The article "Who's Afraid of Tom Wolfe?" explores the mixed critical reception of Tom Wolfe's fiction, particularly focusing on A Man in Full. While acknowledging Wolfe's journalistic talent and cultural influence, the author dissects the criticisms leveled against his novels: simplistic prose, cartoonish characters, and sprawling, unwieldy plots. The piece ultimately suggests that the negative reactions stem from a discomfort with Wolfe's satirical portrayal of societal elites and his embrace of realism, which challenges prevailing literary trends favoring minimalism and postmodernism. Wolfe's ambition and popularity, the article implies, threaten the established literary guard, leading to a dismissive attitude toward his work despite its insightful social commentary.
Fraser McDonald's diary entry in the London Review of Books reflects on the centenary of Nan Shepherd's birth and the enduring power of her nature writing, particularly The Living Mountain. McDonald contrasts Shepherd's intimate, embodied experience of the Cairngorms with the more detached, scientific approach of contemporary nature writers like Robert Macfarlane. He emphasizes Shepherd's focus on direct sensory perception and her rejection of anthropomorphism, highlighting her unique ability to merge with the mountain landscape and find a profound sense of belonging within it. The piece also touches upon Shepherd's other works, including her poetry and novels, and her dedication to representing the distinct character of Northeast Scotland.
HN commenters largely appreciate the diary excerpt focusing on Nan Shepherd's nature writing and her connection to the Cairngorms. Several share personal experiences of reading Shepherd's work, particularly "The Living Mountain," praising its evocative descriptions and philosophical insights. Some discuss the challenges of modern nature writing, contrasting it with Shepherd's focus on immersive observation and internal reflection. A few commenters also touch on the beauty of the Cairngorms themselves, recommending visits and sharing related resources. The overall sentiment is one of admiration for Shepherd's writing and the power of nature to inspire deep connection.
Hélène de Beauvoir, younger sister of Simone, was a talented painter whose career was often overshadowed by her famous sibling. Though she moved in the same intellectual circles as Jean-Paul Sartre and Picasso, who even painted her portrait, Hélène forged her own artistic path. This article highlights her skill as a portraitist, capturing the nuances of her subjects' personalities, and celebrates her independent spirit, which led her to choose a different, less conventional life than her sister's. Despite facing sexism within the art world and familial complexities, Hélène's dedication to painting and her unique artistic vision deserve recognition and rediscovery.
Several Hacker News commenters express surprise at not knowing about Hélène de Beauvoir, with some noting that Simone de Beauvoir's fame overshadowed her sister. A few discuss the common phenomenon of siblings of famous individuals being overlooked. One commenter questions the framing of Hélène as "forgotten," pointing out her successful art career and suggesting the article aims to capitalize on Simone's name. Others find the dynamic between the sisters fascinating, particularly Hélène's seemingly more traditional life choices compared to Simone's. There's also some discussion of the article's mention of a supposed romantic relationship between Hélène and Picasso.
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HN commenters largely agree that Wolfe's decline in quality began after A Man in Full, with some attributing it to his reliance on formulaic social satire and others to his adoption of a more conservative viewpoint. Several suggest that his earlier works like The Right Stuff and The Electric Kool-Aid Acid Test remain classics of New Journalism, praising Wolfe's immersive reporting and energetic prose. Some counter that Wolfe's work was always shallow, stylistic flourish over substance, and enjoyed more popularity than deserved. A few commenters discuss his influence on other writers and the legacy of New Journalism more broadly. One highly upvoted comment notes the irony of Wolfe, who mocked academia, now being the subject of academic analysis.
The Hacker News post titled "Who's Afraid of Tom Wolfe?" generated several comments discussing Tom Wolfe's literary impact, his perceived decline in later works, and his stylistic choices. Several commenters engage with the linked article's premise and offer their own perspectives.
One of the most compelling threads begins with a commenter who argues that Wolfe's later works became increasingly polemical and predictable, suggesting that his focus shifted from astute observation to pushing a specific agenda. This sparked a discussion about whether this shift was a genuine decline or simply a different phase in Wolfe's career, with some arguing that even his later works contained valuable insights.
Another interesting exchange focuses on Wolfe's distinctive style. While some praised his innovative use of punctuation and onomatopoeia, others found it distracting and gimmicky, arguing that it detracted from the substance of his writing. This led to a broader conversation about the role of style in literature and whether it should be prioritized over content.
Several comments directly addressed the article's assertion about Wolfe's depiction of contemporary literary figures. Some agreed with the article's assessment, while others offered alternative interpretations, arguing that Wolfe's portrayal was more nuanced than the article suggested.
Some commenters offered personal anecdotes about their experiences reading Wolfe, sharing which books resonated with them and how their perceptions of his work changed over time. One commenter expressed a renewed interest in revisiting Wolfe's work after reading the discussion, highlighting the power of online forums to spark literary rediscovery.
A few comments touched upon Wolfe's influence on other writers, with some suggesting that his impact on New Journalism and contemporary fiction is often underestimated.
Overall, the comments section offers a mixed bag of opinions on Tom Wolfe's legacy, reflecting the complex and often contradictory nature of his work. While some express admiration for his innovative style and sharp social commentary, others criticize his later works and question his lasting influence. The discussion provides a valuable platform for exploring different perspectives on Wolfe's place in the literary canon.