Earlier this week, Salman Rusdie told Haaretz:
Everybody loves The Wire and I think it’s okay, but in the end it’s just a police series. I love The Sopranos. Deadwood, which didn’t last long, was a series I liked a lot; it had more filthy language than I’ve ever heard on television anywhere in my life, but it was brilliantly written. I like some of what is on now, like Breaking Bad and Dexter.
Ever since then, his Twitter feed‘s been mighty entertaining. In particular, he implicitly claims that The Wire is “just a police series” but Entourage is something more. (I’m not sure exactly what that something is, but it must have to do with the fact that, as a celebrity himself, he could relate to the Vince and his crew on a profound level inaccessible to those of us who found the show and its characters vapid and humorless.) Rushdie’s dismissal of The Wire as “mere” genre fiction couldn’t be more poorly timed, coming as it does on the tail end of Colson Whitehead’s dismissal of genre fiction as an operative category in contemporary literature. Genre only matters, Whitehead argues, to people incapable of seeing past it. One would assume that a magic realist like Rushdie would understand that.
He’ll watch Game of Thrones, but only because it qualifies as research:
I watched all that because if I am going to work in this field, I need to know what it is going on. I have been making myself have whole-series marathons to get the point of how it goes. I will soon start writing my little series.
What’s his “little series” about?
It’s a sort of paranoid science-fiction series, people disappearing and being replaced by other people.
Sounds like just another science fiction series to me.