#mark mcgurl

[stargir1z]

mark mcgurl quoted in "neoliberalism and the time of the novel" by mathias nilges

[sharpened--edges]

There are lots of interesting things to be seen on the internet, and equally many things to be said about them, but “the internet” itself and as a whole has become predictable, a cliché machine. To talk about it is like talking about the weather—which, in a way, is what it is: the weather of our emotional lives, the informational air we breathe, the media environment from which we extract the nutrients of our everyday existence as social, economic, and political beings. A quarter century or more after the internet’s arrival on the world stage, the things we say about it are beset with a deflating sense of déjà vu, of a rightness that is no match for overfamiliarity. I blame the internet for this problem, naturally. With its multiplication and acceleration of the quintessentially modern phenomenon of public commentary on this, that, and everything, observations about the internet drawn forth from its humble individual users long ago ceased to gain meaningful interpretive leverage on it.

Mark McGurl, Everything and Less: The Novel in the Age of Amazon (Verso, 2021), p. 1.

[mumblingsage]

Now, it goes almost without saying that we might bring the idea of opportunity cost to bear on the everyday economy of literature, but it is worth pausing to consider the way it frames the relation of individual readers to that economy. There is, first of all, the book you can't afford to buy because you bought the one you did. Next is the book you can't "afford" to read in another sense, because you don't have the time. In the age of Amazon, a very long book can often be acquired for very little money, but the opportunity cost of reading a long book, say Infinite Jest, can seem well-nigh infinite in its own right.... Now, finally, as uncopyrighted e-text widely available on the internet, [classics] are approaching the status of a gift of Nature. And yet the existential opportunity cost of reading the classic remains as high as it has ever been, arguably higher, inasmuch as the number of books we are not reading while we read it has, in this time a literary hyper abundance, soared.

...The overstuffed Kindle e-reader or iPad is at once a world-historically powerful condensation of potential literary experience and a little tombstone prophesying the rapidly approaching day of our death.

from Everything and Less: The Novel in the Age of Amazon, Mark McGurl

[mystacoceti]

I don't think greater leisure time for individuals living under communism or robust welfare social democracy will lead to more good art because greater leisure time for individuals living under capitalism already doesn't lead to more good art

[palmviolet]

Thank you so much for your incredible response to my ask, seriously above and beyond what i could've asked for, the extra references too! So grateful :')

Ordered a copy of outriders yay! That being said though, and obviously you don't have to answer after your generous fist answer, but I've been meaning to get into critical theory and have no idea how. You mentioned “E Unibus Pluram” by David Foster Wallace, (never apologize for a DFW rec btw) so I will definitely be starting with that, but do you have any other helpful reads for getting into critical theory? Some favourites? Anything would be useful, its such a big overwhelming subject lol.

Again thank you for your answer, and no pressure to answer this one! Excited to read your new fics whenever they come also :) I'm in love with your style and intellect! Cheers.

absolutely no worries — honoured you're coming to me for recs!

honestly 'theory' is such a broad topic it can get overwhelming, as you've noticed lol. i started in all this very much from a narrowed literary perspective, so looking at the basics of the different schools of thought — new historicism, structuralism etc — and then tossing it all out of the window to develop my own views (i was taught in the loose 'teach yourself' tradition of prestigious education lmao). which means my knowledge of the basics is fairly scattergun, but i can tell you what i started with, which was beginning theory: an introduction to literary and cultural theory by peter barry. as i recall, it was a good basis. i'm copying from my undergraduate reading list now but David Lodge, ed.: Modern Criticism and Theory: A Reader and Twentieth Century Literary Criticism: A Reader were also pretty good.

i can also absolutely recommend the a very short introduction series. they are indeed very short but they're great if you're just getting into a subject and really don't take very long to read.

from there it's really a matter of finding a) what subjects interest you and b) which voices/perspectives you accord with best. and it's best to draw from a mix. ie. my general approach is a blend of marxist/queer/postmodern criticism but i'm not going to brand myself that way because theory is really much more mutable than all the names suggest and in my experience it's kind of vibes-based anyway. so don't be intimidated, is the upshot. i've read a lot of criticism but not a massive amount of raw theory because i was always more text-focused, literary rather than philosophical, which has definitely contributed to my 'making it up as i go along' approach but also means i can confront texts on their own terms without necessarily the burden of theoretical preconceptions. that being said, i couldn't do what i do without a grounding in the central ideas of postmodern semiotics and queer theory. it's more useful context than anything else sometimes, if that makes sense?

