Art as Inheritance, part 3: Reverse Chronology

I’ve been doing some research into reverse chronology (for the follow-up to my post “From ‘Doom House’ to ‘Mood House'”), and I thought I’d compile the results here.

Reverse chronology is probably as old as narration itself. Once one has the idea of telling a story forward, it’s a simple enough matter to tell it backwards:

There was an old lady who swallowed a cow.
I don’t know how she swallowed a cow!
She swallowed the cow to catch the goat…
She swallowed the goat to catch the dog…
She swallowed the dog to catch the cat…
She swallowed the cat to catch the bird …
She swallowed the bird to catch the spider
That wiggled and wiggled and tickled inside her.
She swallowed the spider to catch the fly.
But I dunno why she swallowed that fly
Perhaps she’ll die.

How far back does this idea go?

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Over Forty Writers Over Forty to Watch

Writing the title of this post actually felt very silly; it seems such an arbitrary way of gathering a list of writers to look out for. What could be sillier than singling out writers in this way, according to their age? Surely, there are more worthy criteria. Well, there is an answer to what could be sillier than singling out over forty writers over forty to watch, namely, singling twenty writers under forty to watch, especially largely mainstream writers writing, for the most part, conventional and redundant fiction. And the New Yorker has done just that. But this isn’t surprising. Theirs is an idea once again institutionalizing, reinforcing our decayed culture’s obsession with youth, not to mention its eyes wide shut wallowing in mediocrity. So, not only have they missed, for the most part, who are the best fiction writers under forty to watch, but, with their unapologetic valorization of youth, they missed entirely. The following writers (and I include poets, essayists, and theorists among them) are writers who have consistently written great work. I anticipate great things from each of them in the years and years to come. With full awareness of how a corrective sometimes ironically and paradoxically legitimizes what it seeks to correct, here, in the order in which I thought of them, are over forty writers over forty whose work I will be busy watching.

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