Manjula Martin: Define “serious novel.”
Jonathan Franzen: Read the first five pages. Count clichés. If you find one, the buzzer goes off: it’s not a serious novel. A serious novelist notices clichés and eliminates them. The serious novelist doesn’t write “quiet as a mouse” or paint the world in clichéd moral terms. You could almost just substitute the adjective “cliché-free” for “serious.”
MM: I too have this perception of a literary novelist who makes money, who is both critically and popularly acclaimed, as a unique thing, a rarity—perhaps more of a unicorn than a fish. There’s a feeling of resignation among a lot of emerging writers I know, a suspicion that the sort of success you have enjoyed might be impossible because the prospect of publishing as a functional economic industry might be over. Are you the last unicorn?
JF: There are a lot of cliché-free writers, and there are still dozens who make a very good living at it. Alice Munro is a number-one bestseller in Canada. Ian McEwan had a string of hits, and so did Cormac McCarthy, belatedly. I’m not the only one.
MM: But are you the last one?
JF: Are there people who are twenty years old today who have some hope of that? That depends on the larger economics of book publishing. People will not stop reading books. But I think there’s no question that people are reading fewer books than they did thirty years ago—how not, with all the good cable shows and electronic distractions?
The result is that life has gotten much harder for the so-called midlist writer, because people reach for the star writers when their reading time is limited, and when conventional media coverage of novels is shrinking. I think e-books may actually be helping to offset these trends, because they present a lower barrier of investment—it’s so easy to try something new, and if you don’t like it you can just delete it.
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