A Side Issue

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ALL-TIME AMERICAN WRITERS TOURNAMENT

PROTEST STATEMENT

(NOTE: This is a side issue to the Tournament itself– one we debated discussing at the site. We ultimately decided to run this, in the interest of putting as many happenings as possible connected to the Tournament on the record. Take it for what it’s worth.)
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New Pop Lit has received a bad-quality video on dvd. It shows a petite young woman in a mask, dressed in black, reading a statement. Behind her with arms folded stands a tall male, similarly dressed and masked. They are supposed representatives of the activist group upset with our Writers Tournament. The poor quality of the sound and image prevents it from being shown here.

One hour after receiving the video, an envelope was dropped off at our headquarters. The envelope contained a statement whose words correspond, more or less, to those of the young woman shouting on the video. Here’s the text of the statement:

“We piss on your Tournament and your privileging of white male writers Ernest Hemingway and Walter Whitman, and the archaic notion that you can privilege anybody by combating writers against one another as if they were gladiators to feed the Hyper-Capitalist Spectacle that is America now. We say, ‘NO MORE CRUELTY!’ We shit on your privileging of American anything (There Is No Amerikkka!) which reeks of borders, fascism, intolerance and patriarchy. We will NOT participate in this clown show! We will be engaging in a sit-in and hunger strike at the auditorium, hall, saloon, cafe or other where the ‘Tournament’ is to be held– as soon as someone figures out where the ‘Tournament’ is to be held. The sit-in and hunger strike will continue until our demands are met. We will at a future time submit those demands to the capitalist pig asshole media, if this ‘event’ occasions any media. Preemptive shutting down of potential hate events before they occur is our only defense. WE WILL NOT TOLERATE THIS! Thank you.”

The printed statement was signed, “OPA! Outraged Protesters Against.”

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To date the first two tournament selectees, Mr. Hemingway and Mr. Whitman, have no comment regarding this matter. They have yet to arrive in town.

(All nominations for Tournament candidates can be sent to newpoplitATgmail.com)

 

First Two #1 Seeds

ALL-TIME AMERICAN WRITERS TOURNAMENT

Here are our first two #1 seeds:

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A.) Ernest Hemingway. Possibly the biggest writer persona ever. In his day he was a bigger figure than movie stars and pop singers. Instantly recognizable. Larger than life. A giant part of the culture. He destroyed the effete image of literature. He had popular best-sellers but was also a critical darling. He defined, at least for a while, the American voice– and transformed the English language. Even the Brits weren’t the same after Hemingway. In America, the hard-boiled detective genre sprang from a single Hemingway short story. (“The Killers.”) Hemingway began as an underground writer, the artistic creation of Sherwood Anderson, Gertrude Stein, and Ezra Pound. He took from his mentors, synthesized their ideas and made them accessible to the world. It’s impossible for us today to understand how revolutionary was the early Hemingway sound. Though some of his work today sounds dated, his best stuff holds up– his “Macomber” story one of the most exciting tales ever written; his top novels, “Sun” and “Farewell to Arms” striking reads also.

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2.) Walt Whitman. More than any other single writer, Walt Whitman created the American voice and justified a distinctive American literature very different from its Old World models. Beyond that, he transformed the art of poetry on a world scale. Many consider him the father of free verse. Not just his art, but his persona was distinctively American. “Leaves of Grass” was every bit as revolutionary an artistic happening as anything Hemingway wrote. Or, for that matter, Allen Ginsberg and the Beats, who would’ve been impossible without Whitman blazing the trail before them. Whitman was the first hippie. He lived during a time when poetry was popular, and he was the most popular poet. The American character is a mix of several influences. Whitman is surely one of them.
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 THE NEXT two #1 seeds will be announced in a few days. There will be 16 brackets of four writers each. Remember that we’re allowing ourselves one week to change our mind about our announced choices for the tournament, depending on feedback, disappointment or outrage. . . .

The Venues

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WE’VE given much thought to the venues for the All-Time American Writers Tournament. As the city of Philadelphia was a successful spot for the recent NFL draft, we’d like to hold the tournament itself in that fair town. But for the period when we fill in the brackets– the “season” before the event– we’ve decided on a roomier place. Less hectic. A more rustic setting– a small town near woods and lakes. There will be plenty of space for the legendary names to relax and be themselves, before we bring them intensively under the spotlight.

Format and Criteria

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FORMAT FOR THE ALL-TIME AMERICAN WRITERS TOURNAMENT

There will be sixteen seeds, sixty-four writers altogether. A writer will have to be good simply to make the tournament. Brackets will be set up, starting with four #1 seeds, then the #2 seeds, and so on. Then, the writers begin squaring off mano a mano. We hope to enlist volunteers to choose between, say, Henry James or Allen Ginsberg. The winner moves on. This continues until we have an overall winner.

BRACKETS

We had to decide if the brackets will be arbitrary, or split up between, say, regions, or using other classifications, such as a Poetry bracket, Playwright bracket, and so on. We decided against the latter, simply because the history of American literature has been dominated by the novel. It would be unfair to leave out novelists who’ve had a huge impact on the civilization and culture in favor of poets or playwrights who’ve had little impact at all. Is this fair? No. But the best poets and playwrights will be represented. We’ll also listen to, and post, all arguments pro and con.

CRITERIA

What places a writer above another? We’ve sketched out what we believe are the main points, but welcome more.

A.) Influence/Importance/Relevance. Meaning: impact on America and the world. Not simply on the literary art, but on culture itself. Has the writer’s work become part of the culture?

