I may be overly optimistic or utterly blind, but my view of contemporary American fiction is that it is as rich as ever. Some of the best work is being written in what until recently was considered, at least among the conventional literati, genre fiction. Horror, gothic, mystery, fantasy, fabulism. There are so many stunningly original and serious writers working these fields. I have to think that anybody reading this interview would agree. Just one example, though there are many, would be Elizabeth Hand. She composes sentences of ravishing beauty. She is capable of creating metaphor systems that are so dynamic and provocative. She can turn a fictive moment that seems deeply rooted in the everyday into something that, in fact, touches upon the sublime, the miraculous. Just read her novella Cleopatra Brimstone and tell me that American fiction isn’t pulsing with life. Like I say, I could list dozens of authors here whose work I admire and follow with care and excitement. That said, I do think that much contemporary criticism is stuck in the past and that too many reviewers want those who are exploring ways to revolutionize genre to stick to the rules. I think of them as genre police. They make too many false arrests and lead potential readers astray, keep them caged away from renegades whose work they might well dig reading.
27 January 2012
Metaphor Systems, Fictive Moments, and False Arrests
Bradford Morrow, editor of Conjunctions and writer of The Diviner's Tale and The Uninnocent, in an interview conducted by Edie Meidav at The Millions: