Lots of great stuff in the Feb./March issue of Bookforum, free online. In particular, James Wolcott writes about Donald Barthelme, putting the writer’s thoughtful/reckless fiction into context. Barthelme’s experimental fiction, Wolcott writes, was an important counterweight to the prim, just-so stories the New Yorker usually preferred to publish, and influenced the magazine’s style in years to come:
Over the years, Barthelme’s antic break with the traditional tactful manner of the classic New Yorker story, where every stick of furniture and motivation was neatly, firmly in place, would expand into an entire wing of the magazine’s house style. His mastery of incongruity and curveball allusions helped liberate the whiz brains in the office and scramble the genetic code of the magazine’s humor and fiction irregulars: By the ’70s, the set-piece fictions and “casuals” of Ian Frazier, Veronica Geng, Mark Singer, Marshall Brickman, and George W. S. Trow abounded with absurdist dialogues, box scores, chess notations, chicken-scratch scribblings, send-ups of familiar minigenres (liner notes, movie blurbs, capsule reviews, wedding notices), multiple-choice quizzes, and mash-up satires (Geng’s specialty—assigned to write a new intro to Dwight Macdonald’s anthology Parodies: An Anthology from Chaucer to Beerbohm—and After, she pretended to have him confused with the mystery novelist John D. MacDonald, the creator of Travis McGee, and cast Robert Benchley in the part of “the Vietnam vet who drifted freely between the glittering cabanas of the Fun Coast and the oil-stained walkways of a derelict marina”). They ran riot while Ann Beattie stood slightly off to the side, strumming her hair.