Salvatore Pane

Tag: Lorrie Moore

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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Lorrie Moore on the Carmelo Anthony/New York Knicks Trade

“Her rage flopped awkwardly away like a duck. She felt as she had when her cold, fierce parents had at last grown sick and old, stick-boned and saggy, protected by infirmity the way cuteness protected a baby, or should, it should protect a baby, and she had been left with her rage–vestigial, girlhood rage–inappropriate and intact. She would hug her parents good-bye, the gentle, emptied sacks of them, and think Where did you go?

“You couldn’t pretend you had lost nothing… you had to begin there, not let your blood freeze over.”

“I missed him.”

“I wondered about the half-life of regret.”

“When you find out who you are, you will no longer be innocent. That will be sad for others to see. All that knowledge will show on your face and change it. But sad only for others, not for yourself. You will feel you have a kind of wisdom, very mistaken, but a mistake of some power to you and so you will sadly treasure it and grow it.”

“I tried not to think about my life. I did not have any good solid plans for it long-term – not bad plans either, no plans at all.”


“I just don’t want you to feel uncomfortable about this.”

“How can it be described? How can any of it be described?”

“When she packed up to leave, she knew that she was saying goodbye to something important, which was not that bad, in a way, because it meant that at least you had said hello to it to begin with…”

What Are You Teaching In Workshop?: O Captain, My Captain!

I’ve been reading Cathy Day’s blog lately and all her insightful posts about her undergrad fiction workshop as they went through NaNoWriMo, and the whole time I’ve wondered why more fiction teachers don’t share their syllabi or process or what have you. I’m a sucker for community. It’s what drew me to a university known for its creative writing undergrad and eventually to the MFA itself. Now that I’ve graduated, I miss that feeling of being part of something. There are substitutes. HTMLGIANT. The Rumpus. We Who Are About to Die. Uncanny Valley. And so on and so on. But I don’t know many first year teachers who are teaching workshops, composition and community college. So I thought that maybe I would write about my experience here a little bit, include a draft of my new syllabus, and then if anybody wanted to share similar thoughts that would be great.

This is my fall semester intermediate workshop class. I showed up the last day and they were not only dressed like me, but they’d brought in a Spider-Man cake and noisemakers. To be sure, it was one of  the most touching and humbling moments of my life. I’m not exactly sure why the students responded so positively to the class and to me (I think a lot of it comes down to the fact that they all really got along and the level of criticism was really advanced), but I hope that it has something to do with how I tried to take them seriously as writers, that when they came into my class they weren’t student writers, they were just writers. (Much of my pedagogy comes from this video of Tom Bailey minus all the crying) A lot of them came into the class complaining about how previous workshops focused on inane guidelines (one student said he’d come from a workshop where students had to fit so many imperative, declarative and exclamatory sentences into stories), and I think they responded to how difficult I made the class. I ran it more like a graduate workshop and tried to focus on publishing and literary journals. We looked at PANK, The Collagist, Flatmancrooked, just an absolute ton, and the first student publication (of what I really think will be a lot) will go live on Metazen late this month.

Despite the difficulty (I’d go on about why I think this class is a lot of work, but I’ve included the syllabus below), 15 of 19 students signed up for my advanced fiction workshop in the spring which is the next step up in the program. I honestly couldn’t be happier (although, it poses some syllabus problems because I can’t use any of the same stories from this semester), and have taken this as a mandate to push them further, to expect more from them, to transform them into writing workhorses who believe in perspiration over inspiration and the daily writing schedule. So, with all that in mind, below is the first draft of my new syallbus. Please let me know what you think and feel free to share your own. Have you ever taught a workshop? What have your experiences been like if so? If not, do you want to, do you plan to? Why?

Required Materials

3X33: Short Fiction by 33 Writers edited by Mark Winegardner

Super Sad True Love Story by Gary Shteyngart

A Gate at the Stairs by Lorrie Moore


Welcome to Advanced Fiction Workshop

In this course, you’re going to write and read a lot. This is not going to be easy because becoming a writer isn’t easy. There will be no easy A’s, and no easy weeks. Writing is a constant struggle, and this course will reflect that truth. However, and I can guarantee you this, if you’re serious about the craft of fiction, if you’re willing to put in the work, you will be a better writer at the end of the course compared to the first day.

