23 March 2013

0 this is amazing


'It seems to me now that part of the compelling power of Sweet Valley High’s vision of identical twins lay not in the obvious assignation between our split selves (id and ego), but instead, in the ways in which writing itself—real writing, difficult, strenuous, hard-won, “under your own name” writing—always stands in an uneasy relationship to its enchanting, seductive, rule-bending twin. The one who always seems to win, to get away with it—as if, in the end, only a toss of a golden head or the sparkle of an aquamarine eye can carry the day. The theorist George Lukacs called the “entertainment novel” the “caricature” or bad twin of serious fiction, and in a sense, for me at least, that was both the allure and the potential hazard of ghostwriting mass-market books. I wanted, as long as I thought I could risk it, to stay in the pastel, exclamatory world of the light and the popular, the world of fast cars and faster verbs, the world where difference was traded for sameness and the blondes triumphed and the eyes sparkled and the parents stayed married and the brother stayed away “at college” and the paralysis was curable and anything and everything could be resolved by the final chapter.'

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