Salvatore Pane

Tag: Blake Butler

Here’s Everything I’ve Recommended to Fiction Students So Far This Semester

So, I’m running this advanced fiction workshop and it’s all like woah. One thing I like to do in a classroom setting like this is meet individually with every student after they workshop. I remember very vividly going to see Tom Bailey and Gary Fincke in undergrad and how reassuring and empowering it was to know that writers I really respected were taking my work seriously (not that the students necessarily respect me in the same way I outright worshiped Tom and Gary). In my conferences, I always bring a marked up copy of their manuscript along with a one page note with strengths and prescription. But there’s also, usually, a note at the end with some writers and journals to read, and maybe even a few places to begin submitting to. At AWP, Amy Hempel said one of her favorite parts of running a workshop is putting an emerging writer with a published one, giving a young writer the book they absolutely have to read right this second. It’s one of my favorite parts of the job too, and I’ve kept track of what I’ve recommended so far.

Keep in mind, we read a lot of stuff in class. So I rarely touch on writers we’ve discussed ad nauseam like George Saunders or Lorrie Moore or Gary Shteyngart or Amelia Gray. Also, it’s only halfway through the semester. So there’s still a lot of time. Basically, what I’m trying to convey here, is this isn’t a list of the best writers for undergrads. It’s merely the group that this particular class needed to read at this particular moment. When there’s something lacking in student work that is absolutely nailed in a story collection or novel, students need to see that–in fact, there are a few writers on here I respect without actually enjoying their work. So, without further hand-wringing, here’s what I’ve recommended so far this semester.

Writers

Andre Dubus (5)
Ray Carver (4)
Wells Tower (4)
Alissa Nutting (2)
xTx (2)
Bobbie Ann Mason (2)
Emma Straub (2)
Sean Ennis (2)
Stewart O’ Nan (2)
Adam Levin
Michael Chabon
Trey Ellis
Tobias Wolff
Matt Bell
Don Lee
Ethel Rohan
Tina May Hall
Jayne Anne Phillips
Bret Easton Ellis
Jay McInerney
Douglas Coupland
Martin Amis
Cormac McCarthy
Joshua Ferris
A.M. Homes
Rick Moody
Jonathan Lethem
James Alan McPherson
Joyce Carol Oates
Deborah Eisenberg
Cathy Day
Richard Russo
Blake Butler
Miranda July
Aleksandar Hemon
Shane Jones
Jeanette Winterson
Philip Roth
Deborah Willis
ZZ Packer

Journals

The Fourth River (4)
Flatmancrooked (4)
FRiGG (2)
PANK (2)
Bluestem Magazine (2)
Weave (2)
The Emprise Review (2)
Metazen (2)
Hot Metal Bridge
Annalemma
Barrelhouse
Dark Sky
Fairy Tale Review
The Good Men Project
Wigleaf
elimae

Comics

Fables

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Kanye West is the Public Avatar of 21st Century Digital Narcissism

Full disclosure time: I have two short stories forthcoming about Kanye West and a third I’m trying to place. Two are excerpted from my novel which has a section where Kanye West leaves Earth to find eternal life only to end up on Mars a hundred years in the future where he destroys the remnants of our current generation who have all been quarantined there on an Infinite Porch by the New Youth. Oh, and Yeezy’s riding a stainless steel horse and talks in a Shakespearen dialect. Full disclosure two: I love Kanye’s music and once actually went out of the house looking how I do below, and it was maybe only 30% ironic.

Yeah. That's me in Vegas. You wanna ball with the kid, watch your step you might fall trying to do what I did. Mama ugh, Mama ugh.

This is all to say that you should take what I’m about to argue with a grain of salt. But when people used to ask me, “Hey, Sal. Why does Kanye West show up in your novel (The Collected Works of the Digital Narcissist currently seeking representation hint hint!) about non-famous white kids?” I used to give some lame answer about how West’s journey mimics the protagonist’s, which in all honesty, it actually does. But today, I think I finally hit on the reason why West keeps inserting himself into my work again and again. It’s because Kanye West is the public avatar of 21st century digital narcissism.

