Adam Reger | Freelance Writer

Philadelphia-based freelance writer

Category: Reading

On Burying Fiction

My friend, colleague, and, tantalizingly soon, roommate Robert Yune hosts a few thoughts I had in response to this crotchety Lee Siegel article (which I think came out last month). His earlier, scientifically rigorous thoughts on the question here (seriously, that one has a reference list at the end) and here. Another takedown of Siegel’s piece from another former classmate here. This guy can’t catch a break!

Also, someday I’ll have a blogroll. And on that day, I’ll surely include a link to Robert’s blog, which is what my blog would be if I had more patience, focus, and seriousness of purpose, and less propensity to making ball jokes and writing about cheeseburgers.

Addendum re: Jack Pendarvis

Embroidering the point I made yesterday (to wit: that Jack Pendarvis is awesome), I tracked down an excerpt from Awesome, printed in the Yalobusha Review, that I recalled having cracked my shit up. A sample:

Dottie set up a kind of clinic where I breathed on people’s backs and gave them orgasms. Each person was observed to exhibit some kind of material improvement.

Gertrude sang in a lovely contralto.

Annabel became an expert in medieval Russian iconography.

Jack Pendarvis & John Brandon Podcast

One of my most favoritest of contemporary writers, Jack Pendarvis, reads here at an Oxford, MS bookstore with the writer John Brandon (who seems poised for big success with his second novel, Citrus County, from McSweeney’s). I liked, but did not love, Brandon’s first novel, Arkansas, also from McSweeney’s. (A compendium of info on that book is here. They published a couple excerpts, but I’m unable to locate those on the website.) However, I loved, not liked, Brandon’s prose, so I may well check out Citrus County.

Jack Pendarvis cracks me up, whether I’m reading his “blog” or one of his story collections (Your Body Is Changing and The Mysterious Secret of the Valuable Treasure), or his novel, Awesome. (One of my great accomplishments during graduate school was, while fiction editor of the grad-student lit mag, Hot Metal Bridge, to solicit a selection from Awesome. Mr. Pendarvis was gracious enough to give us an excellent section of the book, and was a pretty darn nice guy to correspond with.) He is pretty funny here, reading from a column he writes for The Believer. It kind of bummed me out to hear him slated as the opening act, but I guess what with John Brandon’s being something of a rising star, that status may now be appropriate.

The Brandon reading is pretty excellent, too. After hearing what Citrus County is about—it seems to involve a terrible crime, and potentially a love triangle—I am all the more intrigued after listening to this excerpt, which features a middle-school teacher running his students through genealogy presentations and reluctantly planning for his tenure as coach of the school’s girls’ basketball team. If you’re like me, you love it when random stuff comes together.

One sour note about the podcast, as I experienced it: the player really, really sucks. And by that I mean it won’t let you pause or fast-forward (which would be a convenience if you tried to pause the broadcast, realized pushing Play took you all the way back to the beginning, and thought you’d like to skip over the ten minutes you’d already heard).

Reason #2 to Love Pittsburgh: Gist Street Reading Series

(As mentioned here, I’m enumerating reasons in random order, but giving them consecutive numbers (as opposed to “Reason #6,387 to Love Pittsburgh”).)

Pittsburgh definitely punches above its weight class when it comes to the literary scene. A lot of that is due to the universities: the deep-pocketed Carnegie Mellon University brings in some jaw-dropping readers every year, and the University of Pittsburgh and Chatham University (nee College) both have MFA programs that both bring in and incubate talented writers.

But it’s sort of de rigeur for universities to pull the weight. The really impressive thing about the city’s literary community is the Gist Street Reading Series. Independent of the universities, and with only a tiny bit of funding from the Pennsylvania Arts Council, Gist Street is a local, homegrown phenomenon. The set-up’s simple: the first Friday of the month, two writers—one fiction, one poetry—read from their work in a loft space in Pittsburgh’s Uptown neighborhood (a tiny, isolated, somewhat sketchy neighborhood just on the cusp of Downtown). It’s BYOB—and B.Y.O. Food, Dessert, Anything You Want to Eat or (Preferably) Share with a Bunch of Strangers. As the Series’ slogan goes, “It’s not about suffering.” And it’s not: there’s always ample eating, drinking, and conversation.