Each student will put up 15-20 pages of literary fiction for workshop twice during the semester. You can write a traditional short story, multiple flash fiction pieces, or a novel chapter, but remember, you have to demonstrate the fundamental principles of literary fiction in all of your workshop pieces. That means you shouldn’t hand in a novel chapter that is less than a page. I want to see structure, character, development. I want nuance and complexity. I don’t want filler pieces meant to get you closer to the page requirement.

Substantial revisions will be required. Substantial revision does not mean fixing grammar. Substantial revision usually means a complete rewrite and perhaps multiple rewrites. Students must also post 500-100 word critiques for every student story we workshop. Similarly, you will read a large amount of stories from 3X33 and a few handouts. Students will post 500-1000 word critiques for every assigned story we read. In addition to those critiques, you will write two 1200 word papers in which you do a craft analysis of the novels Super Sad True Love Story and A Gate at the Stairs.

Reading so much literary fiction will allow you to build a library of published stories in your heads. Students are expected to use their knowledge of writers like ZZ Packer, Richard Yates or Lorrie Moore to comment about peer work up for discussion. Students will make parallels and use the published work to inform their critiques of peer work. The majority of the course will be spent workshopping. The goal of the course is for you to not only become a better writer, but to become an active literary citizen who can participate in the ongoing dialogue concerning fiction.

Workshop

You will be prepared for every workshop class by doing the following:

1.)    Write comments in the margins of stories up for discussion. You MUST use the comments feature in Microsoft Word. All comments will be transparent to the entire class. I want you to upload your marked up versions of workshopped stories to Blackboard. Failure to do so will negatively impact your grade.

2.)    Write a 500-1000 word critique for each peer written story we read this semester. You must critique the story based on its own intentions. For example, if the writer is attempting to write in the realist mode of Ray Carver, do not suggest a woman who gives birth to a newborn baby every night ala Amelia Gray just because you don’t like realism. On the flip side, do not knock a postmodern story because you prefer realism. Judge the story the writer wrote, not the one you want to write. Try and help them see how they could better serve their material and unique world vision. In your responses, first describe what you think the writer is attempting to do and what the story is about. Then discuss the piece’s strengths. Finish with prescription, a section where you point out very specific things that still need work within the story. Go beyond grammar. Character, plot, prose, all the building blocks of fiction are on the table. You must use the description, strength, prescription model.

3.) Post your critique and margin comments to Blackboard by 8PM the night before workshop. All critiques will be visible to all members of the class, and I encourage you to read what your peers are saying about every story. Name your thread on Blackboard after your favorite line of the story in question. If you don’t turn in these materials BY 8PM, you will lose points.

Example of a good critique:

[There’s a critique I wrote here in graduate school, but I’m removing it from the blog because I never told the person whose story I culled from. If interested, look in the Crow Room.]

Notes About Workshop

When you are being workshopped, it is very important that you are quiet, take notes, and do not respond to anything verbally. To reiterate, you are not allowed to talk when being workshopped unless I specifically ask you something, and that will be very rare. You are not there to defend your story. Your story must stand on its own.

Please proofread your work. If a story is excessively sloppy, I will not workshop it. Do not depend on your classmates to fix your grammar.

Distribution of Manuscripts

Stories are due from every student at specific points in the semester. Upload them to Blackboard on the due date by 9AM. If your story is late, your grade for that story will drop by an entire letter. If you are more than a day late, you will get an F, no exceptions. You are responsible for printing out your peers’ stories for discussion on workshop days.

Blackboard Reading Posts

On most weeks, you will be required to read at least one outside short story. On these weeks, you must post a 500-1000 word critical response to said story on Blackboard under the appropriately titled forum. Posts must be uploaded by 8PM the day before we discuss the story. If your post is late, you will take an F on the critical response in question. During the first two weeks in which we will be discussing two professional short stories a classroom session, you are required to write three 250-500 word responses each class session, one for each story we read (the exception being Super Sad True Love Story when Paper 1 will be due). Post your responses on the appropriate Discussion Board forum. There’s a forum designated by name for every professional story.

