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July 01, 2009

"THINK FANTASTIC"

To get you in the right frame of mind for our soon-to-be-unveiled Joseph O'Neill interview (in the final editing stages), check out today's story, in which he resists the "Gatsby" tag ...

"I'm slightly wary about putting those two books next to each other," he says. "I'm not going to come out of it well. Gatsby is regarded by many as the seminal American novel of the 20th century, so obviously one is reluctant to invite comparisons! But I must acknowledge that debt. I was influenced by Gatsby to a degree I didn't realize until I was halfway through the book, by which point my book was significantly different to accept the possibility that the plots are similar. They're even similar in perspective and mood, with narrators, outsiders who come to New York and leave sadder but wiser men."

Posted at 11:56 AM in Worthy Titles |

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Comments

ankur

that's resisting the tag?

Posted by: ankur | July 02, 2009 at 01:13 AM

john

Considering Joyce's influence on Gatsby, and the complete lack of innovation in Netherland, one wonders where exactly everyone believes these two are meeting.

Posted by: john | July 02, 2009 at 07:03 AM

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TEV DEFINED


  • The Elegant Variation is "Fowler’s (1926, 1965) term for the inept writer’s overstrained efforts at freshness or vividness of expression. Prose guilty of elegant variation calls attention to itself and doesn’t permit its ideas to seem naturally clear. It typically seeks fancy new words for familiar things, and it scrambles for synonyms in order to avoid at all costs repeating a word, even though repetition might be the natural, normal thing to do: The audience had a certain bovine placidity, instead of The audience was as placid as cows. Elegant variation is often the rock, and a stereotype, a cliché, or a tired metaphor the hard place between which inexperienced or foolish writers come to grief. The familiar middle ground in treating these homely topics is almost always the safest. In untrained or unrestrained hands, a thesaurus can be dangerous."

SECOND LOOK

  • The Bookshop by Penelope Fitzgerald

    Bs

    Penelope Fitzgerald's second novel is the tale of Florence Green, a widow who seeks, in the late 1950s, to bring a bookstore to an isolated British town, encountering all manner of obstacles, including incompetent builders, vindictive gentry, small minded bankers, an irritable poltergeist, but, above all, a town that might not, in fact, want a bookshop. Fitzgerald's prose is spare but evocative – there's no wasted effort and her work reminds one of Hemingway's dictum that every word should fight for its right to be on the page. Florence is an engaging creation, stubbornly committed to her plan even as uncertainty regarding the wisdom of the enterprise gnaws at her. But The Bookshop concerns itself, finally, with the astonishing vindictiveness of which provincials are capable, and, as so much English fiction must, it grapples with the inevitabilities of class. It's a dense marvel at 123 pages, a book you won't want to – or be able to – rush through.
  • The Rider by Tim Krabbe

    Rider_4

    Tim Krabbé's superb 1978 memoir-cum-novel is the single best book we've read about cycling, a book that will come closer to bringing you inside a grueling road race than anything else out there. A kilometer-by-kilometer look at just what is required to endure some of the most grueling terrain in the world, Krabbé explains the tactics, the choices and – above all – the grinding, endless, excruciating pain that every cyclist faces and makes it heart-pounding rather than expository or tedious. No writer has better captured both the agony and the determination to ride through the agony. He's an elegant stylist (ably served by Sam Garrett's fine translation) and The Rider manages to be that rarest hybrid – an authentic, accurate book about cycling that's a pleasure to read. "Non-racers," he writes. "The emptiness of those lives shocks me."

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