Fifty years from now, if people are still reading long-form fiction (say, anything longer than a Twitter feed), what contemporary authors' works will survive? I'll wait.
Can the phrase "Great American Novel" only be applied to realistic novels that attempt to capture the mainstream American experience? Or can it be applied to other novels that are more diverse in terms of either subject matter or literary approach?
At Printer's Row Book Festival in Chicago last weekend, a big topic of conversation was a remark by a prominent male writer that no woman writer was his equal. He used the term "feminine tosh."Tosh" swiftly became the buzz word of the weekend.
Dubbing the pre-publication furore "Franzenfrenzy", Weiner put out a call to her 15,000 Twitter follows "for non-Franzen novels about love, identity, ...
"The heart of fandom," John Updike once wrote, "is identification": that's my team at the top of the division, those are my guys chasing the pennant, and c'mon, let's face it, we're the best.
As unforgettable as a haunting mountain ballad, Serena unfolds like a brilliantly conceived cautionary tale and mediation on the dark corners of unbridled lust to profit at any cost.