Let me be very clear on this. This is not a forum for you to explain whether or not you like the piece in question. I don’t care. What I’m looking for is a craft analysis. These stories are published. They’re not up for workshop. What can you learn from them? If you simply talk about why you love or hate a specific story, you will take an F on the critical response in question.

Papers

Two papers will be due in this course, one for Super Sad True Love Story by Gary Shytengart and one for A Gate at the Stairs by Lorrie Moore. They will be due on Blackboard the night before class at 8PM like our reading critiques. The goal in these papers will be to do a craft analysis and pick out a few pieces in the work in question that specifically helpful to your development as a writer. Do not analyze these novels in a vacuum. Feel free to tie in your own work or other books you have read.

Fiction Pods

After everyone has been workshopped once, I will break you up into Fiction Pods of four and five in which you will read each other’s revisions and then run mini-workshops. I will explain more about Fiction Pods when we reach that point in the semester. Keep in mind, you will be required to meet with your Fiction Pods for 90 minutes outside of class on two separate occasions during the semester. You will also have to e-mail me where and when you met and a very brief summary of the meeting.

Attendance

I want to be as clear as I can on this. If you miss class four times, you will fail. There will be no make up assignments. Don’t come back to class. The ONLY excuse I will accept is a doctor’s excuse. I am not going to make any exceptions on this front.

If you are unprepared for discussion or workshop, I cannot give you credit for attendance that day.

Grading

This is what you have to do if you want an A in this course. You have to put up two thoughtful workshop pieces. Then you have to take the time to substantially revise them. You have to be engaged in classroom discussions and add something relevant every class. You must do all the Blackboard posts and turn them in on time. You do all these things, you get an A. You slack off, turn stuff in late or short, doze off in class, and you’re not getting an A.

Here’s the grading breakdown. 70% of your final grade will come down to your final portfolio, i.e. all of your revised work at the end of the semester. The other 30% comes from Blackboard posts and participation. Please note: participation is mandatory. If you are not contributing to every single workshop, you are not going to get a good grade. This is a workshop course. The same goes for Blackboard. If you consistently fail to turn in work on time, you’re not going to get a good grade.

Final Portfolios

On the final day of class, you will be expected to turn in two revisions of your workshop pieces. Late portfolios WILL NOT be accepted.

Conferences

After your workshop, please schedule a conference with me during my office hours. Revisions will be due at the end of the semester, but you can turn them in at any point. Conferences are mandatory!

Outside Events

Students are only required to attend one event outside of class. On April 7th, writer Lydia Davis will read in the Frick Fine Arts Building at 8PM. You are required to attend and write a short, 500 word craft analysis of her reading. ATTENDANCE IS MANDATORY. If you cannot attend, you must go to a make up reading that I will assign.

Academic Integrity

Cheating/plagiarism will not be tolerated. Students suspected of violating the University of Pittsburgh Policy on Academic Integrity, noted below from the February 1974, Senate Committee on Tenure and Academic Freedom reported to the Senate Council, will be required to participate in the outlined procedural process as initiated by the instructor. A minimum sanction of a zero score for the quiz or exam will be imposed.

Plagiarism, as defined by the University of Pittsburgh’s Academic Integrity code, is when a student:

Presents as one’s own, for academic evaluation, the ideas, representations, or words of another person or persons without customary and proper acknowledgment of sources.

Submits the work of another person in a manner which represents the work to be one’s own.

Knowingly permits one’s work to be submitted by another person without the faculty member’s authorization.

Special Assistance

If you have a disability for which you are or may be requesting an accommodation, you are encouraged to contact both your instructor and Disability Resources and Services, 140 William Pitt Union, (412) 648-7890 or (412) 383-7355(TTY), as early as possible in the term.  DRS will verify your disability and determine reasonable accommodations for this course.

