By Jeff Martin, C. Max Magee
The way in which we soak up info has replaced dramatically. Edison’s phonograph has been reincarnated because the iPod. Celluloid went electronic. yet books, for the main half, have remained the sameuntil now. And whereas song and films have gone through a virtually Darwinian evolution, the literary global now faces a revolution, a unexpected switch within the method we purchase, produce, and skim books.
Scholars, newshounds, and publishers have became their brains within out within the attempt to foretell what lies forward, yet who larger to touch upon the way forward for the publication than those people who are pushed to jot down them?
In The past due American Novel, Jeff Martin and C. Max Magee assemble a few of today’s best writers to contemplate the ocean switch that's upon them. Lauren Groff imagines an array of fantastical futures for writers, from poets with groupies to novelists as merchandising machines. Rivka Galchen writes in regards to the figurative and literal loss of life of paper. Joe Meno expounds upon the belief of a e-book as a spot set completely apart for the mind's eye, despite layout. those and different unique essays by means of Reif Larsen, Benjamin Kunkel, Victoria Patterson, and lots of extra offer a well timed and much-needed statement in this compelling cultural crossroad.
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Extra resources for The Late American Novel: Writers on the Future of Books
Journal of the Fictive Life is the record of a disturbed man who turns the rather awesome battery of his intelligence inward on his own mind, seeking the source of his disturbance. But the source is, simply, his humanness; here also is the source of reconciliation, as the Journal ends with the birth of Nemerov's son and a hopeful pointing toward the "magical poetry" of Shakespeare's Last Plays. Nemerov's latest work, The Blue Swallows, is a worthy successor. It has the variety, wit, and technical skill we have come to expect; it is also full of wisdom and gentleness: .
Ciardi, John. "Dry and Bitter Dust," Saturday Review, 44:66 (February 11, 1961). Daiches, David. "Some Recent Poetry," Yale Review, 40:352-57 (Winter 1950Dickey, James. Babel to Byzantium. New York: Farrar, Straus, and Giroux, 1968. Pp. 35-41. Eberhart, Richard. "Five Poets," Kenyan Review, 14:168-76 (Winter 1952). Elliott, George P. "Fiction Chronicle," Hudson Review, 10:288-95 (Summer WfiFitts, Dudley. "Poetry Chronicle," Partisan Review, 22:542-48 (Fall 1955). Flint, R. W. "Poetry," New York Review of Books, 1:26-27 (Special Issue i963)Foster, Richard.
Because Nemerov looks on fate as inexorable, enigmatic, and accidental, and sees man as a victim of this fate, his writing must be either tragic or comic; it cannot be heroic or sentimental. Basically speaking, Nemerov's prose is comic; Nemerov's poetry is tragic: both come from the same fatalistic philosophy, representing the two ways that the "opposed elements" of his character show their responsibility to the human drama. In Journal of the Fictive Life Nemerov attempts to fuse these elements by plunging into confession and self-analysis written in a cross between poetry and prose.