Adam: Last weekend, playing a stray note on my recorder summoned a cyclone that whirled me away to the swamps of Tallahassee. There I impinged on Christopher Higgs and his wife, who lodged me in their spacious Rococo flat (refurbished from a gator-packing warehouse). Over dinner, Chris and I had numerous opportunities to discuss—and to disagree about—the nature of experimental fiction…
A D JAMESON [leaning back from his seventh helping of tiramisu]: At the risk of spoiling such a fine meal, perhaps you and I can finally figure out why we’ve butted been butting heads regarding the nature of experimental fiction.
CHRISTOPHER HIGGS: OK.
ADJ: Let’s start by each defining what we think experimental fiction is!
You must read the first ten pages of Kyle Minor’s The Sexual Lives of Missionaries, which is up at Guernica.
Michelle Dean wrote a great essay, What Harry Potter Knows, for The Millions.
Wendy Wimmer does some analysis of Best American Short Stories and where those stories come from. Others have done similar breakdowns but it is worth reading. Over half of the stories over the timeframe she studied come from the same twelve journals. I’m not surprised.
There is a drawing for every page of Moby Dick.
Patsola Press is doing a Kickstarter.
Do we focus too much on plot?