"Rushdie fears that writers no longer trust their imaginations, and that the classroom imperative to 'write what you know' has led to dullness, angst and dead ends: cold and bony literary mumblecore." - Hallo friend USA IN NEWS, In the article you read this time with the title "Rushdie fears that writers no longer trust their imaginations, and that the classroom imperative to 'write what you know' has led to dullness, angst and dead ends: cold and bony literary mumblecore.", we have prepared well for this article you read and download the information therein. hopefully fill posts Article HOT, Article NEWS, we write this you can understand. Well, happy reading.

Title : "Rushdie fears that writers no longer trust their imaginations, and that the classroom imperative to 'write what you know' has led to dullness, angst and dead ends: cold and bony literary mumblecore."
link : "Rushdie fears that writers no longer trust their imaginations, and that the classroom imperative to 'write what you know' has led to dullness, angst and dead ends: cold and bony literary mumblecore."

"Rushdie fears that writers no longer trust their imaginations, and that the classroom imperative to 'write what you know' has led to dullness, angst and dead ends: cold and bony literary mumblecore."

"There is nothing ordinary about ordinary life, Rushdie writes. Behind closed doors, family existence is 'overblown and operatic and monstrous and almost too much to bear; there are mad grandfathers in there, and wicked aunts and corrupt brothers and nymphomaniac sisters.' He praises the 'giant belchers' and 'breakers of giant winds.' He sees himself as a maximalist in a minimalist world; a wet writer in a dry one; a lover of bric-a-brac in an era of Shaker modesty.... I read Rushdie’s arguments with much interest and little agreement, as Arthur M. Schlesinger Jr. used to say. He is fencing with a poorly stuffed straw man. For one thing, there have been autobiographical novels — 'David Copperfield' is one — since the form was invented. And if there has been a boomlet in autofiction, it is surely in part an attempt by writers to claw back breathing space from the culture-strangling juggernauts that are Marvel movies and J.K. Rowling’s Harry Potter universe and George R.R. Martin’s 'Game of Thrones.' Fantasy has quite won over America, in nearly every sphere. What’s more, contra Rushdie, we’re in a fat period for deep and sustained invention in literary fiction. Two examples: Among the most revered and popular novels of the past decade are Colson Whitehead’s 'The Underground Railroad' and George Saunders’s 'Lincoln in the Bardo.' In the first, the metaphorical underground railroad becomes an actual underground railroad. The second is a garrulous ghost story, reality as seen through the eyes of people stuck in an intermediate state between death and rebirth. No lukewarm autobiography here...."

From "In ‘Languages of Truth,’ Salman Rushdie Defends the Extraordinary," a book review by Dwight Garner (NYT).

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