Rule Breaking

ADVENTURES IN CREATING NEW FICTION

What rules should be broken when creating the new short story?

The current literary story uses sparse dialogue.

The new story should use much dialogue.

The current story focuses on the personal.

The new story should emphasize the public.

The acceptable story uses much description.

The new story should give a minimum of it. (Less is more.)

The old story has minimal action.

The new story should embrace action when it makes the plot and theme exciting.

Plot? A lot of it.

Themes need to go deeper than the delicate points of lit stories.

Instead of a single viewpoint, the new story should give every viewpoint, and do so in a minimum of space.

Is all this impossible?

Not at all. It may, in fact, be ridiculously simple.

Three Problems

I see three related problems with the established literary scene.

1.) CONFORMISM. As I’ve oft stated, from top to bottom in American literature there’s a herd mentality. No one will publicly buck the status quo and advocate for change. Everyone is infected with “go-along-to-get-along” disease. No one will point out the corruption and cronyism that does exist in the scene. Everyone prefers to look the other way. You’ll find scarcely one person of courage and integrity. I know this from experience.

2.) BUBBLISM. Most of today’s young literati are hipsters. Many of them have congregated in Brooklyn, or in similar Hipstervilles around the country. I’ve noted in my encounters with this crowd, off-line and on, that they can’t handle disagreement. Few of them have experienced the give-and-take of no-holds-barred debate. They rely on premises, assumptions, assertions that to them are laws, because everyone in their world accepts them. This isn’t a healthy situation for any art or intellectual scene.

They’re in fact thousands of Bubble Boys from “Seinfeld,” who’ve carried their bubbles with them. Those they interact with at their hangouts look and think exactly like them.

If you study the hipster phenomenon, as one would a variety of animal, you see they’ve adopted protective coloration to try to blend in with their new urban environments. Note the beards and gritty working-class garb; the thrift shop affectations. Yet only the outer surface has changed. They’ve brought with them their gentrified upscale tastes—as seen in the new chic menus, designer beers, and upscale prices at bars and bistros which have sprung up or redesigned themselves to cater to them.

As it affects literature, there’s little chance of converting them to new ways of approaching the literary art, when everyone of them flees and blocks their mind from the slightest critique of what they see as wonderful and safe.

3.) INABILITY TO SEE REALITY. An example of this is the unquestioning believe in a pagan nature myth like global warming/climate change, which is a variation of Eve-eating-the-apple: mankind punished for its sins and hubris.

The inability to see reality applies to their art. An objective observer flipping through their literary flagship, The New Yorker, and glancing at the month’s enclosed story, should see immediately that this is a bad product; a poor entry point for readers to jump into the joys of fiction. Long paragraphs of dense prose, of hardly any dialogue or scene. (Like this blog post!) It’s as if the stories are created to be intentionally offputting to those not of the proper breeding. It’s no way to expand an art—in fact for the past several decades such stories produced by the thousands have narrowed it. Yet when you read the opinions of literati, high and low, in prestigious magazines or on on-line websites, these kind of literary stories are portrayed as tremendous achievements. Well, maybe they are—if one could read them. They’re terrible models, terrible examples of what the literary art at its best can achieve.

Literature Living in the Past

SHIRLEY JACKSON AND THE NEW YORKER

The centerpiece of The New Yorker’s August 5 summer fiction issue is a story by Shirley Jackson named “Paranoia.” In style the short story reads like any other New Yorker short story published over the past year. Being from Shirley Jackson, it’s more entertaining than the run-of-the-mill New Yorker story. The biggest difference between “Paranoia” and other well-crafted New Yorker stories is that the story “Paranoia” by Shirley Jackson is 60 years old.

Did the run-of-the-mill New Yorker reader notice?

Likely not. In the first place, fiction appearing in The New Yorker is never read, A.) because the magazine’s purpose isn’t to be read, but to sit upon refined coffee tables in upscale residences from Manhattan to Newport Beach (but not very much in Newport Beach) as a marker of breeding and good taste—the unique cover announcing the week’s message; and B.) because the pieces that are actually read when an ambitious subscriber decides to read the magazine are the movie reviews and show listings, maybe the week’s big think piece, but never—never—the fiction. That the magazine still publishes “fiction,” even if no one reads the fiction, is all that’s required. “Oh, the fiction,” a person responds, looking at the Table of Contents. “Still there. Good.”

In on-line blurbs for the issue, The New Yorker hearkens back to a previous New Yorker story by Shirley Jackson, “The Lottery,” which received more mail response than any story they’ve ever published, before or since. “The Lottery” by Shirley Jackson was published in 1948!

With today’s establishment-produced “fictions” we’re not talking about a healthy art form. There’s not been a lot of change in it. Over 60+ years of presenting the same thing, the few remaining publishers of literary short stories have lost their audience. Renowned-but-little-read short story writer Charles Baxter acknowledges as much in a Daily Beast interview this week, with hardly a shrug. No attempt to understand the reasons. No desire to create something strikingly new. Charles Baxter has been writing the same kind of short stories for thirty years (not a long period from The New Yorker’s perspective). One thing we can bet about the short stories Baxter has published then and now is that they haven’t changed one iota. Since no one reads them, beyond dutiful writing students eager to learn how to duplicate them, does it matter?

A healthy art form—think of rock music from 1964 to 1967—is engulfed in explosions of creative discoveries everyplace, new trails blazed, the standard centerpiece of the art (the pop song) presenting radical new experiments and experiences by the week.

In literature, we get the unchanging literary story. As unchanged in 60 years as the proverbial generic McDonald’s hamburger left on a plate that never changes, always looking the same.

But The New Yorker is happy, and if they’re happy, the unthinking unblinking literary herd is also happy. Yes. A good year for the short story. 1948!

Maybe next they’ll bring back Joe DiMaggio to play for the Yankees.

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(To see my attempt to present readable, entertaining, non-workshop short stories, purchase my e-book, TEN POP STORIES.)