And, remarkably, it’s always, always filled to capacity. Stories abound of people getting to the space twenty minutes before the slated start time to find a sign taped to the door: “We’re Full. Sorry.” I’ve been shut out forty minutes before the reading was supposed to begin.

Tonight I got there well ahead of time. It was the annual cookout, done in tandem with a small press of note. Last year it was McSweeney’s. This year it was Michigan-based Dzanc Books. The full line-up of readers is here. All were excellent; for my money, Jeff Parker’s selection from “False Cognates” stood out, but its being funny and straightforward probably helped. As much a part of the experience, however, was the food. It was a feast. Pittsburghers can cook, or at least Gist Street loyalists can. Many, many delicious items were eaten, by me, tonight.

But I am sort of beating around the bush. I must admit a deep bias I have in favor of Gist Street. It involves the raffle they hold at each reading.

Upon entering, each person writes his or her name on a slip of paper and tosses it in a basket. At the end of the reading, names are drawn for a variety of prizes. Each reader puts up a copy of his/her book. There is locally grown produce. Sometimes someone will offer a homemade ceramic piece, or a hand-knit scarf (which a friend won once).

Tonight, I won a most excellent prize: a medley of vegetables from the garden of Sherrie Flick, one of the Series’ founders and organizers (and also a published novelist and flash-fiction writer (what a combination!)). (In the box: a cup of blackberries; two carrots; two radishes; a zucchini; green onions; two plums; a tomato; and a small pepper-ish sort of thing.) Of even further note, though, is that this marked the third time I’ve won something in Gist Street’s raffle. (I won a galley copy of Cathy Day’s The Circus in Winter, and a copy of Dean Young’s Primitive Mentor (which is sort of a raffle within a raffle, for me, because I am utterly stymied by most poetry and Dean Young is on the very short list of poets whose work tends to make sense and please me more than it baffles and irritates me).) It’s to the point, now, where I expect to win something when I go, and am kind of miffed and incredulous when I don’t.

Anyway, consider this a full-throated, whole-hearted recommendation of the Gist Street Reading Series. Even subtracting out the great prizes I’ve won over the years, it’s a great experience and a definite credit to Pittsburgh’s literary community.

This is Dumb

But this site says I write like J.K. Rowling, based on their analysis of five or six paragraphs of a short story I had lying around. This Entertainment Weekly blog post summarizes why this is dumb. I don’t know what I expected. Anyway, further evidence that genre writing is where I’m headed.

On Economics

What I know about economics is pretty conventional, and what I have to say is pretty uninformative. My general take is that it’s a fascinating and wide-ranging discipline, capable of analyzing and explaining nearly everything, but that the interest of any particular scholarly article is invariably ruined by the appearance of math. (If you are asking why I would be looking at scholarly economics articles in the first place, rather than sticking with Freakonomics or occasionally perusing Slate: it’s because I work on a scholarly economics journal. I have to look at these things.)

I am only just catching on to the preponderance of economics-for-laymen resources that are out there. In that vein, I’d like to share an economics blog I’ve found super interesting: Dan Ariely’s. He’s a behavioral economist at Duke. Behavioral economics (again, to the extent that I understand anything) is much more focused on the applicability of economics to life, and to that end uses the observed behavior of human beings much more than classic economics. A pleasure of coming across work in behavioral economics, often, is simply noting the topics that these scholars have gotten interested enough in to pursue (and to pursue so doggedly: we’re talking, often, of long-term, labor-intensive studies looking at reams of data, if not pestering thousands of people for survey responses. It’s the kind of thing that, as a creative writer, kind of boggles my mind.). At Ariely’s blog right now he’s discussing happiness, personal efficiency, and the reasons you might let your vegetables go to waste in your refrigerator drawer. And I looked into him after being pretty impressed by this video, which follows a recent paper Ariely published on online dating.

