Contemporary Fiction Quotes

I write contemporary fiction, and that is what my readers want to read.

I don't know what issues concerning identity have helped contemporary fiction evolve to what it is now. All I know is that the range of voices that are being heard and published is a lot more diverse than when I was coming up.

In high school I was drawn to the study of literature, poetry Shakespeare, contemporary fiction, drama, you name it - I read it.

The writing you allude to is a form of dissent, but it's also expressive of the need to evolve beyond what is turgid and stale in contemporary fiction.

Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass "conceptualism" that repeats vanguard gestures of the past minus the politics and historical context.

Most contemporary fiction sucks. It's intellectually dishonest, often morally dishonest. It's cheap and easy. It pretends to be deep but is really quite shallow.

The main advantage of being a reviewer is that you read a lot. A lot of books get sent to you, and you have an amazing vantage point from which to observe what's going on in contemporary fiction - not only genre stuff, the whole spectrum.

American Morons is the work of an original. Like Hitchcock or Ramsey Campbell, the style is precise, alert, and well-mannered, inviting us to enter Hirshberg's private world so that he may lock the door behind us. If there is anyone in contemporary fiction worth watching, it is Glen Hirshberg.

While I love to read contemporary fiction, I'm not drawn to writing it. Perhaps it's because the former journalist in me is too inhibited by the press of reality; when I think about writing of my own time I always think about nonfiction narratives. Or perhaps it's just that I find the present too confounding.

Jax Cassidy is a brilliant new voice in contemporary fiction. Full of heat, seduction, and romance, her winning characters are sure to capture your heart and find a place on your keeper shelf.

Ultimately, I want a peak experience in reading, and that is sometimes difficult to find in contemporary fiction. I'm not interested in books that are just clever and well executed; polish doesn't impress me, and I don't care about a merely capable sentence. Life is short; I want a confrontation with high art. I want soul.

Not a lot of contemporary fiction is written about brothers and sisters. Salinger's Franny and Zooey was an inspiration for me. In Franny and Zooey, the sister gets in trouble and the brother comes to help her out. But I wanted to make sure that in my novel the sister had more to do than lie around on a sofa muttering, which is what Franny does for two-thirds of Salinger's novel.

I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.

I started reading contemporary fiction in college or right after college. It wasn't as if I was steeped in experimental minimalism when I was twelve or something. I was reading The Witch of Blackbird Pond.

One of my favourite contemporary fiction writers is a Texan, Ben Fountain. His extraordinary novel, Billy Lynn's Long Half-Time Walk, all takes place within the half-time show at a Dallas Cowboys football game. No one has better summed up the American appetite for spectacle, the link between sports and politics, and the absolute madness of George W. Bush's Iraq War.

Amity Gaige has written a flawless book. It does not contain a single false note. Playful and inventive, SCHRODER movingly depicts the ways we confound our own hearts--how even with the best intentions, we fail to love those closest to us as well as we wish we could. Eric Schroder should take his place among the most charismatic and memorable characters in contemporary fiction, and Amity Gaige her place among the most talented and impressive writers working today.

Here is one of the fundamental defects of American fiction--perhaps the one character that sets it off sharply from all other known kinds of contemporary fiction. It habitually exhibits, not a man of delicate organization in revolt against the inexplicable tragedy of existence, but a man of low sensibilities and elemental desires yielding himself gladly to his environment, and so achieving what, under a third-rate civilization, passes for success. To get on: this is the aim. To weigh and reflect, to doubt and rebel: this is the thing to be avoided.

Most of my writer friends are women, and they're all extremely talented, so of course I think the state of contemporary fiction for women is pretty great. Which is to say there is a ton of amazing work out there. These women are writing hard. There's much to be said. We're on it, chief.

Aimee Parkison offers a distinct new voice to contemporary fiction. Her seductive stories explore childhood as a realm of sorrows, and reveal the afflictions of adults who emerge from this private geography.

Intensely moving but never sentimental, Academy Street is a profound meditation on what Faulkner called 'the human heart in conflict with itself'. In Tess Lohan, Mary Costello has created one of the most fully realized characters in contemporary fiction. What a marvel of a book.

Aurelie Sheehan's absorbing stories have depth miles beneath their compelling surface. They radiate a wisdom, beauty and originality rare in contemporary fiction.