By Gail Gilliland
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Additional resources for Being a Minor Writer
Cm. Gilliland, GailAuthorship. Women and literatureUnited StatesHistory20th century. LiteratureHistory and criti- cismTheory, etc. AuthorshipSex differences. Canon (Literature). Authorship. Title. 5409dc20 [B]94-10562 CIP 01 00 99 98 97 96 95 94 C 5 4 3 2 1 01 00 99 98 97 96 95 94 P 5 4 3 2 1 Page v For my mother and father, for David and Genevieve, and for all the unknown artists who ever were Page vii Contents Preface, ix Acknowledgments, xvii Chapter 1 The Question of Being Minor, 1 Chapter 2 Purpose, 23 Chapter 3 Why I (Still) Write Stories: On Making the Short Story "A Small, Good Thing," 46 Chapter 4 Experience, 73 Chapter 5 Listening, 122 Chapter 6 A Sense of Place: Geographic Flux and the Writer's Work, 143 Chapter 7 Diction: Searching High and Low for the Common Man, 179 Chapter 8 The Moment of the Subject: Motherhood and Authorship in a Deconstructive Age, 215 Notes, 241 Page ix Preface In a letter to the eldest son of one of his friends, the Roman poet Horace sets up the poetics, or principles of literary criticism, by which he as a practicing poet wishes to be judged.
19 For Lloyd, then, the individuality or subjectivity of the author, the reader, and the literary character are all at stake in the categorization process. But Deleuze and Guattari's definition of minor literature is itself most interesting in terms of its possible consequences on the traditional economic value placed upon the Page 14 writer's ultimate success. In the postmodern era especially, the concept of an ethics of purpose might be extended beyond the traditional treatments in terms of catharsis and/or entertainment to consider the economic consequences of a sense of literary purpose from the minor point of view.
3 I first conceived of this project when, as a writer of short stories and poems that had found their way at regular intervals into little magazines over a period of about ten years, I returned to graduate school and thought that I saw, during my first survey course in literary theory, a decided difference between what I came to think of as the Aristotelian line of theorythat primarily by and for critical theoreticiansand the Horatian line of theorythat by and primarily directed toward practicing writers.