters. Over at The Atlantic, Tony Tulathimutte explains how none other than one Philip Roth taught him the importance of showing every aspect of your characters–even the bad ones. Here’s an older piece from the same series in which Paul Lisicky writes about Flannery O’Connor and her “flawed characters.”
“It is a superstitious business—childish, really—the marking, or even the noticing, of anniversaries like these. Such fastening pretends that one day can be like another, pretends that every day is not, ultimately, only its own day, the only version of itself that will ever come. But ‘Daddy’ is itself a poem built on a bedrock of anniversaries.” At The Paris Review Daily, Belinda McKeon marks the birthday of an oft-revered poem.