A Quote by John Hodgman

There's a tradition in American fiction that is deadly serious and earnest - like the Steinbeckian social novel. — © John Hodgman
There's a tradition in American fiction that is deadly serious and earnest - like the Steinbeckian social novel.
Like no other writer in contemporary American literature, Brock Clarke has a way of looking at us, I mean looking straight at us--warts, lots of warts, and beauty and hypocrisy and love, too, the gamut. And hes done it again in this brilliant The Happiest People in the World, a novel that is as hilarious and thought-provoking as it is ultimately, deadly, deadly serious. I for one am grateful hes out there--watching our every move.
In American fiction, belief is like that. Belief as upbringing, belief as social fact, belief as a species of American weirdness: our literary fiction has all of these things. All that is missing is the believer.
There's a long relationship between science fiction and the 'novel of ideas,' and I think writers of science fiction are able to draw on that tradition to take risks, to constantly raise the level of their ambition.
I try to think of the social function of fiction as drawing the individual toward larger social and political questions. But I'm also very comfortable in saying that my novel - any novel - doesn't matter as much as larger questions of how we can see justice done.
There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.
I think the "crime novel" has replaced the sociological novel of the 1930s. I think the progenitor of that tradition is James M. Cain, who in my view is the most neglected writer in American literature.
It used to be that the highest ambition of American novelists was to write 'the Great American Novel,' that great white whale of American fiction that would encompass all the American experience in one great book.
When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.
The Anglo-American tradition is much more linear than the European tradition. If you think about writers like Borges, Calvino, Perec or Marquez, they're not bound in the same sort of way. They don't come out of the classic 19th-century novel, which is where all the problems start. 19th-century novels are fabulous and we should all read them, but we shouldn't write them.
When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application why, the novel is practically the retail business all over again.
Anytime an African-American writes an unconventional novel, the writer gets compared to Ellison. But that's O.K. I am working in the African-American literary tradition. That's my aim and what I see as my mission.
You must be deadly serious in training. When I say that, I do not mean that you should be reasonably diligent or moderately in earnest. I mean that your opponent must always be present in your mind, whether you sit or stand or walk or raise your arms.
Being serious is serious business in fiction. It's commercial or hoi polloi in fiction to be funny. It's too accessible to the great unwashed.
I was writing an earnest novel about cruises in the Caribbean and I just started writing 'Bridget Jones' to get some money, to finance this earnest work, and then I chucked it out.
The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.
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