This all started, like so much in this dramatic post-Obama life, over at HTMLGIANT. Blake Butler put up a post that ended with a pretty funny non-sequitor: “Kanye West still sucks.” In the comments section, I tried to convince Blake to come over to the dark side of Yeezy supporters and Stephen Dierks of Pop Serial linked to this awesome article on The New York Times about Kanye’s new video.

In a coming video for his single ‘Power’ that was created by the artist Marco Brambilla, Mr. West is seen standing imposingly with a heavy chain around his neck. As Mr. West raps, the camera slowly zooms out in one continuous, unedited take to reveal him in a classical structure, surrounded by female attendants who are partly or entirely nude; some kneel before him on all fours, others wear devil horns and still others are suspended upside down from the ceiling. The sword of Damocles hangs precariously over Mr. West’s head, and behind him an unseen executioner is preparing to strike him with a blade.

Ah, a nice allusion to the apocalypse. That’s usually all it takes to win me over. But then Stephen linked to Kanye’s twitter which he just started today. Let me share some of the radical highlights.

kanyewest: I hate stickers on laptops

kanyewest: I need this horse… Kings need horses http://twitpic.com/29suqi

kanyewest: I’m just saying… what’s your credenza game…#DON‘TTALKTOME!!! http://twitpic.com/29sqph

kanyewest: I’m not getting paid to say any of this…………. yet…….. hahahhaha

kanyewest: Sipping Molnar Family Poseidin’s Vineyard Chardonnay in the middle of the day sidebar out of gold cups for whatever that’s worth

kanyewest: my thoughts on Twitter so far… at the end of the day, God damnit I’m killing this shit!!!

AND MY FAVORITE:

kanyewest: I specifically ordered persian rugs with cherub imagery!!! What do I have to do to get a simple persian rug with cherub imagery uuuuugh

Photo courtesy of Anirudh Koul

He has a quarter million followers yet he follows no one. What I realized today is that Kanye West is the summation of every thing I think and fear about this generation distilled into one horrific/totally awesome human being. Facebook, Twitter, and other online outlets have given every one of us (and especially those of this generation) a voice and the illusion that we all have something very powerful to say, when in fact, most of us probably do not. Kanye West is walking insecurity. Despite growing up in the same kind of baby boomer controlled children media era that told kids they were all special and amazing and even their shit smelled like the gentle rains of the Amazon, Kanye is saddled with a crushing inferiority complex. He overcompensates with golden stages to perform on and is constantly barraging us with his opinion. I mean, have you guys read his blog? It’s insanity. And now he has twitter! And what does Kanye do when he doesn’t like something? He stands up and grabs the microphone off some lame teenage girl and tells the world to go fuck itself. His Taylor Swift stunt is the equivalent of writing DISLIKE under somebody’s status update.

KANYE MOTHERFUCKING WEST IS FACEBOOK TURNED SENTIENT!!!!!111

The hunger has returned to Mr. West's brain, but it never really left.

The Paris Review Ignites the Greatest Controversy in the History of Literature

Last week, Tin House ignited the greatest controversy in the history of literature. This week, The Paris Review did them one better. I’m not sure who exactly broke the story, but I first became aware of The Great Paris Review Poetry Purge of 2010 through Mike Young on HTMLGIANT who linked to a story by Daniel Nester on the always fantastic We Who Are About to Die. Nester writes:

Picture this: you have your poems accepted by The Paris Review.  Such an acceptance can mark the start of a great career, lead to a book deal or to be anthologized, or perhaps solidify a reputation in the small world this correspondent and others call Poetryland…

You have this acceptance.  Months, even years pass after this acceptance.  You wait for the issue with your poems to appear.

Then you get an email from Lorin Stein, the new editor of The Paris Review.  With perhaps the memory that there had been an announcement, written about in New York Observer, about a change at the Poetry Editor desk.

‘Dear XXXX,

Recently I replaced Philip Gourevitch as editor of The Paris Review and appointed a new poetry editor, Robyn Creswell. Over the last month, Robyn and I have been carefully reading the backlog of poetry that we inherited from the previous editors. This amounts to a year’s worth of poems. In order to give Robyn the scope to define his own section, I regret to say, we will not be able to publish everything accepted by Philip, Meghan, and Dan. We have not found a place for your [poem/s], though we see much to admire in them and gave them the most serious consideration. I am sorry to give you this bad news, and I’m grateful for your patience during the Review’s transition.

