Last week I went to an event in London organised by the people behind the White Review: a panel discussion featuring Rachel Cusk, Sheila Heti, and Lara Feigel, on the topic of “Writing Motherhood.” I was struck by most of the things said by Cusk, in particular, and especially one remark she made and prefaced with “We haven’t spoken about literary form yet,” so she could open the doors to a discussion of form. What she wanted to say was this: “Point-of-view fiction has led the novel into a carpark full of overflowing skips, or some such un-aesthetic place.” That’s a slight paraphrase, but the key words were actually spoken by Cusk: “point-of-view,” “carpark,” “skips,” “un-aesthetic” or “not very aesthetic.” Continue reading
One of the books I got a kick out of last year was Jeremy M. Davies’ absurd and hilarious novel Fancy. Now, at Full Stop, Walker Rutter-Bowman has a great review of Davies’ collection of short fiction, The Knack of Doing. The collection, he says,
is a master class in writing by constraint. The constraints are playful, as if Davies has posed a series of small challenges for himself — write a story by letter, by repetition, by list, by blurb. Davies delights in the unlikelihood of stories. That he can draw drama from unlikely forms and sources animates his writing. He has the defiant air of an escape artist, finding elaborate ways to constrict himself, then freeing himself with a flourish. These escapes are displays of his talent: his virtuosic language, his grammatical panache, his narrative dexterity.
But the review is ultimately not a rapturous one, or at least not without reservations; Rutter-Bowman identifies some interesting ways in which Davies’ mastery of self-imposed constraints also leaves his stories a little stunted.