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“There is nothing new under the sun.”

I’ve used the line a hundred times in as many different contexts when talking about books. It casts an aura of learning over whatever position I choose to adopt. Nothing puts an opponent’s argument away faster than pointing out that you’ve heard it all before. Got a thing about today’s hotshot celebrity authors? Well, what about Byron? Can’t understand why poetry is so despised? My friend, poetry has been despised for centuries. Don’t like books being written as sequels? Check out Henry IV Part Two. And so it goes. There is nothing new under the sun; you can be sure we’ve heard it all before.

Nevertheless, I often find myself thinking that there are some things that have changed. Books today are marked by a spirit of the age as certain as that which previously marked a novel “Victorian” or a poem “Romantic.” Without getting into a narrow, fruitless discussion of what makes a book “postmodern” I came up with my own list of what I see as the three things that most define literary expression since, to draw a rough line in the sand, the 1970s.

Continue reading “What Has Changed”

May 1, 2001. National Poetry Month (which is the same month and goes by the same name in both Canada and the United States) has come and gone. Organized as a publicity event – a party for the media, on a level with most book awards – it could claim some success. But as a “celebration of poetry and its vital place” in our culture the results were almost certainly counterproductive. The media came not to praise poetry, but to bury it. And their chorus was a bitter elegy.

No one should have been surprised. It seems the only time we talk about poetry any more is to ask if it’s dead. But in some of the voices raised against poetry this year I thought I could sense a change in tone. As low as poetry has been, for so long, I wonder if things haven’t begun to take a turn for the worse.

Continue reading “The Morning After”

I’ve noticed I’ve been posting a lot of obituary notices recently. Mordecai Richler, Eudora Welty, Poul Anderson – it’s enough to make you think about a changing of the guard. Many of the world’s most highly regarded authors are now very old and, frankly, we can’t expect them to be around much longer. This raises the question of succession. Who will be the literary lions of the twenty-first century?

But perhaps that’s moving just a bit too fast. Philip Roth, age 68, has his doubts about whether literature, at least as we know it, will even exist in the new millennium:

I’m not good at finding encouraging features in American culture. I think we’ve got a substantial group of original and talented writers who’ve been at work in America for the past 20 or 30 years, but their readership gets duller and smaller every year. I doubt that aesthetic literacy has much of a future here.

Well! Imagine being a young American writer and reading that! America’s most original and talented writers are part of a group that have been writing for 20 or 30 years! So much for the next wave!

Continue reading “Old Dogs, New Tricks”

Introduction

In the following essay I want to take a look at what I see as some of the main trends in SF today. Before I get started, however, I have to provide some disclaimers. In the first place, I am not an authority on SF. While I am interested in SF, my fascination stays on this side of obsession. SF is a particularly lush field, and I can’t claim an acquaintance with the majority of it. The reviewing I do covers everything from history and biography to poetry and picture books, so I don’t have the time to give any one genre the full attention it deserves. In addition, my knowledge of the critical literature is sparse at best. Confessing my ignorance, but also delighting in my amateur status, I have decided to plunge straight in.

As a way of narrowing things down I have limited myself to discussing the stories found in the last three volumes of The Year’s Best Science-Fiction (that is, the Fourteenth, Fifteenth, and Sixteenth Annuals). The major issue this raises is the undue influence it gives to one man’s vision of SF – the editor of the Year’s Best anthologies, Gardner Dozois. But while I admit that this is a cause for some concern, I don’t see it as invalidating what I consider to be general thematic observations.

Continue reading “Some Observations on the New SF”

This year found the annual spring clean-up at my house taking on an added dimension. After extensively remodeling three other rooms, I finally came to the holy place where I keep my books. This forced me into special considerations. I definitely didn’t want any paint getting on my library. Just to be on the safe side I decided to put most of my books into boxes and move them well out of harm’s way.

The thought of putting these “moldering paper bricks” into temporary storage made me reflect. Once packed away, which books would ever come out again? I have room for about 1,500 volumes on my shelves, but I reached capacity some time ago and every week there are more coming in. Drastic times called for drastic measures. Several boxes were going to have to be put away for an indefinite period. How to choose?

Continue reading “Spring Cleaning”

I attended the University of Toronto as both an undergraduate and graduate student from 1987 to 1996. In hindsight, we might say that these years marked the highpoint of the campus culture wars, before “politically incorrect” became the name of a bland late-night talk show. I can’t say that it was bliss in that dawn to be alive, but as an English student I did feel very much in the middle of things.

One of the offshoots of the political correctness debate in English departments everywhere was the campaign to update the “canon.” What this meant was opening the list of what had become more or less established texts to new voices. Certain writers, it was argued, had been unfairly excluded from the canon in the past. “Canon maintenance” was an expression on every young academic’s lips. It all seemed very important.

Continue reading “The Shrinking Canon”

It is one of the ironies of postmodernism that Roland Barthes’s claim to literary immortality comes from having pronounced the “death of the author.” What he meant was that an author’s intentions in creating a text are irrelevant in interpreting that text. The death of the author was life for the critic.

Academics immediately fell in love with the notion because it seemed to place them on an equal footing with genius. Meanwhile, authors who knew what Barthes’s theory amounted to were powerless to do anything about it. The announcement of the death of the author came after the fact, recognizing a dramatic shift in cultural power that had already occurred.

Continue reading “The Death of the “Author””