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podcast contains explicit language. I'm Stephen Metcalfe, and this is the Slate Culture Gap Fest. Who cares and kill Roger Ackroyd edition?

It's Wednesday, May 30th, 2012. On today's program, Commercial versus literary fiction, does the distinction even mean anything anymore?

The atavist, the app for long-form literary journalism. It's attracting both readers and money, apparently.

And finally, the Vow section of the New York Times turns 20. Joining me today are Slate's deputy editor,

Julia Turner. Hello, Julia. Hi, Steve. And of course, Slate's film critic, Danny Stevens. Hey, Dana.

Stephen. Hey, guys. It's sort of the unofficial beginning of summer. It's the, you know, week after Memorial Day. And here we are. How's everyone? Dana's wearing white after Memorial Day. You didn't mention that it's disgustingly sweltering. Filling us all with loathing for a fellow man. It's dripping from your voice, Dana. I don't think anyone needs to. Julia, do I look okay in this tankini? What do you think?

Steve, don't be shy. We know you can wear a full string. Oh, dear. All right. Well, digging right in.

This past week in The New Yorker magazine, there was an intriguing article about whether or not there's any abiding distinction between genre fiction and literary fiction. The author of that piece is named Arthur Crystal, the piece is called

Easy Writers, a great title. He says, quote, for the longest time, there was little ambiguity

between literary fiction and genre fiction. One was good for you. One simply tasted good.

Unquote. And what he's essentially saying, if I have the argument correct, is that distinction has started to fall apart.

It started to collapse.

It's much less clear than it used to be, at least in his version of literary history, which is which and which is going to be which tomorrow or in 100 years.

And then, interestingly, he comes out in favor of that distinction

being and abiding and a serious one that we should pay attention to. Dana, it seems to me genre fiction

...