INTRODUCING LITTLE HOUSE ON THE BOWERY
by Dennis Cooper

When I first began to read and write fiction, contemporary literature seemed a venue of originality, boldness, and adventure. It was the late '60s, a very different time in culture and publishing. One could walk into any suburban chain bookstore and find hordes of novels and short story collections offering the prospect of entertainment, emotional and/or intellectual enlightenment, and an anarchic literary spirit. Prominent publishers like New Directions and Grove Press were reliable sources of fresh and fascinating fiction. I knew I could buy any book from these presses and have at the very least an unusual and very engrossing reading experience. In those days, the feeling that innovation and personal vision were the goals of contemporary literature was a pervasive one, and this impression shaped the expectations of my generation of writers and book lovers.

It's no news that things have changed drastically since that time. Major presses have become extremely timid when it comes to taking chances on writers whose work doesn't fit within their predetermined marketing strategies. What was once known optimistically as "avant-garde fiction" has been marginalized into the more demeaning category of "experimental fiction," and a gulf has grown between "commercial fiction" and fiction with challenges to the reader, which is now deemed a chancy investment. There are small publishing houses that champion difficult work, and large houses that occasionally release books with unusual content and style so long as their form and structure pose no real threat to the predilections of conventional book buyers. But the general literary climate in the United States today is not a friendly one to readers and writers who seek in fiction an experience of a unique and startling nature. It's no surprise that young adventurers have all but abandoned literature in favor of more accessible and apparently vital art forms like movies and popular music.

<< CONTINUE