B.) Popularity. Not the main point, but a major point.

C.) Persona. The writer’s persona is part of the writer’s impact. We refuse to take the narrow view of writers that, say, New York editors take, where the work is assessed in a vacuum. Literature has thrived in this crazy country when the main writers have been larger than life. Their very presence has promoted the vibrancy of the literary art.

D.) Critical Standing. This means, the quality of the work itself. Has the body of work stood the test of time? Is it considered world class? Are significant ideas expressed in the work? Great themes relevant to people anywhere? Does it have impact beyond the historians and critics? Does the person’s writing convey energy or emotion and create excitement for the literary art?

E.) American. Is the writer and the work authentically, recognizably, quintessentially American? Is he or she representative of the land, this nation, and the nation’s voice? To some extent, writers should be of their place and time.

The writer’s mastery of form, and of various forms, can be considered as well. The forms include Novels, Poetry, Plays, Short Stories, Essays, and Criticism.

What are we leaving out?

The Dreiser Dilemma

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AS PART of our preparation for the All-Time American Writers Tournament, we’re re-reading several classic American writers to see, frankly, if they’re any good. The National Football League has their “combine” for evaluating talent. This is the stage we’re in now.

How are the writers doing?

Not that well. Perhaps worst of all is Theodore Dreiser, who wrote at least two historically significant novels. I just completed reading one of them, Sister Carrie. While one can see why the book was controversial in its day, by our “Pop Lit” standards it doesn’t hold up– even though it was a populist novel. The word-clotted style doesn’t help it. The narrative never creates momentum or excitement. The plot becomes predictable about halfway through– from that point the story is a slowly winding-down dirge. It’s a poorer read than a Rex Beach novel we recently reviewed, written in the same time period. But Dreiser’s book was “Literature,” don’t ya know.

THE QUESTION

The question is: How far do we go in keeping writers in context– in giving them credit for their importance in their own era? We don’t wish to completely discount that– but, we also plan to bring objectivity to this tournament.

Do we then also bring the same criteria we’re bringing to Dreiser (“Show us how good you are!”) to more recent, trendy authors?

David Foster Wallace is as unreadable as Dreiser– except in the opinion of his fan club, a well-connected, over-educated clique which carries weight in today’s lit world. Putting Wallace into context might work to his detriment. His writing may be as obsolete in 100 years as Dreiser’s is now.

Dilemmas! Dilemmas! We’ll post our criteria soon. . . .

About Tournament Seedings

THE ALL-TIME AMERICAN WRITERS TOURNAMENT

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(Pictured: Donna Tartt.)

With only 64 slots to fill, the question isn’t so much who to include, but who gets shortchanged. Genre writers? Playwrights? Poets? Populists? Postmodernists? Writers of color? White males? Early American writers of whom few Americans today have ever heard?

Some writers or category of writers inevitably will get screwed.

Going in, we’re open to all. We’re not academics. We feel no loyalty to a mysterious “canon.” What interests us most are American writers AS writers: individuals; personalities. Talents and personas. We seek to choose those writers who, based on their works and their biographies, can best engage general readers and the greater American public. (If such thing be possible.)

Which writers “on the bubble” should make the cut?

O. Henry? Pearl Buck? Thornton Wilder? Philip K. Dick? John Updike? John Dos Passos? Harper Lee? Langston Hughes?

Which accomplished writers guaranteed entry should be seeded highest?

Walt Whitman? Toni Morrison? Herman Melville? Saul Bellow?

What do we do with Bob Dylan?!

WE WANT ARGUMENTS!

We seek justifications and arguments. We’ll accept no griping after-the-fact, but we will post all arguments and complaints while the seedings are made, and during the tournament itself.

We’ll be allowing ourselves a one-week grace period, after each particular seed is announced, to change our mind.

If you have a favorite– or most hated– American writer, make a case for or against that person, one word to 250, and we’ll post it here.

American culture, who’s recognized by it, is determined in part by lobbying. Noise making. We hope to hear some!

(Contact us at newpoplit AT gmail.com.)

 

 

The Last Underground Poet

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WHEN in Philadelphia recently, we touched base with old friend and colleague Frank D. Walsh. His work is hard to come by online, so when I say he’s the best poet Philly has produced in the last 40 years, you might not believe me. As quick evidence I can give only a link to a few poems at an Irish literary site, including this one:

http://www.deaddrunkdublin.com/poems/frank_walsh/complaynt.html

What makes a master at the poetic art?

It’s the poet with every tool in his poetry toolkit. The person who can throw in offbeat rhymes, multiple allusions in a phrase or word, rhythms of every kind, and give the listener or reader enough wordplay to make the experience fascinating, even wonderful. John Berryman would do this on occasion, as would Ezra Pound. Shakespeare was the master of masters at the art. At his best, Walsh attains that company.

Why Frank Walsh hasn’t received the attention he deserves may have something to do with his integrity. To quote Frank Norris: “I never truckled; I never took off the hat to Fashion and held it out for pennies.” Anyone who’s met Walsh knows his outspokenness– not an advantageous asset in a literary world of cronyism and connections, maintained via backslapping and glad-handing. A poetry world filled with posturing frauds, which Frank Walsh is not.

He’s paid a price for it– lives underground for real– but maintains his optimism. “It’s all material” for his writing, he said about his hardships. A mindset for all writers.

(Photo of Frank Walsh snapped at famed Philadelphia watering hole McGlinchey’s.)