A great piece of fiction can demand that you acknowledge the reality of its wildest proposition, no matter how alien it may be to you. It can also force you to concede the radical otherness lurking within things that appear most familiar. This is why the talented reader understands George Saunders to be as much a realist as Tolstoy, Henry James as much an experimentalist as George Perec. Great styles represent the interface of "world" and "I", and the very notion of such an interface being different in kind and quality from your own is where the power of fiction resides. Writers fail us when that interface is tailored to our needs, when it panders to the generalities of its day, when it offers us a world it knows we will accept having already seen it on the television. Bad writing does nothing, changes nothing, educates no emotions, rewires no inner circuitry - we close its covers with the same metaphysical confidence in the universality of our own interface as we did when we opened it. But great writing - great writing forces you to submit to its vision. You spend the morning reading Chekhov and in the afternoon, walking through your neighbourhood, the world has turned Chekhovian; the waitress in the cafe offers a non-sequitur, a dog dances in the street.

# posted by Gerry Canavan @ 12:22 AM  |