Best regards,
Lorin Stein’

Yikes. More news broke out throughout the day, some of it humorous (check out Blake Butler’s reaction) some of it not. The Rumpus spent a lot of time discussing the fallout. The comments section from their first post recently exploded, and a lot of well-known writers and editors are sounding off. Lincoln Michel of the recent literary journal rankings and Gigantic:

It is fair to note, I think, that according to Stein over a year’s worth of poetry was backlogged. So these new editors wouldn’t be able to put any poetry they wanted, not even 10%, for the next four issues.

I think this is a complicated issue. On one hand, as a writer I totally sympathize with people feeling awful about this and I know that I’d probably die if I’d gotten into TPR and then gotten my piece pulled. Of course, I’m a struggling starting writer, not an established writer like I assume most of the poets being unaccepted. On the flip side, as an editor I can’t imagine getting an editing job and not being able to do my job for several issues. If I didn’t like the work, I wouldn’t want my name attached to it.

And I must say I do think it is odd that, as others noted above, non-fiction routinely gets killed and it isn’t unheard of for stories to be unaccepted. What about poetry makes it unacceptable to be pulled if it is acceptable to pull other pieces?

Also, I disagree that there are no external pressures here, as Amy suggests. Lorin Stein was hired with plenty of buzz and noise and a mission to redo the journal, to make it more relevant and exciting again. He and his staff are, I assume, under plenty of pressure to make their mark and enact their vision. You can’t really hire someone to relaunch your journal and then tell them they can’t do much for the next few issues and by the time they can, most people will have forgotten.

I DO think they could have found a solution, such as a special web section, that would have worked for everyone. But I can understand why editors would want to edit.

Then this journal propped up promising to produce an e-book of all the unaccepted material. And of course, incoming PR Editor Lorin Stein’s response to the culling was dug up by The NY Observer:

Over the last month, Robyn and I have been carefully reading the backlog of poetry that we inherited from the previous editors. This amounts to a year’s worth of poems. In order to give Robyn the scope to define his own section, I regret to say, we will not be able to publish everything accepted. … We have not found a place for your three poems, though we see much to admire in them and gave them the most serious consideration… It’s never fun cutting things. But an editor’s job is to put out a magazine by his or her best lights, and that means you have to have discretion over what you publish.

So to sum up: a lot of anger, a lot of frustration. I’m not going to weigh in on this just yet, because like the Tin House thing, I’m more interested in what you all have to say. Is it cool that The Paris Review did this? Did they have any other choice after inheriting an entire year’s worth of poems? Isn’t this par for the course in the publishing world? Or is the literary journal playing field smaller, and thus, deserving of more courtesy? Let me know in the comments section.

Tin House Ignites the Greatest Controversy in the History of Literature

This is going to be old news for some, but I was out of town and mostly away from the computer the last few days, and I feel the need to touch on this briefly. I don’t know if you know this, but days before the 4th of July Holiday Weekend, Tin House ignited the greatest controversy in the history of literature!

On July 2nd, Tin House altered its submission policy:

Tin House launches Buy a Book, Save a Bookstore Between September 1 and December 30, 2010, Tin House magazine will require writers submitting unsolicited manuscripts to the magazine to include a receipt for a book purchased from a bookstore. Writers who are not able to produce a receipt for a book are encouraged to explain why in 100 words or fewer. Tin House will consider the purchase of e-books as a substitute only if the writer explains why he or she cannot go to his or her neighborhood bookstore or why he or she prefers digital reads. Writers are invited to videotape, film, paint, photograph, animate, twitter, or memorialize in any way (that is logical and/or decipherable) the process of stepping into a bookstore and buying a book to send along for our possible amusement and/or use on our web site.

Seems innocent enough, right? They’re not asking writers to buy copies of Tin House at indie stories, just any book in general. Matthew Simmons, who I interviewed on PANK, posted a relatively innocuous entry on the policy over at HTMLGIANT. Here’s the post in its entirety:

If you want to submit to Tin House, you’ll need to send a receipt proving that you bought a book in a bookstore. What do you think?

