Literary Criticism
To date, there is very little published literary criticism of nonfiction works, despite the fact that the genre is often published in respected publications such as The New Yorker, Vanity Fair, Harper's, Shock Totem and Esquire. A handful of the most widely recognized writers in the genre such as Gay Talese, Tom Wolfe, John McPhee, Joan Didion and Norman Mailer, have seen some criticism on their more prominent works. “Critics to date, however, have tended to focus on only one or two of each writer’s works, to illustrate particular critical points.” These analyses of a few key pieces are hardly in-depth or as comprehensive as the criticism and analyses of their fictional contemporaries. As the popularity of the genre continues to expand, many nonfiction authors and a handful of literary critics are calling for more extensive literary analysis of the genre.
“If, these four features delimit an important art form of our time, a discourse grounded in fact but artful in execution that might be called literary nonfiction, what is needed is serious critical attention of all kinds to this work: formal criticism (both Russian Formalism and New Criticism), historical, biographical, cultural, structuralist and deconstructionist, reader-response criticism and feminist (criticism).” “Nonfiction is no longer the bastard child, the second class citizen; literature is no longer reified, mystified, unavailable. This is the contribution that poststructuralist theory has to make to an understanding of literary nonfiction, since poststructuralist theorists are primarily concerned with how we make meaning and secure authority for claims in meaning of language.”Read more about this topic: Creative Nonfiction
Famous quotes containing the words literary criticism, literary and/or criticism:
“When appearance and reality coincide, philosophy and literary criticism find themselves with nothing to say.”
—Mason Cooley (b. 1927)
“His style is eminently colloquial, and no wonder it is strange to meet with in a book. It is not literary or classical; it has not the music of poetry, nor the pomp of philosophy, but the rhythms and cadences of conversation endlessly repeated.”
—Henry David Thoreau (1817–1862)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)