I start lucky. Two friends in Southeast Alaska have a permit and a boat and invite me to join them as a deckhand, gillnetting. For three summers, we share a bunk and work within a few feet of each other, coming back to Juneau most weekends, grilling and playing ping-pong. We don’t get rich, which is fine.
Most other accounts of the contemporary business of literature are autobiographical, hagiographic, or histories of literature, avoiding the business and economics of it all. So why study a business that is sui generis, that isn’t even really a business—that, like America, is exceptional?
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