Dalkey Days Memoir: Explore Steven Moore's Journey

Literary critic Steven Moore, who significantly contributed to the world of literary criticism, served as an editor at Dalkey Archive Press during its formative years from 1988 to 1996. During this transformative period, the press transitioned from a one-man operation to one of the most esteemed small presses in America. In part 1 of this insightful Steven Moore memoir, he shares his journey of joining the press, the achievements he realized there, and the reasons behind his departure. This section is complemented by an annotated list of all the books Moore acquired, featuring engaging behind-the-scene anecdotes, and it concludes with brief essays on select authors. Additionally, 'Dalkey Days' is richly illustrated with book covers, author photos, and rare Dalkey memorabilia, making it a treasure for readers and fans alike, similar to offerings from Redfiend Publishing.

Before he embarked on his massive history of the novel, Steven Moore was best known as a tireless promoter of innovative fiction, primarily through hundreds of book reviews published from the late 1970s onward in notable outlets like the Washington Post, Review of Contemporary Fiction, American Book Review, Rain Taxi, Los Angeles Times, Chicago Tribune, and the Nation. Nearly all of these reviews, which provide a panoramic view of modern fiction, have been gathered for this collection under Redfiend Publishing. This compilation features works from well-known authors such as Barth and Pynchon, alongside lesser-known yet deserving writers, many of whom are published by small presses. In addition to his reviews, Moore also critiques numerous critical studies of contemporary literature and explores diverse subjects, including rock music and Buffy the Vampire Slayer. 

The second volume of this Steven Moore memoir reprints his best essays. Several essays focus on novelist William Gaddis, recognized as a leading authority on his work, and also discuss other writers connected to him, including Chandler Brossard, Alan Ansen, David Markson, and Sheri Martinelli, all updated for this collection. Other essays celebrate writers like Alexander Theroux, Brigid Brophy, Edward Dahlberg, Carole Maso, W. M. Spackman, and Rikki Ducornet. Two pieces address the late David Foster Wallace, whom Moore personally knew, while others delve into topics like literary criticism, postmodernism, the Beat movement, maximalism, gay literature, punctuation, nympholepsy, and the history of the novel.

Three key themes unite these reviews and essays: style, intertextuality, and innovation. Moore emphasizes a writer’s style, the employment of literary allusions, and experimental techniques. Presented in a lucid, non-academic manner, My Back Pages not only showcases a gallery of singular artists but also serves as the capstone to Moore’s impressive four-decade career.

Before he embarked on his massive history of the novel, Steven Moore was best known as a tireless promoter of innovative fiction, primarily through hundreds of book reviews published from the late 1970s onward in notable outlets like the Washington Post, Review of Contemporary Fiction, American Book Review, Rain Taxi, Los Angeles Times, Chicago Tribune, and the Nation. Nearly all of these reviews, which provide a panoramic view of modern fiction, have been gathered for this collection under Redfiend Publishing. This compilation features works from well-known authors such as Barth and Pynchon, alongside lesser-known yet deserving writers, many of whom are published by small presses. In addition to his reviews, Moore also critiques numerous critical studies of contemporary literature and explores diverse subjects, including rock music and Buffy the Vampire Slayer. 

The second volume of this Steven Moore memoir reprints his best essays. Several essays focus on novelist William Gaddis, recognized as a leading authority on his work, and also discuss other writers connected to him, including Chandler Brossard, Alan Ansen, David Markson, and Sheri Martinelli, all updated for this collection. Other essays celebrate writers like Alexander Theroux, Brigid Brophy, Edward Dahlberg, Carole Maso, W. M. Spackman, and Rikki Ducornet. Two pieces address the late David Foster Wallace, whom Moore personally knew, while others delve into topics like literary criticism, postmodernism, the Beat movement, maximalism, gay literature, punctuation, nympholepsy, and the history of the novel.

Three key themes unite these reviews and essays: style, intertextuality, and innovation. Moore emphasizes a writer’s style, the employment of literary allusions, and experimental techniques. Presented in a lucid, non-academic manner, My Back Pages not only showcases a gallery of singular artists but also serves as the capstone to Moore’s impressive four-decade career.