American Fiction Quotes

Reading it now for the seventh or eighth time, I am more convinced than ever not merely that The Great Gatsby is Fitzgerald’s masterwork but that it is the American masterwork, the finest work of fiction by any of this country’s writers.

It was the ponderous battering ram of his novels that opened the way through the genteel reticences of American nineteenth-century fiction. . . Without [Theodore] Dreiser's treading out a path for naturalism none of us would have had a chance to publish.

I think of myself as writing realist American fiction. 'Cynical but hopeful' wouldn't be the worst thing I've ever been called.

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.

'Breaking Bad.' Because it's the best American narrative fiction of the last ten years.

There's a tradition in American fiction that is deadly serious and earnest - like the Steinbeckian social novel.

What you have to do is enter the fiction of America, enter America as fiction. It is, indeed, on this fictive basis that it dominates the world.

I had the notion that I wanted to write the great dirty American novel, so I went to Roanoke College on the GI Bill.

I'm an enormous fan of American literature, and especially the great novels of Larry McMurtry, 'Lonesome Dove,' Cormac McCarthy, Elmore Leonard.

Although the primitive in art may be both interesting and impressive, as portrayed in American fiction it is conspicuous for dullness alone. Drab persons living drab lives, observed by drab minds and reported in drab writing.

Let's say I find a lot of current American fiction too overwritten for my tastes, too self-conscious; I like something that's simpler and more direct. The story is what matters to me. I hope to make it seem real to readers, as if it happened just like this - so I don't want fancy descriptions getting in the way.

Ruefulness is one of the classical tones of American fiction. It fosters a native, deglamorized form of anxiety.

The most popular American fiction seems to be about successful people who win, and good crime fiction typically does not explore that world. But honestly, if all crime fiction was quality fiction, it would be taken more seriously.

If asked to list my ten favorite American fiction writers, Gail Godwin would be among them. In this, her latest . . . she evokes in a short book the long married life of two artists. Evenings at Five is a strong tale of love-after-death.

I write some art criticism, and one thing that's clear to me is that politics is fashionable in the American art world in a way it maybe isn't in American fiction. Your work of art becomes fashionable the moment it has some kind of political commentary. I think this has its dangers - the equation between fashion, politics, and art is problematic for obvious reasons. Nonetheless, the notion of politics as being de rigueur in the world of fiction is almost unthinkable. In fiction in America at the moment, the escape into whimsy is far more prevalent than the political.

Back in the 1980s, state-of-the-nation fictions were all set in Manhattan. Now, they're all in Trump country. Early in 'S-Town,' we're introduced to an actual maze, every branch of which leads to a further junction. This may also be a metaphor.

IT is mere coincidence that Cooper was born in the year which produced The Power of Sympathy and that when he died Uncle Tom's Cabin was passing through its serial stage, and yet the limits of his life mark almost exactly the first great period of American fiction.

There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.

I feel like in American fiction we're moving out of a period of intense irony, and I'm very glad about that. I feel like irony is fine for its own sake but shouldn't be the sole reason to write a book. It has been an ironic world view: that's the best way I can describe it. I'm a fan of earnestness. I feel like there's a new wave of earnestness and I'd be happy if I'm some small part of that.

It used to be that the highest ambition of American novelists was to write 'the Great American Novel,' that great white whale of American fiction that would encompass all the American experience in one great book.

I think the MFA programs have had a real effect on the state of American fiction, but I don't think it's a question of "this is written by someone with an MFA, and this isn't." I challenge anyone to identify a book in that way. It's totally impossible.

It may be that the most avid readers of new fiction in America today are film producers, an indication of the trouble were in.

Evidently, there are many great American writers. But sometimes it can feel as though American fiction is dominated by relatively linear narrative form, with a heavy emphasis on psychological realism. If you limit yourself to a certain kind of American literary fiction, it's easy to forget about the different kinds of books that are being written. You can forget to be ambitious, both as a reader and a writer.

The Internet is changing American fiction - and I don't mean in some kind of metaphysical way.

If you look at the best-seller list for American fiction, they're all sequels to detective stories or stories about hunting serial killers. That's what's called American fiction these days.