ABSTRACT
Given the hundred or more titles of fiction,
poetry, drama, anthology work, essays and
discursive writing, and whose span runs from
the stories of By the North Gate (1963)
through to her working personal credo and
compte rendu, The Faith of a Writer: Life, Craft,
Art (2003), it can little surprise that Joyce
Carol Oates immediately stirs cavils. Is this
not a writer in over-drive, at risk of being
thought a one-woman paper mill? Has she
not long ago traded quality for quantity?
