Introduction: Devaluing the novel -- Capote's place: New York, Kansas, and the novel -- Unliterary history and literary disbelief: "real Black publishing" at Random House -- The mattering crisis: literary responses to total entertainment -- Bigness and the novel: from the Middle East to the American West -- Full disclosure: novels, conglomerates, and the editor as hero -- Epilogue: Memoirs, television, and how art matters.
Summary:
"Novel Competition describes the literary and institutional effort to make the American novel matter after 1965. During this era, Hollywood movies, popular music, and other forms of mass-produced culture vied with novels for a specific kind of prestige - often figured as "importance" or "relevance" - that had mostly been attached to novels in previous decades. This trans-media competition, Brier argues, is a crucial but largely unacknowledged event in the literary and economic history of the American novel. In the face of it, the novel lost some of the symbolic specialness it formerly held. That loss, in turn, generated not just a much-discussed rhetoric of crisis but also a host of unexamined, intertwined effects on both literary form and the business of novel production. Drawing on a range of novels and on the archives of publishers, editors, agents, and authors, Novel Competition shows how fiction's declining position in a transformed "popular-prestige" economy reshaped the post-1965 American novel as art form, cultural institution, and commodity"-- Provided by publisher.
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