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Coin toss: Take a chance on THE AUTOMATION
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Category: Gabbler Recommends
GABBLER RECOMMENDS: “The first great works of digital literature are already being written”
“And let’s not even get on to the people who say things like “data is a story”, “products are a story”, “your robo-vacuum cleaner has a story to tell you”. No it isn’t, no they’re not, and no – unless artificial intelligence has come on much faster than anticipated – it doesn’t.
But more aggravating even than this are the forums, summits, breakout sessions and seminars on “digital literature” run by exceedingly well-meaning arts people who can talk for hours about what the future might be for storytelling in this new technological age – whether we might produce hyperlinked or interactive or multi-stranded novels and poems – without apparently noticing that video games exist. And they don’t just exist! They’re the most lucrative, fastest-growing medium of our age. Your experimental technological literature is already here; it’s the noise you’re trying to get your children to turn down while you pen your thoughts about the future of location-based storytelling.
When I bring this up with arts and literary types, I often get the sort of “oh come, come” response that can only emerge from someone who has no familiarity whatsoever with what video games are, have been, and can be. “You can’t claim that Grand Theft Auto has literary merit,” they say. Maybe you can – plenty of people have – but no, I wouldn’t cite GTA as fascinating experimental literature any more than I’d cite robo-Godzilla-fighting blockbuster Pacific Rim as an example of avant-garde film-making (it’s fun though).
But are there video games experimenting with more interesting storytelling than any “digital literature” project I’ve seen? Yes, certainly. And if you want to think of yourself as well read, or well cultured, you need to engage with them.
…
But we can’t afford that kind of thinking any more. Being culturally educated about video games is as important as going to museums or learning about opera.Games often manage to be both great art and an economic powerhouse; we’re doing ourselves and the next generation a disservice if we don’t take that seriously.”
[Via]
GABBLER RECOMMENDS: Maria Bamford’s Lady Dynamite
Word cannot express my love of this show. So, I’ll let the GIFs do it for me:
Am I selling it yet?
Thank you to all the people who made these GIFs so that I can enjoy these parts of the show on repeat. You are a gift to the world.
GABBLER RECOMMENDS: “I Am Pan” by Mordicai Gerstein
A children’s book I wish I had when I was a wee babe.
Excerpt from the author’s note:
“The silliest of them was Pan, the god of noise and confusion; the one who delighted all the other gods. A perfect deity for kids, because, though fully grown, at heart he’s one of them…They made him offerings of flowers and honey, but they also liked to gossip about his relatives. To me, that’s what these myths are: gossip about the gods.”
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
GABBLER RECOMMENDS: Daniel José Older, on why diversity in publishing is not enough.
“By blaming an intangible force, the publishing industry absolves itself of any responsibility, when in fact it is very much in the business of manipulating The Market to its ends. “Those conversations happen without acknowledging that there’s a huge disparity in how books are marketed and publicized,” Sarah McCarry tells me. McCarry worked publishing on and off for a decade, most recently at a New York literary agency. “That money and attention overwhelmingly goes to what the industry has already decided is ‘marketable’—heterosexual narratives featuring white characters. A book has very little chance of doing well if there’s no marketing push behind it.”
Lee and Low Publishers convened a panel last year and asked agents what they could do to help shift the troubling lack of diversity in publishing. “I think the change is going to have to come from within those who are affected,” one agent responded, “just like any underrepresented group in any profession. But since the return on the investment for the author is so low, I don’t know how many people of color are going to have the desire to climb the mountain to publication that every new author faces, or have the luxury of dedicating the time it takes to master the craft.”
Another agent, when asked why less than 1% of her submissions were from people of color, captured what seems to be the publishing industry’s general attitude in just 10 words: “This seems like a question for an author to answer.”
This is the language of privilege – the audacity of standing at the top of a mountain you made on the backs of others and then yelling at people for being at the bottom. If it’s not the intangible Market that’s to blame, it’s the writers of color, who maybe don’t have what it takes and don’t submit enough anyway. Read the subtextual coding here – the agent first places the onus of change on the folks with the least institutional power to effect it, then suggests we probably won’t be able to find the time (i.e., lazy) to master the craft.
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So we are wary. The publishing industry looks a lot like one of these best-selling teenage dystopias: white and full of people destroying each other to survive.
But let’s go back to this: “It’s not for you to relate to!” Write that in the sky. And it’s true – often, as writers of color, to portray our stories in all their vibrant authenticity, all their difficult truth means we’re not writing for editors and agents, we’re writing past them. We’re writing for us, for each other. And it’s not just a question of characters of color, it’s not a numbers game. It’s about voice, about narrative flow. Because of who we are and what we’ve lived, our stories often contain implicit critiques of white supremacy, critiques that we know stand little chance of surviving the gauntlet of the majority white publishing industry. We see diverse futures, laden with the tangled past of oppression and we re-envision models of empowerment and survival. But only a few of us make it through. There is a filter and the filter is white culture.
Ultimately, editors and agents hold exactly the same amount of responsibility that writers do in making literature more diverse. The difference is, editors and agents have inordinately more power and access in the industry than writers do.
…
Diversity is not enough.
We’re right to push for diversity, we have to, but it is only step one of a long journey. Lack of racial diversity is a symptom. The underlying illness is institutional racism. It walks hand in hand with sexism, cissexism, homophobia, and classism. To go beyond this same conversation we keep having, again and again, beyond tokens and quick fixes, requires us to look the illness in the face and destroy it. This is work for white people and people of color to do, sometimes together, sometimes apart. It’s work for writers, agents, editors, artists, fans, executives, interns, directors, and publicists. It’s work for reviewers, educators, administrators. It means taking courageous, real-world steps, not just changing mission statements or submissions guidelines.”
[Via]
See also: Black Authors and Self-Publishing. And Self-publishing Offers Hope for Diverse Authors Shut Out by Traditional Publishing.
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]