Book Supplement

Deconstruc-tion for the Masses

We Are Hungering for Something Else

Celebrity Is Never an Art

The Anatomy of Difficulty

Reviewers Who Love Too Much

New Pornographers' Manifesto

Record Label Turns to publishing

What Poetry is For

THE THRILL OF GRIEF

Charles Mudede on His Sister-In-Law

Plastiques

A Moment in the Park with Galaxy Craze

Poetry That Pushes

NO END TO TRYING

The World From Inside a Tiny Writing Group

Sex: Fiction's Hamburger Helper

Fame! I'm Going to live Forever!

What You Might at First Hate

MEET THE NARRATEMES

Bruce à la Bruce

Gary Lutz, Anaesthete

To Get Famous, Punch Somebody

LIGHTNING ON PAPER

J'Accuse!: An Argument About the Value of Conflict of Interest in Books Criticism

Scandinavian Sex

Bret Easton Ellis

The Year of Reading about Proust

THE JIMINY CRICKET INSIDE ME

Reviews

The Ether Sex

The nature of (four) possibles (in the beginning was a texture; historically alphabets are for advertising; and so the world entertains by involving everything) dictates that if (five) there are lame pulp novels (sheet music plummets from the sky) in those recognizable dimensions and textures, there should exist (6) their opposites (complex knots or the nautical tops of pies), too. That's not to say that (seven) difficult reading ("like jelly-fish," "like turbines provoked") is better; it's subjective. Difficult reading is (the written language MAKING its way up, then falling, collapsing) deliberate, sometimes (eat) not -- sometimes it's the head of a writer (lost in its own reverberations, the continuous literature of movement) expressing in the only available (none) way.

Difficult reading does not afford convenience, and in (tent) doing so (it is near the epicenter or is fog), becomes a challenge. It is the lack of instant (offer them on floating cork; pulled from a box) satisfaction that labels it. It's too hard, too much work -- I need an easy read. Difficult reading has an (level) air of (the anticipation of light inside the funambulist) academia to it. It reminds you of the assigned (twelve) reading (ecstatic sugar of ears) you struggled with in school. So why repeat an unpleasant experience? The unraveling (one pencil equals speech rarely) is its own reward. Being forced (when the eyes align mountains are subject to moving is verbs) to comprehend (thirdteen) is itself a growth process. Solving puzzles (a pulley system elaborately hinged; a lull between adventures; preferring decorative calligraphy) is a sign of brain (4deen) activity, or perhaps I'll use 10 harlequins as a pillow and sleep. (Or probably it won't escape this page. More often the results are the same. There is a difference in language that makes the situation impossible.)


TEN EASY STEPS TO DIFFICULTY
How to Make Your Fiction More Challenging

1. Loosely base your style on Finnegans Wake.

2. Use lots of German and Latin phrases (Weltanschauung, et al.).

3. Kill off every major character halfway through the book.

4. Never explicitly state your point; convey all major emotions and epiphanies via descriptions of physical surroundings.

5. Write in nothing but palindrome.

6. Begin by titling your book, 2000 Pages about ___________.

7. Have your main character speak only in Esperanto.

8. Never use commas.

9. .drawkcab gnihtyreve tnirP

10. Have the letter "u" be the only vowel you're allowed to use.