Course Sequence

Week One

Thurs January 6

Syllabus

Introductions

Amelia Gray “Babies” and “Dinner”

Week Two

Tues January 11

Raymond Carver “What We Talk About When We Talk About Love” 3X33

Tobias Wolff “The Liar” Blackboard

Dave Eggers “After I Was Thrown in the River but Before I Drowned” Blackboard

Thurs January 13

Antonya Nelson “Naked Ladies” 3X33

James Alan McPherson “Why I Like Country Music” Blackboard

Donald Barthelme “Robert Kennedy Saved From Drowning” 3X33


Week Three

Tues January 18

Gary Shytengart Super Sad True Love Story

STORIES DUE


Thurs January 20

Workshop 1

Workshop 2

Week Four

Tues January 25

Workshop 3

Workshop 4

Thurs January 27

Workshop 5

Jonathan Lethem “Super Goat Man” Blackboard

Week Five

Tues February 1

Workshop 6

Workshop 7

Thurs February 3 – Guest Workshop w/Travis Straub

Workshop 8

Workshop 9

Week Six

Tues February 8

Workshop 10

Workshop 11

Thurs February 10

Workshop 12

Andre Dubus “The Fat Girl” Blackboard

Week Seven

Tues February 15

Workshop 13

Workshop 14

Thurs February 17

Workshop 15

Matt Bell “His Last Great Gift” Blackboard

Week Eight

Tues February 22

Workshop 16

Workshop 17

Thurs February 24

Workshop 18

Richard Yates “The Best of Everything” 3X33


Week Nine

Tues March 1

Workshop 19

Workshop 20

Thurs March 3

Workshop 21

Workshop 22 (IF NEEDED)

A.M. Homes “The Former First Lady and the Football Hero” Blackboard

SUNDAY REVISIONS DUE

Week Ten

Spring Break

Week Eleven

Tues March 15

Lorrie Moore A Gate at the Stairs

New Stories Due

Thurs March 17

Workshop 1

Workshop 2

Week Twelve

Tues March 22

Workshop 3

Workshop 4

Thurs March 24

Workshop 5

Workshop 6

Week Thirteen

Tues March 29

Workshop 7

Workshop 8

Thurs March 31

Workshop 9

Workshop 10 (IF NEEDED)

ZZ Packer “Dayward” Blackboard

Week Fourteen

Tues April 4

Workshop 11

Workshop 12

Thurs April 7

Workshop 13

Workshop 14 (IF NEEDED)

George Saunders “Sea Oak” 3X33


Week Fifteen

Tues April 12

Workshop 15

Workshop 16

Thurs April 14

Workshop 17

Workshop 18

Week Sixteen

Tues April 19

Workshop 19

Workshop 20

Thurs April 21

Workshop 21

Workshop 22

 

Do You Trust Someone With Crappy Taste in Music/Movies/Etc When It Comes to Writing?

This is literally my top 25 list on iTunes. BEHOLD!

I have shitty taste in music. You have no idea how long it’s taken me to admit that to myself. In high school, I spent hours reading reviews on Pitchfork and putting band names into Amazon to see who else their search engines would recommend. I listened to Weezer, Saves the Day, Ozma, Texas is the Reason, the Pixies, the Ataris, and all kinds of bands (good and awful) that nobody gave a shit about in Scranton, Pennsylvania (or at the very least, my shockingly unhip Catholic school). If my plan was to get laid based on my extensive knowledge about the recording history of Weezer’s 1996 magnum opus Pinkerton, it backfired miserably.

In college, I tried to keep up with what was popular with the cool kids. I listened to Bloc Party, Arcade Fire, Belle & Sebastian, but what I discovered pretty quickly is that I don’t really like concerts that much. Whenever I go to one, I get bored and start hoping for the whole thing to be over. None of them can ever match the way I felt seeing Weezer in Wilkes-Barre at 16, and I think that’s kind of my problem. Musically, I’m completely stunted. I listen to most of the same garbage I liked in high school peppered with a handful of bands I saw in college and a whole mess of Kanye West. That’s about it. I’ve given up on knowing what’s hot, and most of my friends think it’s hilarious (not to mention sad) when I unironically listen to Offspring’s Smash.

