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LURID: vivid in shocking detail; sensational, horrible in savagery or violence, or, a guide to the merits of the kind of Bad Books you never want your co-workers to know you're reading.

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A couple of years ago, Amazon was heavily advertising its Kindle eReader with this little commercial below:

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Fiction’s currency is specifics: specific characters, specific places, specific descriptions, specific actions, specific events. Of course, writing addresses big ideas — some would say the biggest ideas. So, how do we get there through an examination of the small? Devising a decoding process that takes the reader from the story’s collection of concretes to its universal themes is one of writing's true paradoxes. And as most paradoxes go, the majority of writers who struggle with this quandary fall victim to it.

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Let me tell you about my Buddhist friend, an avid reader. He reads multiple books concurrently, each occupying a specific time of his day. He paces himself, allowing only a few chapters at a time, savoring every literary morsel. Reading takes him on a jaunt into the writer’s world, where he dips his toes, splashes a little, and then returns to his life.