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Is Ann Patchett the female Jonathan Franzen?

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Crucially, both are envied purveyors of literary "masstige" – a  marketing mash-up of “mass” and “prestige” to tag gourmet but fast-moving consumer goods, or in this case, serious literary novels that are thumping best-sellers. Success – the operatic, breakthrough sort of success that they now command  – came late in their writing lives, and, co-incidentally, in the same year, 2001. His first two novels – "The Twenty-Seventh City" and "Strong Motion" – had no foretaste of the electrical blitz that was to be unleashed by "The Corrections." And her first three – "The Patron Saint of Liars," "Taft," and "The Magician’s Assistant," and – got only a drizzle of attention compared  to the sensational "Bel Canto." “Before Bel Canto,” wrote John Updike in the New Yorker, “she had been admired but obscure, a veteran of academic postings and the grant wars.”

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