My point: can you trust someone to have good taste concerning literature when you don’t respect their other entertainment choices? For example, if you were exchanging stories with someone who told you their favorite movie was Bad Boys II, would you be able to take their criticism on your short story seriously even if it was totally sound? I’ve been thinking about this a lot ever since Inception came out. Almost everybody I know in Pittsburgh claims to dislike it, but I found it pretty enjoyable (look at me defend it in this Rumpus comments section!). The same thing happened when I pulled out Bill and Ted’s Bogus Journey after a Mad Men watching party. I claimed the movie was outright David Lynchian during the sequence where Bill and Ted play board games with the Grim Reaper in hell (only moments before they ask aliens in heaven to build them good robot versions of themselves to fight evil robots versions of themselves at a battle of the bands), and the entire MFA community stared at me like I was a drunken moron.

If some of my favorite “films” include Bill and Ted’s Bogus Journey, Santa Slays and Camp Nowhere, can you really trust my thoughts of A Gate at the Stairs? If I enjoy reading comic books where a crazed statue of Abraham Lincoln ravaging downtown DC can only be stopped by a statue version of John Wilkes Booth, can you still listen to my advice on your story? If I have 57 Kanye West songs on my iPod, can you ever take me seriously again? Or is literature so far removed from these other mediums that they’re not even comparable, just like how not knowing about feng shui doesn’t imply that you can’t be a wine critic?

THEY DON'T EVEN MEET THE ANTAGONIST UNTIL THE FINAL SCENE!

Thoughts on Plot

I’ve been reading Lorrie Moore’s most recent novel A Gate at the Stairs. It’s enjoyable, and if you like Lorrie Moore (which I certainly do), you’ll enjoy this book. The voice is strong. The descriptions are surprising and unique. But there’s one crucial element missing: plot. I made a complaint about this on Facebook and certain people (ahem) complained about said complaint. I’ve been wondering a lot about why this is. Why when someone criticizes a literary novel for not having plot, many thoughtful readers will rise up and say literary novels don’t need plot. But that would never hold true for dialogue or characterization or any of the other fundamental building blocks of fiction. Imagine someone critiquing a novel’s characterization and a reader saying, well, literary novels don’t need characterization. 

By plot, I don’t mean melodrama. I mean tension, an inciting incident, anything that grabs readers’ attention and forces them onward. It could be something as monumental as a mother having sacrificed one of her children to the Nazis and dealing with the aftermath (Sophie’s Choice) or something as subtle and quiet as finding out how the final night of a closing Red Lobster plays out (Last Night at the Lobster). Plot is an absolutely necessary component to any work of fiction for me, but at some point, it became a dirty word in hoity-toity literary circles. In MFA workshops, it’s often thrown around as an insult. This story’s too plotted or too plot heavy. Again, can you even picture a reader who would say that a story has too much characterization? But what is a story without a plot? A quirky observation? A rant? 

Tension! A Plot!

 

When I think of really strong plots, I think of books that have elaborate underpinnings that are hidden from the reader. I think of Richard Yates’ Revolutionary Road. On one level, not much happens. A married suburban couple is unhappy. They think moving to Paris will solve all their problems. The wife becomes pregnant and the husband uses that as excuse not to go. What will happen? But if you reread that book, you can see thematic seeds planted throughout. References to April wanting an abortion appear in the first 50 pages, before she even gets pregnant. Characters talk about how people are more alive in Paris before the trip is ever brought up. Rehearsals for Frank’s eventual failure of the soul occur again and again and again. Each scene is necessary, and pulling out even one would destroy the book as a whole. In that sense, it’s structured like an elaborate end-game Jenga tower. But upon first reading, none of this is apparent to reader. Everything is organic. This is an instance where plot is as important as dialogue, characterization, empathy, and all the other elements of fiction of the traditionally dominant aesthetic set. 

