But I'm not talking about the prose style of 'An Incident'. Apologies if I haven't made that clear. I'm talking instead about the content, the actual idea itself, however we phrase it:
Intro: Here is an important and transformative story.
Epilogue: This event was so significant it forced me to look deeply into myself, after whic…
But I'm not talking about the prose style of 'An Incident'. Apologies if I haven't made that clear. I'm talking instead about the content, the actual idea itself, however we phrase it:
Intro: Here is an important and transformative story.
Epilogue: This event was so significant it forced me to look deeply into myself, after which I emerged a better person.
I would *love* it if modern writers could say this kind of thing with a straight face, but we can't. There is no way to phrase the above ideas that doesn't contain a strong sense of WOW I'M CHANGED (LOL at *your* witty phrasing btw). Or none that I can see at least.
Which is not to say the particular issue we're addressing here -- i.e. why can't modern writers just be straightforwardly honest about their stories' moral worth, even if this sounds somewhat boastful? -- can't be finessed some other way. In other words, I strongly agree with your final sentence.
Late to the party, I know, and slightly off piste, but your comment reminded me of the semi-lament in this intro to a (wonderful) Paul Giamatti reading of A Noiseless Patient Spider:
"So much contemporary poetry is full of playful irony and irreverent humor – which, personally, I love. But when I go back and read Walt Whitman, the grandfather of American poetry, I feel like a post-modern fool in the face of Whitman’s totally sincere, un-ironic vision."
I think it has, yes, and just self-consciousness about appearing earnest generally. Plus artistic 'sophistication' comes into play as well, the desire to avoid any explicit nod to the underlying essence of all stories: 'And the moral of the story is...'
The work of some of George's friends like Dave Eggers and David Foster Wallace has been labelled the New Sincerity. Perhaps George too, though I'm less sure of that.
It would make an interesting writing exercise/challenge to put together a modern story with a similar moral vibe to see how (if) it could be done without hitting us over the head with its intentions.
Very much so, Sara. Denis Johnson's 'Jesus' Son' achieves this kind of effect, I think, in a way I've described elsewhere in the thread.
It would also be pretty funny, I think, to take e.g. a DeLillo story and introduce it with 'The following story is just amazing' and then end it with your WOW I'M CHANGED. :-)
Hi Sara.
But I'm not talking about the prose style of 'An Incident'. Apologies if I haven't made that clear. I'm talking instead about the content, the actual idea itself, however we phrase it:
Intro: Here is an important and transformative story.
Epilogue: This event was so significant it forced me to look deeply into myself, after which I emerged a better person.
I would *love* it if modern writers could say this kind of thing with a straight face, but we can't. There is no way to phrase the above ideas that doesn't contain a strong sense of WOW I'M CHANGED (LOL at *your* witty phrasing btw). Or none that I can see at least.
Which is not to say the particular issue we're addressing here -- i.e. why can't modern writers just be straightforwardly honest about their stories' moral worth, even if this sounds somewhat boastful? -- can't be finessed some other way. In other words, I strongly agree with your final sentence.
Late to the party, I know, and slightly off piste, but your comment reminded me of the semi-lament in this intro to a (wonderful) Paul Giamatti reading of A Noiseless Patient Spider:
"So much contemporary poetry is full of playful irony and irreverent humor – which, personally, I love. But when I go back and read Walt Whitman, the grandfather of American poetry, I feel like a post-modern fool in the face of Whitman’s totally sincere, un-ironic vision."
Has irony robbed us of the honesty you mention?
https://www.poetryfoundation.org/podcasts/74670/looking-for-god-with-ar-ammons
I think it has, yes, and just self-consciousness about appearing earnest generally. Plus artistic 'sophistication' comes into play as well, the desire to avoid any explicit nod to the underlying essence of all stories: 'And the moral of the story is...'
Absolutely. I wonder if a new earnestness is possible, whether events can/will eventually revive it.
The work of some of George's friends like Dave Eggers and David Foster Wallace has been labelled the New Sincerity. Perhaps George too, though I'm less sure of that.
Aha, interesting – thank you, Sean! George, do you consider yourself Newly Sincere? :)
This quote is great. Thank you!
Glad you like it too, Sara.
It would make an interesting writing exercise/challenge to put together a modern story with a similar moral vibe to see how (if) it could be done without hitting us over the head with its intentions.
Very much so, Sara. Denis Johnson's 'Jesus' Son' achieves this kind of effect, I think, in a way I've described elsewhere in the thread.
It would also be pretty funny, I think, to take e.g. a DeLillo story and introduce it with 'The following story is just amazing' and then end it with your WOW I'M CHANGED. :-)