"Really, almost everything that’s been done since was done in Don Quixote and Tristram Shandy. So I find that very heartening, too. Just remember this was invented as a flexible, strong and swaggering form that could do all kinds of things that other forms couldn’t do."
Jennifer Egan is hopeful about the novel’s ability to assimilate other forms. In Capital New York [by Dan Rosenblum via (via sarahwrotethat)
She told the story of a failed attempt to write about identical twin rappers named Dyme. She described following them around and going to a Notorious B.I.G. release party, where her most embarrassing journalistic moment took place.
“I was just trying to find my way around,” she said, “and just trying to blend in and learn the lay of the land, and so I went up to someone and I went, ‘Could you point out Biggie to me?’ And of course it was a posthumous release.”
"MIt was actually law at Brown in 1982 that you had to study semiotics. They still have that law in the books, I’m told. But this is when it was new. When I got to Brown, they were having this battle because you’d have these professors who were New Critics who would read essays they’d written 30 years before on yellow paper on Shakespeare, and you’d go from those courses to the courses on semiotics where another cohort in the English department had decided that the New Criticism was over and that they would become constructionists and deconstructionists. There was this big battle when I was there and Madeleine is sort of stuck between it."
— Jeffrey Eugenides at Greenlight bookstore last night, discussing his new novel, The Marriage Plot, and one of its main characters Madeleine. Read more ——->