From Criteria to Credo

In a new article at American Prospect, Benjamin Markovits has suggested that we can clearly articulate “What makes fiction good.” Daniel Green, upon reading the article, complained that Markovits made “not one mention… of the writer’s use of language. It’s all about various gradations of story. If a work of fiction isn’t first of all its style, what the writer can do with words, it’s literally nothing but a plot.” Finally, in response, Emmett Stinson argued against using language alone as the sole criterion for literary merit:

[T]here are great writers (even within a literary tradition that prizes style over plot) who are bad or inconsistent stylists. … Style is not an “element” [of literature]. Visual narratives, spoken narratives, and written narratives are not the same. There are great writers who are bad or inconsistent stylists… especially in genres outside the literary. … Writing can do many things beyond rhetorical mastery (style). Fiction can be deeply affective or ideational without rhetorical complexity. Science fiction is arguably conceptually more complex than much lit fic, though stylistically less masterful. Many options for greatness… [and no need for] a subordination of all categories to “the writer’s language effects,” which strikes me as an attenuation of the possibilities for literature — just as a narrow focus on only narrative forms is.

Now, with Philip K. Dick being floated as an exemplar of a “great” writer who is also a terrible stylist, I’ve waded in with some rough thoughts of my own. Continue reading →