Charting Contemporary American Fiction

WTrRITING A BOOK on contemporary American fiction in French, I run into this problem: questions must I face in 1985 to organize my presentation, if convinced (1) that a sense of the overall scene must and can be conveyed, and (2) that the categories once used no longer apply, while more recent ones will not necessarily serve? In other words, taking it for granted that literary history is neither bunk nor a subsidiary police but a responsible activity on which a sense of evolution and direction may be construed, how do I account for the multiplicity and interrelationships of streams and answer the disregarded question so often faced in the United States and abroad: What is American fiction like today

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