Revelatory conversations among popular writers at long island City’s mythical bookstore.
Based on a sequence of talks pairing writers of be aware at NYC’s liked book place, Upstairs on the Strand deals candid and behind-the-scenes debts of the methods prime writers paintings, imagine, and reside. The publication positive factors such celebrated novelists, playwrights, and poets as Martin Amis, Paul Auster, Renata Adler, Charles Simic, Patti Smith, and Mark Strand, in addition to modern stars equivalent to Hilton Als, Alison Bechdel, Junot Díaz, Rachel Kushner, and Téa Obreht. listed below are Díaz and Als riffing on masculinity, Auster telling the tale of assembly Samuel Beckett (and Edward Albee responding with an account of his own), Bechdel detailing the variations among writing approximately her father and writing approximately her mom, and George Saunders cheerfully describing to Deborah Eisenberg what he calls his “Hemingway boner” and the way it avoided him from writing in his personal voice.
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Extra info for Upstairs at the Strand: Writers in Conversation at the Legendary Bookstore
From a Marxist perspective, capitalism drives large societal stratification between a minority class that maintains surplus and a majority of society that works as laborers. 14 CAPITALISM, HOLLYWOOD, AND ADULT APPROPRIATION OF YOUNG ADULT LITERATURE For young people, free markets compete for their interests and money. Whoever creates a product that is of interest to young people will, in theory, receive money (and profit) for the services they provide. However, when very few publishers largely control the majority of the YA market, the choices made available to young people are limiting.
First, many of these strange plot decisions seem “cool”: superhuman strength, explosions, and a lengthy reconnaissance mission to rescue Henry are all parts of the book that read quickly and could be easily translated onto the screen in impressive fashion. Secondly, in digging into the intent behind the creation of I Am Number Four, sensical character decisions are secondary to the underlying goal of creating a book that will sell in abundance. If the book’s plot, style, and flat characters all seem a bit formulaic, it is because they largely are.
If the book’s plot, style, and flat characters all seem a bit formulaic, it is because they largely are. Intentionally so. I Am Number Four is an experiment in production. It was overseen and coauthored by James Frey, who came to infamous notoriety in 2006 when online journal The Smoking Gun pointed out that his Oprah-approved memoir, A Million Little Pieces, featured factual inaccuracies (2006). While I do not try to make a direct comparison between these fabrications and the kinds of practices he employs in publishing the I Am Number Four texts, Frey’s view of publishing, authorship, and capturing the public’s interest is noteworthy.