I get that people want realist fiction, that they write it and read it and enjoy it. And that's fine. If someone wants to spend their free time writing or reading about other people doing people stuff then whatever, it isn't hurting anyone.
I get that the same is true with modern updates to fairytales.
What I don't get is why these kinds of fiction have to be so phenomenally - almost willfully - boring.
It’s wild, because Zink is a skilled and talented writer. Clearly a lesser writer would not have been able to write this book, which makes it bad in a very specific way. In some ways, bad books are easier to learn from than great books. It’s easier to ask and answer: 'how does this fail' than 'how is this (great book) great'.
The biggest flaw that stands out here is how low stakes everything is. Characters are introduced and described in detail, events happen, emotions are felt, but only a tiny fraction of these have any importance down the line. The reader is given detail after detail, character after character, event after event but, on seeing that these have little importance outside of the page on which they occur, the reader forgets them. As this happens, they learn that there is little point in paying attention to new things that happen, new characters that come on stage, and the new emotions the characters have, as the effort spent to remember these never seems to pay off down the line.
Most works of fiction function best like buildings, where each element serves to build the greater structure, to hold up something else or comes together to form up a larger part of the whole. ‘Avalon’ feels like hundreds of (‘beautifully-painted’) bricks, but these bricks are all just sitting out in a single layer in a field. Sure, each brink is pretty, but it doesn’t make anything. You can’t stand or live in it, only look at it from afar.
In the second half of the book the only characters that really have any importance are Branny and Peter, so why should the reader care about Branny’s house sitting subplot, or even the whole screenwriter subplot? The whole end purpose of the screenwriting seems to be to get Branny excited about going to the Party at the writer’s house, but that could have happened whether or not she was a screenwriter or not.
The screenplays that Branny writes, or at least the ones that are described, are fine, but don’t seem to have any connection to the overall themes or plots of the book. The characters’ persistent reliance on calling things ‘fascist’ seems like there could, or should, be some political message, or at least idea, behind it. In the end, it seems to boil down to just ‘Undergrads like to call things fascist’ which is so far from novel or compelling or insightful that, rather than parody of novice intellectuals, it just feels like self-parody.