Presumed Innocent

As has been mentioned, I had a recent encounter that softened me up somewhat to considering “genre” and “mainstream” fiction with more generosity than I typically showed either. The first book I read afterwards was Stephen King’s Under the Dome (which was a great read; it’s proving not to linger on in memory but, you know, whatevs). But I also took the step of ordering a couple books that my conversational counterpart (the one-time Franklin W. Dixon, author of the Hardy Boys series) suggested as being particularly good “genre” fiction. (An aside, to be filed under Reasons I’m Glad to Be out of Graduate School: How nice merely to put “genre” in quotations and trust that my readers have a vague-but-close-enough sense of just what I mean, without needing to strictly define, problematize, historicize, put in a specific cultural context, or otherwise footnote the term.*)

One of these books was Scott Turow’s Presumed Innocent. I’ve been working on it for a few days and though it was slow going to begin with, I’m now one late night away from ripping through it. In this case, Franklin W. Dixon’s pitch to me is worth paraphrasing: to wit, that though people get them confused, Scott Turow is no John Grisham; his prose is respectable, shapely, precise; there is nuance, depth, and great intelligence. Since I honestly had conflated Grisham and Turow, and from years of seeing Presumed Innocent‘s gawdy blood-fingerprint on the paperback cover had lumped it in with the pulpiest of pulp novels, this was news to me and I snagged a copy of the book with some trepidation, but with high hopes as well.

All of which have been justified. The novel is thorough and deeply intelligent, in structure as well as in the ordinary details of each scene. (The plot, in a nutshell, is that a deputy district attorney is falsely accused of murdering a former lover, and must defend himself against the prosecution of a political rival. The set-up is an elegant way of allowing the narrator to move from the prosecutor’s table to the defendant’s seat, where he picks apart the strategies of both his defense attorney and the prosecution team. It may not sound like much, but I feel I can now understand why Law and Order re-runs are constantly playing: the law is fascinating, and an endless source of conflict and human drama. To be ushered through it like this is a real pleasure.)

I won’t say that much about the novel, which was a big deal almost 25 years ago—I fear I’d be embarrassing myself, like if I’d just discovered the Star Wars trilogy and couldn’t shut up about it. At some point I will have to process some further thoughts on so-called “genre” writing; I feel at the moment that reading Presumed Innocent is only deepening my earlier conclusions, namely that there’s nothing wrong with it.

In terms of my own writing as of this moment, reading these more mainstream books has increased my desire and willingness to “go for it” in the sense of making the story exciting, as well as in terms of using the oldest, sturdiest fictional tricks: surprises, secrets, unadorned conflict. It’s very much a continuing development, but it’s certainly a welcome on.

*Re-reading that aside, it seems not so surprising that I’d be contemplating a move away from canonical “literary” fiction and toward the stuff that’s sold in airport bookstores and consumed voraciously on beaches, Greyhounds, diners, etc. etc. I’ve always reacted nastily to the lit-crit side of things, whether it was during my undergraduate studies or while earning an MFA.

Weirdly Appropriate Extract from Under the Dome

I said I probably wouldn’t write more about Stephen King’s Under the Dome, but I just came across this snippet, which seems bizarrely germane to the literary-vs.-“genre” fiction stuff I was going on about earlier. The background is that this elderly English professor and his grad student love interest have been trapped in Chester’s Mill when the Dome falls, and subsequently roughed up by the local cops:

“. . . At the double doors, Thurston Marshall looked back. A shaft of hazy sun from one of the high windows struck across his face, making him look older than he was. . . . ‘I edited the current issue of Ploughshares,’ he said. His voice quivered with indignation and sorrow. ‘That is a very good literary magazine, one of the best in the country. They had no right to punch me in the stomach, or laugh at me.'”

On Under the Dome; or, 1000+ words on literary versus genre fiction

I’m using that previous post to segue to a brief snapshot of where I am right now as a writer, by way of a long rumination on different modes of fiction.

About a week ago, I was at a party thrown by a Pitt creative writing professor. Invitations went out far and wide, and a lot of old students turned out. I ended up in a completely fascinating conversation with a guy who went through the program in the early nineties. For a few years during grad school and afterwards, he wrote under the pen name Franklin W. Dixon. If the name means anything to you, you may be freaking out now, as I was: Franklin W. Dixon is the author of the Hardy Boys series of novels.

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