Moments later, all hell broke loose as the comments section ballooned to well over two-hundred posts including thoughts, and occasionally tirades, including everyone from Steve Gillis, publisher of DZANC Books, to Andy Hunter, co-editor of Electric Literature. I’m going to include a few of the arguments, but not necessarily in the order they were posted. If that somewhat distorts the nature of the discussion, I apologize. It’s not my intention to sway your opinion on the matter, but merely to report on both sides of the argument.

Authors Laura van den Berg and Lily Hoang both made brief comments in favor of the submissions policy. Laura wrote, “I’m for it. Especially after having worked for a lit mag. And if you only submit to Tin House, say, twice a year, then that’s only 2 books,” while Lily said:

If I start a journal/press, I’ll require people link/photocopy a book review with their submission. That would promote books and ensure that people actually read and think about the book critically, rather than just blindly consume. No? I’m unlikely to start a press/journal any time soon. Besides, with that kind of submission policy, no one would submit.

Jackie Corley, from Word Riot, made a similar argument, saying, “Why would anybody want to be in a magazine they don’t care enough about to buy a copy and read?” Blake Butler, at first, wrote the whole discussion off.  “Is it that hard to get your hands on a receipt for a book purchase? i mean, it’s not exactly plutonium. if you aren’t buying books you shouldn’t be wanting to publish one yourself.” A commentator brought up the library argument, the idea that some writers only read books they can get from libraries, which set Blake off:

i mean, why publish it if you believe in the library system over the bookstore? photocopy a zine and give it to some dudes and stick it in with the other books in the spots where people gather. that also said: not all books worth reading appear in libraries. if your reading history can be all found within the walls of a library, or all of them, you aren’t reading very hard.

Two major points came from Justin Taylor and Andy Hunter. Hunter first:

My first reaction to the Tin House policy was, “Ha Ha. Good for them.”

The economic arguments against it are a joke, as are the ‘local bookstore’ arguments. Most people can afford to buy a couple books a year. Most people live near bookstores. And if you don’t? Write a note explaining that. Not much to get outraged about.

Sometimes I’m amazed at how quickly commenters get outraged around here, but then I realize: being outraged is fun.

Anyway, the condescension complaint is valid, although I think TH meant it in good humor – which apparently didn’t come off.

The thing that I think many here are missing is the incredible volume of submissions Tin House must get. EL is not half as well known, but we get thousands of submissions every issue, and even with 35 readers, it’s very hard to keep up. Especially because everything is read twice. Sometimes we regret our open policy, but it was the policy we wanted to see when we were on the other side, as writers. Now that we’re on the publisher side, it gets a little rough. There are many, many writers who are scanning duotrope and submitting to magazines they’d never fit in. The majority of these writers don’t seem to read enough, to be honest. They really ought to buy and read more books. Collectively, EL spends thousands of hours reading submissions, which is exponentially more time than we spend on anything else. The temptation to put up a small hurdle for submitters is understandable. Especially one that is directed at helping your industry, and supporting what you love.

For about 4 months, EL offered $6 off subscriptions to writers who submitted work to us, via a coupon code. It brought the cost of a digital subscription down to $3 an issue. Out of over 3,000 submitters during that time, less than a dozen used that code. I’m sure Tin House has similar stories.

There has been a lot of wondering, here and elsewhere, if emerging writers do enough to support the institutions which they wish to support them (i.e. ever buy a literary magazine). Tin House decided to playfully push the issue, and lighten the slush pile for themselves at the same time. It’s not so horrible.

Now Taylor:

Did anyone read the actual press release at the TH site? it’s headlined “BUY A BOOK, SAVE A BOOKSTORE.” Hardly an ignoble position or goal. It’s here- http://www.tinhouse.com/all_news.htm Also, if you read the whole post at the TH site, you’ll see that this is part of a larger project designed to instill a sense of happy pride in patronizing brick-and-mortar bookstores. Ever heard of Record Store Day? Comic Book Day? This isn’t just one day, but it’s sort of like that. From their release: “Writers are invited to videotape, film, paint, photograph, animate, twitter, or memorialize in any way (that is logical and/or decipherable) the process of stepping into a bookstore and buying a book to send along for our possible amusement and/or use on our Web site.”

And to all the people waging the classism argument, I would like to suggest, with all due respect–which is to say, not much–that you are full of shit and that, what’s more, you damn well know it.
Let’s say I want to submit a book manuscript to Tin House. I enclose a copy of the receipt for the last book I bought new in a bookstore, in this case ON BEING BLUE by William Gass from McNally Jackson books on Prince Street, NYC. This paperback book has a sticker price of $11.95, and I got it at 10% off because it was a staff pick.

That makes OBB about the same price as a movie ticket, or a full-album download on iTunes, or two drinks at a reasonable bar. Granted, those are New York prices, but any urban center is going to be within about spitting range of those numbers (iTunes of course costs the same all over), and if you happen to live in the sticks, where you’re used to dollar drafts all the time and $4 steak dinners–hey, good for you, bud. Spend that extra scratch on a second book.

I think it’s incredibly noble of Tin House to forgo any kind of “reading fee” that they would keep for themselves, and instead encourage you to simply present evidence of an active engagement with literary and bookstore culture today. Presumably, because you are an aspiring writer and an avid reader, you are not being “forced” to go out and buy a book just to submit your work–you probably buy books on a semi-regular basis, and so it is really no problem for you to simply dig out the last receipt you generated and send it along.

I think the people who are asking about the library card option are missing the point. This isn’t an elitist disenfranchisement scheme–it’s not a matter of proving your literacy to them. The fact that the majority of respondents here presume it is their “literary-ness” which is under question says worlds more about y’all than about TH, which I assume takes it for granted that people who write, read, and vice versa. In fact, I’d be willing to bet that they don’t really give a shit if you even read the book you’ve got a receipt for having bought. They are looking for displays of enthusiasm for the process of publishing on the consumer-side, from those who would inflict themselves on the world of publishing on the supplier-side.

If patronizing a physical bookstore in order to purchase a new book at its full retail value strikes you as morally derelict in some way, then you have no business asking Tin House Books–or anybody–to publish your work. It’s emphatically not a question about book-reading, but about book-buying. They are book-makers, and book-sellers, and they are looking for people who are interested in what they do: make books, and make books available to be bought. If you hate those things, and hate them for doing those things, why would you want to court their attention in the first place, or pursue this course for your own work?

All that being said, many, MANY detractors showed up over the course of the thread. Some of the most insightful commentary came from Roxane Gay:

As a sort of publisher, I can absolutely say the money goes further when people buy our books or magazines directly from us. The distributor takes 50 percent. We’ve been working with a distributor for a year now and haven’t seen a penny.

Some of us live in towns where there are no actual bookstores but I buy books almost every day online, from big outlets and small. This requirement largely excludes people who live in rural areas. The ability to buy a book in a store is not that easy for everyone.

The rural argument was one that few of the pro-submissions camp could effectively deal with. Mike Meginnis, Co-Editor of Uncanny Valley, and Steve Gillis both had funny replies about the absurdity of the situation. Meginnis wrote, “Anyone submitting to Uncanny Valley a manuscript accompanied by a receipt showing five hundred dollars spent on pornography will be automatically accepted.” Steve had this to say:

Having had a night to sleep on the Tin House policy, I have had a change of heart. What a brilliant concept. We at Dzanc Books will now require a resume and college and grad school transcript – there must of course be grad school – with all unsolicited manuscripts. The submitter will be required to provide a reading list of all the books they’ve read in the last five years. We at Dzanc will also provide a reading list and the submitter will need to have read each book on our list and provide a review. Failure to meet these standards, the submitter will have to bake us a cake. And not just a cake but a poetic cake, and a film of them baking the cake. As we receive thousands of submissions a year at Dzanc, we have every right and reason to limit the folly of would be submitters thinking they can just submit us their work. This is brilliant. Thank you Tin House for blazing this trail.

About a day after the original post, Jimmy Chen uploaded this to HTMLGIANT and tried to recruit as many people as possible into submitting with this receipt.

