“Cat Rambo: Where do you think the perennial debate between what is literary fiction and what is genre is sited?Norman Spinrad: I think it’s a load of crap. See my latest column in Asimov’s, particularly re The Road by Cormac McCarthy. I detest the whole concept of genre. A piece of fiction is either a good story well told or it isn’t. The supposed dichotomy between “literary fiction” and “popular fiction” is ridiculous. Hemingway, Fitzgerald, Mailer, did not have serious literary intent? As writers of serious literary intent, they didn’t want to be “popular,” meaning sell a lot of books? They wanted to be unpopular and have terrible sales figures to prove they were “serious”?I say this is bullshit and I say the hell with it. “Genre,” if it means anything at all, is a restrictive commercial requirement. “Westerns” must be set in the Old West. “Mysteries” must have a detective solving a crime, usually murder. “Nurse Novels” must have a nurse. And so forth.In the strictly literary sense, neither science fiction nor fantasy are “genres.” They are anti-genres. They can be set anywhere and anywhen except in the mimetic here and now or a real historical period. They are the liberation of fiction from the constraints of “genre” in an absolute literary sense.”

“Good writing is good writing. In many ways, it’s the audience and their expectations that define a genre. A reader of literary fiction expects the writing to illuminate the human condition, some aspect of our world and our role in it. A reader of genre fiction likes that, too, as long as it doesn’t get in the way of the story.”

“The Booker thing was a catalyst for me in a bizarre way. It’s perceived as an accolade to be published as a ‘literary’ writer, but, actually, it’s pompous and it’s fake. Literary fiction is often nothing more than a genre in itself. I’d always read omnivorously and often thought much literary fiction is read by young men and women in their 20s, as substitutes for experience.”

“The uncanny is not a literary genre. But nor is it a non-literary genre. It overflows the very institution of literature. It inhabits, haunts, parasitizes the allegedly non-literary. It makes 'genre' blink.”

“[I]n adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult readers who do deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us, because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. [Contemporary writers, however,] take up their stories as with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do.”

“If there's another writer, like Ross McDonald or Raymond Chandler, and all they're writing are mysteries, they won't be accepted," he said. "And that's problematic. A lot of so-called literary novels are just not very good. They're not well-written, they're not well-thought-out. They have pyrotechnics of intelligence."On the other hand, some of the best writers and speculative ideas are in science-fiction. The science-fiction genre is completely, completely segregated. And these people are writing good stuff. They're writing about where you're going, which means they're talking about where you are.”