i'm not sure exactly what i read to get a grasp of postmodern theory — it just sort of happened. going through my old downloads on my laptop i've got From Modernism to Postmodernism: Concepts and Strategies of Postmodern American Fiction by Gerhard Hoffman, which was pretty good i think. also in the vein of the DFW essay, New Sincerity: American Fiction in the Neoliberal Age by Adam Kelly is solid. and while we're on the subject of recentish fiction, i'll toss you Partial Faiths: Postsecular Fiction in the Age of Pynchon and Morrison by John McClure and The Program Era: Postwar Fiction and the Rise of Creative Writing by Mark McGurl.

re: queer theory texts:

No Future: Queer Theory and the Death Drive — Lee Edelman

Cruising Utopia: The Then and There of Queer Futurity — José Esteban Muñoz

Time Binds: Queer Temporalities, Queer Histories — Elizabeth Freeman

The Celluloid Closet — Vito Russo

Between Men — Eve Kosofsky Sedgwick

the former two are definitely the most influential in my practice. also have to mention jack halberstam and judith butler, but then of course you're getting into some pretty intense abstract gender theory that might be beyond the scope of what you're looking to begin with. anyway. sorry for the intensely rambling answer i have had a glass of wine and a long day. i probably have more in the tank so feel free to shoot me another ask and we'll see what i come up with next time lol

[verifiedaccount]

Everything and Less: The Novel in the Age of Amazon

Mark McGurl

[saitessa]

Tagged by: @sybbi 💕

Last Song: Arthur's Theme (Best You Can Do) by Christopher Cross

Currently Watching: Rewatching the og ATLA 🥰

Currently Reading: The Stolen Throne by David Gaider and Winter's Bone by Daniel Woodrell

Sweet/Savoury/Spicy: Savoury

Relationship Status: Single

Current Obsessions: Ace Attorney since I've been replaying Apollo Justice now that it's on Switch, and Baldur's Gate 3

Last Thing I Googled: Mark McGurl The Program Era Summary

Currently Working On: Tweaking a fiction piece for an upcoming symposium.

Tagging: @maddiemiran @midnight-clover @noodle-artist

[topshelf2112-blog]

Another exciting new release Tuesday!

Thanks to my birthday gift cards, I'm adding quite a few titles this week, too! Both Redemption and Unicorn Playlist are books in series I am continuing. That Dark Infinity has been compared to The Last Unicorn, so I wasn't going to past that up! Creepy Cat, well - it has cats!

[thelonguepuree]

[R]eaders who go in for the biographical reading of fiction are not only naïve but also savvy, drawing potentially interesting if perhaps inherently indeterminate conclusions from the proper name—e.g., “John Irving”—on the cover of a book. They know that fiction emerges in the most literal sense from the experiences of the author —writing fiction is one of those experiences. And they know that in the literary culture in which the fictional author named Garp came to exist, “personal experience” and “creativity” are primary values that relay one to the other in a relation of mutual authorization, distortion, and augmentation. They know that part of the value of the modern literary text, quite apart from the “relatability” of its characters, is the act of authorship that it records, offering readers a mediated experience of expressive selfhood as such. If, as in Speak, Memory, that story is essentially true to experience, there is still the fascination of the conversion of memory into felicitous expression. If, as in Lolita or Garp, that expression is dazzlingly ironized, turned inside out and around and folded thrice, all the better. The complexity of the situation can be seen in the fact that there is little doubt that John Irving shares the opinions of his character on the limitations of biographical reading—little doubt that Garp is in general the author’s (as they say) mouthpiece. Furthermore, the novel itself takes considerable interest in the way the raw material of Garp’s life experiences is used in the manufacture of his fiction, some of which (oddly enough) was published separately under the name John Irving. The indeterminacy of the relation between author and character is in this case quite real, a matter of pragmatic fact, but to make it a principle (whether by way of prohibitions against the “biographical fallacy,” as the New Critics called it, or in the absurd declarations of the “death of the author” that were heard in the 1960s) is to risk missing one of the most basic dynamics of postwar literary production.

