By Jerome Klinkowitz
Klinkowitz’ finished Introduction presents the clearest, liveliest exploration thus far of the technical and critical advancements within the paintings of the unconventional during the last decades. Using numerous ways from polemic and lyric to non-public witness, Klinkowitz discusses John Updike, Grace Paley, Robley Wilson, Ishmael Reed, John Gardner, Thomas McGuane, John Irving, Richard Yates, John Barth, Jerzy Kosinski, Dan Wakefield, and Tom Glynn.
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Extra resources for Literary subversions: new American fiction and the practice of criticism
Sample text
There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is Page xx beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time. 6 Once Vonnegut's protagonist learns this new structural sense, he is anxious to tell his countrymen the good news, for by living out of synch with the culture their lives have become disappointing and frustrating.
The results were two decades of knee-jerk responses while the new fiction struggled to articulate its own aesthetic, since properly intellectual response has until very recently lagged behind. The critical and symbolic nature of America itself has traditionally preempted the role of "intellectuals" in American letters. In the eighteenth century, our intellectual spokesmen were practical politicians; in the nineteenth century, they were, more often than not, preachers or editors; and in modern times, they have survived only as working criticsfigures such as Edmund Wilson, Malcolm Cowley, and Alfred Kazin, who performed the day-to-day role of critical assessment through literary editorships or even journalism.
As I explain in the following pages, both fiction and criticism have undergone disruptive formal transformations, and editors have been caught in the position of not knowing whom should be written about and how. Therefore, I am grateful to the journals which have let me test out both my critical choices and methods. Much earlier versions of some parts of the essays rewritten for this book appeared in The North American Review, Partisan Review, The American Book Review, Black American Literature Forum, Critique, College English, Missouri Review, Fiction International, and The New Republic.