But one of the funniest posts came from Matthew Simmons, the original poster, who seemed a little horrified by the amount of venom spawned by his two-sentence post. Halfway through the thread, he wrote this: “Okay. Let’s just forget I mentioned this. How about that World Cup?”

I’ve very intentionally tried to leave out my biases and position on this argument (I definitely have one), and what I’m interested in is what you think. Is Tin House‘s submissions policy the end of modern literature? Are they blazing a path that other journals will soon follow? Is their initiative simply misunderstood and similar to Free Comic Book Day like Justin Taylor suggests? Or is this whole argument ridiculous and another example of writers getting pissed off over absolutely nothing? Sound off in the comments.

An Online Panel on Literary Journals (Part 3 of 4): Those Writerly Calluses

Check out the first two installments of our discussion on lit mag publishing here and here. We continue today with thoughts from one Adam Reger. He earned an MFA in fiction from Pitt in 2008 and has published stories in the New Orleans Review, Pear Noir!, and Juked. He lives in Pittsburgh.

From Adam:

“I would second everything Robert mentioned. I also worked on Hot Metal Bridge, and found the experience instructive not just in the ‘I can’t believe someone sent this in’ sense Robert mentions, but as a chance to see how many good stories got rejected for nebulous reasons having everything to do with the readers’ tastes at that particular time—it was an opportunity, basically, to see how arbitrary the process can be. Applying that insight to my own submission process has helped me develop those writerly calluses one needs to be rejected over and over again. Every rejection slip says that it’s not personal, and that many good stories get rejected, but you never quite believe it until you see things from the other side.

And on Robert’s point about subscribing to lit mags, I’d also suggest buying sample copies (which are usually cheap, in the $5-$10 range). For both, the point is not so much supporting the magazine (though it helps that way) as getting to know what they publish. I’m just reiterating classic advice here, but it pays to know the market; many years ago I read in Writer’s Market a fiction listing wherein the editor said that most of the stories he rejected ‘were inapt, rather than inept,’ a line that’s stayed with me. To be honest, a couple of my publications have come about via shot-in-the-dark submissions to magazines I hadn’t read, but in all cases going about it that way took a needlessly long time and was pretty much a matter of getting lucky.

One thing I’d (sort of) disagree with Robert about is submitting to lesser-quality journals. I wouldn’t submit to the kind of places he mentions, either, but I want to warn against taking this mindset too far. My overall theory on this goes as follows: insofar as I’m going to keep writing short stories, and presumably they will be better than the ones I wrote last month, I’d do well to have some publication credits to list in my cover letter so that these (hypothetical) better stories get a more favorable reading when I send them to Tin House and Harper’s. (To refer to the Hot Metal Bridge experience again, editors are absolutely influenced by the previous publications listed in a writer’s cover letter (although, in support of Robert’s point, listing a long string of journals with ridiculous titles that no one’s ever heard of won’t necessarily help your cause).)

This is not to say that you shouldn’t send your best stories to the best literary magazines, and in general give every story a good chance to be published somewhere you’d be excited to see your work. But if your best stories keep getting form rejections, and you’ve already gone down the ladder quite a ways, in my opinion you should be open to submitting those pieces just about anywhere and moving on. (If this advice seems really abhorrent to you, though, consider acknowledging that these pieces are not quite working and going back to the drawing board. I’ve done this before and, while it can be pretty damn humbling, the redrafted pieces were far better than what I started with.) You want to avoid the kinds of questionable publications Robert talks about, but my own feeling is that when your book of stories comes out, the place where the fifth story in the collection was published will be of minor interest to anyone. The way to inch closer to publishing that book of stories, meanwhile, is getting those pieces published rather than their collecting dust on your hard drive.

Finally, this is a little beyond the scope of the question being considered here, but I would recommend reading and thinking about this post, by Blake Butler (as recommended by Cathy Day, a Pitt professor]. The internet has made it incredibly easy to reach out to writers whose work you like, and with sites like Facebook it’s not at all difficult to stay connected with those people in a kind of support network. Doing so can help in practical terms: a couple lit mags have friended me (after rejecting my stuff kindly) and having them on my news feed has alerted me to some interesting contests, calls for submission, etc. But in terms of karma or whatever, supporting others’ work is also a good thing to do.”