I can’t say why exactly I’m so drawn to plot, but it definitely has to do with my odd inclination towards structures. Maybe it goes back to my fascination with genre storytelling as a boy, and subsequent return to comic books as an adult. I’m not sure, but it certainly explains why I prefer Philip Roth’s Goodbye, Cloumbus (a tightly plotted coming of age novella) to his more celebrated Portnoy’s Complaint (a long, first-person rant directed at a psychoanalyst). One uses plot effectively while the other does not. Both are great books, but one plays more towards my preferences in literary fiction. The same holds true for Lorrie Moore. I love her short stories (the characters usually want something and try to achieve those goals, or else their inaction and stagnancy are the “point” of the story). But I’m not loving this novel as much as I’d hoped because the protagonist (though wonderfully vivid and defined) is given little drama or tension to play off of. She is adrift. That is all. One scene follows another but only a handful feel vital to the book’s movement and soul. Of course, I’m only 150 pages in, so maybe I’ll have a very different opinion by novel’s end (although I’d be hard-pressed to see a reason for the first aborted adoption meeting at Perkins). All these years later, and I’m still a believer in Tom Bailey‘s second rule of fiction: story happens when shit hits the fan. 

As advertised, a LOT of complaining.

Summer Reading List

A few days ago on HTML Giant, Christopher Higgs posted his summer reading list and asked readers to do the same in the comments section.  I’ve been constructing elaborate summer reading lists for awhile now. Check out this stack that I (mostly) devoured over a three week period last summer.

But a curious thing happened when fall rolled around: I didn’t delete the reading list file on my hard drive. I just kept adding to it and adding to it, updating with way more titles than I could consume in any given month. And now, with a new summer upon us, I have a list that has ballooned to 33 separate entries. Ordinarily, this wouldn’t be a huge problem, but reviewing has taken a big chunk out of my reading for pleasure time. Oh, and this doesn’t even include all the graphic novels I’ve saved up for the summer (I have a different file for those with only 18 entries).

Prose

Portnoy’s Complaint by Philip Roth
God Jr. by Dennis Cooper
After the Workshop by John McNally
Samuel Johnson Is Indignant by Lydia Davis
Brothers Karamazov by Fyodor Dostoyevsky
Feast of Love by Charles Baxter
Something else by Jay McInerney (not Bright Lights, Big City)
The Half-Known World by Robert Boswell
Desperate Characters by Paula Fox
Something else by Joe Meno (not The Great Perhaps)
Dalva or Legends of the Fall by Jim Harrison
Await Your Reply by Dan Chaon
Netherland by Joseph O’Neill
Emperor of the Air by Ethan Canin
A Gate at the Stairs by Lorrie Morre
The Theory of Light and Matter by Andrew Porter
Game Change: Obama and the Clintons, McCain and Palin, and the Race of a Lifetime by John Heilemann and Mark Halperin
Drinking Coffee Elsewhere by ZZ Packer
A Common Pornography by Kevin Sampsell
Something by Paul Auster
The Terrible Girls by Rebecca Brown
This Is Where I Leave You by Jonathan Tropper
The House of Tomorrow by Peter Bognanni
Extra Lives: Why Video Games Matter by Tom Bissell
We’re Getting On by James Kaelan
End of the Affair by Graham Greene
Everything Ravaged, Everything Burned by Wells Tower
Both Ways Is the Only Way I Want It by Maile Meloy
A Fan’s Notes by Frederick Exley
Solar by Ian McEwan
Shoplifting from American Apparel by Tao Lin
Stories II by Scott McLanahan
American Subversive by David Goodwillie

