Some of the writers and books I hold in the highest esteem were discovered en passant: buried in the archives of a little-read blog; mentioned in a thirty-year-old essay devoted to more prominent writers; planted near the end of a long list on Wikipedia. (Idleness and obsession are the impetus for most of my discoveries.) Most of these books are rare tastes, not even well known for not being well known. They are not likely to come up at dinner parties, and they are not part of any canon or curriculum. I don’t get any credit for having read them. They are what some people call minor.
What does it mean to be minor? It’s not the same thing as being obscure. Leon Forrest’s oeuvre is a megalith, but there seem to be about six of us who have read him. Nor is a minor writer a bad writer. Guy Davenport proposed that Thomas Love Peacock, Colette, Simenon, and Michael Gilbert were all “impeccable stylists” but also, next to Tolstoy, Cervantes, Balzac, and Proust, incontrovertibly minor. Davenport, a self-described minor prose stylist who was great enough to be genuinely self-effacing, said that “the theme of a major work must be universal and time-defying.” When judged by this standard, he suggested, even Borges and Poe were minor, since “a Martian could not learn about human nature from either of them.” Read More