In Fury, a Salman Rushdie character (Prof. Solanka) flays Hemingway, calling him the “most effeminate” of novelists, or something to that effect. It suits Rushdie, his writing leaning towards the opposite spectrum of literary style.
A few years down the line, Rohinton Mistry writes in Family Matters –
“…Yezad felt that Punjabi migrants of a certain age were like Indian authors writing about that period, whether in realist novels of corpse-filled trains or in the magic-realist midnight muddles, all repeating the same catalogue of horrors about slaughter and burning, rape and mutilation, foetuses torn out of wombs, genitals stuffed in the mouths of the castrated.”
Mistry makes up for it when Yezad is immediately penitent:
“…He knew they had to keep telling their story, just like Jews had to theirs, about the Holocaust…”
It is interesting to see some mudslinging between authors, through their own medium, a license to criticize one of the small pleasure’s of a writer’s life.