Comics

The Nightly News by Jonathan Hickman
RASL vol. 1 by Jeff Smith
Young Avengers vol. 2 by Allen Heinberg and Jimmy Cheung
Asterios Polyp by David Mazzucchelli
Omega the Unknown by Jonathan Lethem and Farel Dalrymple
The Flash book 1 Blood Will Run by Geoff Johns and Scott Kollins and Ethan Van Sciver
Fantastic Four vol. 1 by Mark Waid and Mike Wieringo
Daredevil vol. 1 Ultimate Collection by Brian Michael Bendis and David Mack and Alex Maleev
Daredevil Born Again by Frank Miller and David Mazzucchelli
Black Summer by Warren Ellis and Juan Jose Ryp
Batman Year One by Frank Miller and David Mazzucchelli
New X-Men vol. 1 by Grant Morrison and Frank Quitely and Ethan Van Sciver and Leinil Francis Yu
Global Frequency vol. 1 Planet Ablaze by Warren Ellis
Marvel 1602 Premiere HC by Neil Gaiman and Andy Kubert
Superman/Batman vol. 1 Public Enemies by Jeph Loeb and Ed McGuinness
Wolverine: Enemy of the State by Mark Millar and John Romita Jr. and and Kaare Andrews
The Middleman: The Collected Series Indispensability by Javier Grillo-Marxuach and Les McClaine
I Kill Giants by Joe Kelly and J. M. Ken Niimura

Obviously, this list is way too ambitious for any human to complete in a single season. But I’ll take a crack at it. I imagine that most of the graphic novels will fall by the wayside as I already read three or four comics a week each Wednesday. However, if you think I’m missing something absolutely crucial, please let me know. And feel free to post your own lists in the comments sections.

Rediscovering Nonfiction

A few weeks ago I was at a multi-genre reading with segments of fiction and nonfiction. I sat. I listened. I thought about how cultured I was. And I was utterly bored, especially during the creative nonfiction components. It was mostly navel-gazing and that genre I hate more than anything in the entire world: “Memoir of a Privileged, White Twenty-Something”. Ok, I guess that’s slightly better than “Memoir of a Privileged, White Twenty-Something Who Goes To The Third World and is Enlightened Spiritually”.  I sat there scowling and thinking about how much I used to love CNF back in college when I enjoyed literary journalism as well-deserved respites from devouring novel after novel after novel. I sat there thinking how I no longer cared about the genre.

In a workshop class I’m taking, writer Cathy Day has us thinking about “the negative cultural and critical reaction to personal nonfiction writing vs. its popular/commercial appeal”. It’s interesting that in an era of publishing history when nonfiction greatly outsells all facets of fiction that CNF, particularly the memoir, is under attack. Check out Taylor Antrim’s tirade on The Daily Beast. How about Maud Newton’s slam over at the LA Times? Two big name authors who swung through Pittsburgh both discussed how much they disliked CNF: Lorrie Moore and Aleksandar Hemon.

I can only speak to my own experience. I’m not a huge reader of the genre. I’m very often bored by memoirs, especially if the writer isn’t famous or hasn’t gone through something exceptional. I don’t read nonfiction for assurance that I am not alone in the universe and that there are others out there like me; that’s why I read fiction. These are my favorite works of CNF: On Becoming a Novelist by John Gardner. Lives on the Boundary by Mike Rose (light pedagogical theory). Portions of Hunger of Memory: The Education of Richard Rodriguez (a pedagogical biography).  No More Vietnams by Richard Nixon. Killing Yourself to Live by Chuck Klosterman. A Tragic Honesty: The Biography of Richard Yates. And New New Journalism, a fantastic collection with long, informative essays by writers as varied as John McPhee and Hunter S. Thompson.

I bring these up to illustrate a point. The Rumpus recently ran an interesting article about why people read nonfiction. It quotes John D’Agata who asks, “Do we read [nonfiction] to receive information, or do we read it to experience art?” I think this is the fundamental sticking point in the nonfiction debate. I’ve looked at my shelves, thought about this question and my own instinctively negative reaction towards memoirs. Clearly, I’m not reading nonfiction for art. No one who lists the prose of Richard Nixon as a favorite could possibly be looking for art, and it’s now obvious I value the genre for its ability to distill and disseminate information.

So to sum up: I think that a bunch of leather-elbowed professors and critics sitting around trying to decide whether CNF is a bankrupt genre is silly. It’s different from fiction. The two genres aren’t in competition with one another. People whose natural instinct it is to chide CNF are probably just coming at it from a different viewpoint: they’re not looking to experience voice, or sometimes even emotion in nonfiction; they’re looking for (at times clinical) information. And if that’s your primary motivation for reading nonfiction, it’s difficult to really compare it to fiction in any favorable way. Nor should you.