Mark McGurl, The Program Era: Postwar Fiction and the Rise of Creative Writing (2009), pp. 19-20

[bigtickhk]

Everything and Less: The Novel in the Age of Amazon by Mark McGurl https://amzn.to/3C9G1WF 

https://bookshop.org/a/17891/9781839763854

[balletbookworm]

Everything and Less: The Novel in the Age of Amazon by Mark McGurl

Everything and Less: The Novel in the Age of Amazon by Mark McGurl

Summary from Goodreads: How Amazon has changed literature As the story goes, Jeff Bezos left a lucrative job to start something new in Seattle after being deeply affected by Kazuo Ishiguro’s Remains of the Day. If a novel gave us Amazon, what has Amazon meant for the novel? In Everything and Less, acclaimed critic Mark McGurl discovers a dynamic scene of cultural experimentation in literature.…

[sharpened--edges]

Whatever else we mean by the “internet” now, we mean, by way of the rise of social media, a certain shared climate of feeling, an animated and sped-up hubbub of the discourse of human interest. By turns soothing and bruising, it is the very medium of what Lauren Berlant, correcting a long-standing tendency to think of emotions as internal and private, has described instead as public feelings. They are the affective substance of political life, the very thing, even more than political ideas, to which online citizenship has become attuned and by which it is increasingly deranged. […] While the tenor of our online exchanges runs the gamut from deepest sympathy to savage snark, one of the internet’s signature speech genres is surely the rant, the hyped-up rhetorical expression of mockingly contemptuous dismay.

Mark McGurl, Everything and Less: The Novel in the Age of Amazon (Verso, 2021), p. 70.

[mystacoceti]

tagged by @sioirsebhan thank you!

favorite colour(s): nature greens!  deep jewel greens like pacific rainforests, grass, dusty pine trees, half brown-green of murky water. sorry to uranium enthusiasts

currently reading: The Man Without Qualities by Robert Musil and The Program Era by Mark McGurl

last movie: fuckin... Just Friends (2005).... starring Ryan Reynolds and Amy Smart.......

last song I listened to: “Couldn’t I Just Tell You” by Todd Rundgren. been working my way through his discography without realizing I was doing it

sweet, savory or spicy: please, don’t make me choose. bitter isn’t even on the list. no, I can’t; just shoot me

what I’m currently working on: at work, with the last half of our workday on Friday, we started the enormous task of dusting the plant. by the end of it we’ll collect a few tons (literally) of dust in wooden crates which we’ll dump out onto the several hundred ton mound of dust on the back of the property, which over the course of the offseason will get loaded into dump trucks and taken to some pit somewhere in the region. in my personal life, uhhh, I’ve no joke spent 11 of the last 24 months working 72 hours a week and the six months I had last year to myself I let myself go, kind of? my personal project is to try to turn back into a human in the next five months before the next harvest and maybe find a way to lessen the effects of harvest this year

if you see this and you’re feeling it, feel free to do it

[verifiedaccount]

Everything and Less: The Novel in the Age of Amazon

Mark McGurl

@internet-sentences

[landscapeusa]

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[larryland]

(Pittsfield, MA) Barrington Stage Company (BSC), the award-winning theatre in the Berkshires under the leadership of Artistic Director Julianne Boyd, is thrilled to announce the return of the award-winning Ragtag Theatre with a new production of Rapunzel on Saturday, March 16 at 2:00pm on the Boyd-Quinson Mainstage (30 Union Street). Tickets are $15 by calling 413-236-8888 or online at www.barringtonstageco.org.

Nominated for the Best Family Show Off Broadway Alliance Award and named Mommy Poppins’ Best Fall Theater Show for NYC Kids, follow the troupe of poor “Italian” actors as they present a twisted musical romp through the fairy tale Rapunzel with talkin’ birds, an 80’s hair stylist, a prince in a giraffe onesie, and a cobbler and his wife from the wrong side of the tracks. This drag-infused production is done in the style of Commedia dell’Arte and is highly-interactive, incorporating improvisation and loads of audience participation.

Featuring book, music and lyrics by Sam LaFrage, Ragtag Theatre’s Rapunzel is directed by Dennis Corsi and Sam LaFrage. The cast features Sam LaFrage  as “Arlecchino,” Natasha Nightingale as “Columbina,” Andy Dispensa as “Pantalone,” Luke Neville as “Arlecchino,” Conor McGuigan as “Pulcinella,” Joe McGurl as “Zanni” and Billie Aken-Tyers as “Rosetta.”

