The thing that [Jennifer] Egan does that no other American writer I can think of pulls off, is to be formally daring without being even a little bit pretentious. She takes her stories in crazy twists down wild alleys, without ever let the book turn into a writing workshop experiment. Whenever I read something that is labeled “formally daring”, on each page I can feel the criticisms from the other graduate students shaping the story, I can feel information being withheld so the author won’t be accused of being pedantic by his fellow Yaddo inmates. And in the end every one of those damn books I read - from Michael Chabon to Josh Ferris - feels to me like it was written with an audience of grad students in mind rather than people who just want to enjoy a story and don’t need it pointing out to you every page how clever it is. The inventiveness of Egan never feels forced or show offy, but always like an author searching for what is the best possible way to express something about a character, with a mind that is nimble enough to range freely trying to answer that question.
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Richard Rushfield makes a very good point about Jennifer Egan, who I agree is probably the finest literary novelist working today. This point is really crucial for most all writing — I think it’s very important for writing to engage with a wider audience rather than to self-consciously aim to please a small coterie of critics and acquaintances. (via perpetua)
I have yet to read Jennifer Egan (I’ve heard good things and bad), but I’m more inclined to think that the binary of a broad “popular” audience versus a small “esoteric” audience is false: the best writing is aimed towards an audience that does not yet exist and which it brings into being if it is successful.
(via towerofsleep)
Yep. This successfully sums up what I liked about Goon Squad.
(via towerofsleep)
