Word: fictionizing
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...Yorker in the '80s. His voice--spare, understated, unsentimental--and his typical subject matter--moments of truth in the lives of hard-luck men and women who know they are failing in a country consecrated to success--became immediately recognizable. Carver resisted the trend toward gentrification in U.S. fiction, the Jamesian notion that only those with fine-tuned sensibilities and no money worries have the leisure to mess up their lives in interesting ways. Carver could write about life's losers without any condescension because he had often felt he was one of them...
...dubbed Carver and his epigones Minimalists, a term the author disliked. His reasons for doing so extended beyond the normal artistic resentment at being pigeonholed. Carver knew, as others have discovered in the past few years, that heavy excisions were performed on his early stories by Gordon Lish, a fiction editor at Esquire in the '70s and then at Knopf during the preparation of What We Talk About When We Talk About Love. That book, with 17 terse stories crammed into 159 pages, solidified Carver's reputation but left him feeling that he had ceded too much control...
...Marcus is an assistant professor at Columbia University and author of a book of fiction, The Age of Wire and String
...resonated with a public largely fed up with the mindless action-heavy fare of 1980s Hollywood, and by independent-film standards it became a blockbuster. It also cleared a path from the art house to the mall and launched a brigade of indie and indie-minded movies--from Pulp Fiction to American Beauty--into the mainstream...
...changed his mind and stopped. The situation is much like the classic movie scene in which the good guy faces the cornered villain and the dilemma of whether to shoot. The hero slowly pulls back the trigger to within a nano-inch of firing, hesitates--and stops. Makes great fiction, but do we really believe that happened thousands of times in Florida? DREW SUNDBERG Brussels...