Barrington Stage is thrilled to partner with Ragtag Theatre this summer with our Youth Theatre in the World Premiere of Ragtag Theatre’s Hansel and Gretel July 25 through August 10. Tickets will go on sale March 4, 2019 for Hansel and Gretel.

Barrington Stage’s presentation of Ragtag Theatre’s Rapunzel is sponsored by Bob and Karen Youdelman.

About Ragtag Theatre:

Winner of the Best Performing Arts Company (KidsPass Parents’ Choice Award), Ragtag Theatre Company is a group of diverse artists dedicated to creating fresh and inclusive theatre for families. Inspired by Commedia dell’Arte, their interactive drag-infused “fractured fairy tales” have been empowering and inspiring audiences of all ages. Their most recent production of Ragtag Theatre’s Cinderella just completed a three-week tour with Redhouse Arts Center after a sold-out limited engagement run which won the Off Broadway Alliance Award for Best Family Show. Other past productions have been named “Best Holiday Show for NYC Kids” (Mommy Poppins) and “A Must-See” (Out Magazine). Since 2015, RTC has marched in the New York City LGBTQ+ PRIDE March to celebrate LGBTQ+ youth and their families, and continues to work with organizations such as Family Equality Council, GLSEN and the LGBTQ Center. For all shows, RTC offers a self-empowerment pre-show runway extravaganza with the Fairy Godmother entitled “Get Fierce and Fabulous with the Fairy Godmother,” as well as Commedia dell’Arte workshops and classes for students in grades 3-12. Recently they completed a two-day Commedia workshop for KidsAct! at Barrington Stage Company and RTC’s Sam LaFrage served as a Lead Teacher in Barrington’s 2018 KidsAct! Summer Program. In 2017, RTC was asked to write and participate in the Paul Newman’s Hole in The Wall Gang Summer Fandango. Both Rapunzel (OBA Nomination Best Family Show) and Cinderella (OBA Winner Best Family Show) ran Off Broadway at the SoHo Playhouse, McGinn/Cazale Theatre, Theatre Row and (so far) have been produced by seven different companies in four different states.

ABOUT BARRINGTON STAGE COMPANY

Barrington Stage Company (BSC) is an award-winning regional theatre located in Pittsfield, MA, in the heart of the Berkshires. Co-founded in 1995 by Artistic Director Julianne Boyd, BSC has a three-fold mission: to present top-notch, compelling work; to develop new plays and musicals; and to find fresh, bold ways of bringing new audiences into the theatre—especially young people.

Barrington Stage commissioned and produced the world premiere of Christopher Demos-Brown’s American Son, which also won the Laurents/Hatcher Award as Best New Play in 2016 and recently concluded a Broadway run, starring Kerry Washington.

Barrington Stage first garnered national attention in 2004 when it premiered William Finn and Rachel Sheinkin’s musical hit The 25th Annual Putnam County Spelling Bee, which later transferred to Broadway where it won two Tony Awards. In 2009, BSC premiered Mark St. Germain’s Freud’s Last Session, which later moved Off Broadway and played for two years. St. Germain’s Becoming Dr. Ruth (which premiered at BSC as Dr. Ruth, All the Way) played Off Broadway at the Westside Theatre. BSC’s all-time record-breaking musical On the Town was originally produced at BSC in 2013 before transferring to Broadway, where it was nominated for four Tony Awards including Best Musical Revival. In 2016, Barrington Stage swept the first annual Berkshire Theatre Awards by winning 20 out of the 25 awards.  In 2017, BSC produced the much-lauded revival of Stephen Sondheim and George Furth’s Company, starring Aaron Tveit. BSC has won the Best of the Berkshires Readers’ Choice for Best Live Theatre for the past two years. 2019 marks BSC’s 25th Season Anniversary.

FOR MORE INFORMATION, VISIT

WWW.BARRINGTONSTAGECO.ORG

Ragtag Theatre Returns to Barrington Stage Company with “Rapunzel” (Pittsfield, MA) Barrington Stage Company (BSC), the award-winning theatre in the Berkshires under the leadership of Artistic Director Julianne Boyd, is thrilled to announce the return of the award-winning…