My flash story The Recovery Room (formerly The Pandemic) is now online at Brain Harvest.
Enjoy!
7.28.2009
7.21.2009
The Pursuit of
"Most of the mistakes [in the War on Drugs] have roots in an elementary error, the inability to accept that "altering one's consciousness is a fundamental human desire." The craving to be more relaxed or more alert, more outgoing or more reflective, happier or deeper or even just sillier and less bored -- in one form other another, this drive has always been and always will be with us, though many of us refuse to admit it. As a result, our political response to drug problems tends to be blinkered."
from Why we say yes to drugs, a Salon review of a new book on the futility of anti-drug laws.
I would agree that "altering one's consciousness is a fundamental human desire," as humans have been seeking out in their rituals new ways of perceiving themselves and the world since we've had a consciousness to alter. This is also a pertinent theme in Infinite Jest, whether people given the choice to pursue some form of happiness regardless if they know it's bad for them will still choose to do so. Of course I don't think the issue is as simple as the pursuit of novelty and entertainment vs. conservative policies. On one hand is the issue of addiction, that some people are perhaps more prone to continually harmfully altering themselves, and on the other is the double standard with which America has presented drug policy: Not only that programs like DARE actually encourage drug experimentation, as the article claims, but even more so that media and entertainment options are generally passive and consumptive by nature (ie TV), and other active forms of enjoyment such as creating art require some skill and drive, neither of which are encouraged or actively taught in contemporary culture. Which, for our country's bored youth left drugs as one of the few choices of how to spend one's time. Of course nowadays there's the internet, which seems to give that kind of choice, though is perhaps as equally addictive.
from Why we say yes to drugs, a Salon review of a new book on the futility of anti-drug laws.
I would agree that "altering one's consciousness is a fundamental human desire," as humans have been seeking out in their rituals new ways of perceiving themselves and the world since we've had a consciousness to alter. This is also a pertinent theme in Infinite Jest, whether people given the choice to pursue some form of happiness regardless if they know it's bad for them will still choose to do so. Of course I don't think the issue is as simple as the pursuit of novelty and entertainment vs. conservative policies. On one hand is the issue of addiction, that some people are perhaps more prone to continually harmfully altering themselves, and on the other is the double standard with which America has presented drug policy: Not only that programs like DARE actually encourage drug experimentation, as the article claims, but even more so that media and entertainment options are generally passive and consumptive by nature (ie TV), and other active forms of enjoyment such as creating art require some skill and drive, neither of which are encouraged or actively taught in contemporary culture. Which, for our country's bored youth left drugs as one of the few choices of how to spend one's time. Of course nowadays there's the internet, which seems to give that kind of choice, though is perhaps as equally addictive.
7.20.2009
Infinite Jest vs. the Importance of the Tome
Having hurtled through "Gravity's Rainbow" earlier in the summer, I decided to continue my roll of large-scale fiction and tackle another tome that's been on my list for half a decade, Infinite Jest, a task made easier by knowing that countless others are also slogging through David Foster Wallace's masterpiece. I am currently at the halfway point, some 550 pages in, and since that's beyond the Infinite Summer reading schedule I won't say anything specific about the novel's plot and instead focus on its extreme length. One might wonder, in an age of increasingly brief and fast communications, when narratives over 140 characters are considered too long for our casual attentions, why anyone would read, let alone write, a novel as thick and dense as a dictionary, despite the quote that "the enormous novel of technical, scientific, or historical knowledge [has] become the highest credential for male writers." Besides smarmy erudition, what purpose could such massive stories serve?
Personally I have always been partial to these sprawling and epic books, perhaps due to reading Tolkien's "Lord of the Rings" trilogy as a child, followed by an unabridged copy of "Les Misérables" in middle school, and have recently come to feel that what Tomes (as I distinguish them as a literary form) do is allow an author to create and represent a fully realized world or reality, far beyond the ability of lesser fictions. Certainly the novel as a form was originally invented (at the end of the 19th Century) in order to represent reality as it is, ie: Realism, though it never quite did this. Even contemporary realist novels fall into the same problems of being able to present only selected facets of reality (and hence are more artificial than realist), relying on current cultural assumptions to convey what there isn't room to say about how worlds work, and preferring to deploy the quotidian and inconsequential as the most available sign of "real life," while completely neglecting to address other, larger, and just as necessary (if not more so) aspects of human existence, as if reality only happened in small towns, bars, or foreign countries. Some examples: historical/global change (Pynchon and Neal Stephenson's more tome-like works), a person's lifetime (Eliade's "The Forbidden Forest," Ellison's "The Invisible Man," Rushdie's "Midnight's Children"), Familial generations (Marquez's "One Hundred Years of Solitude"), the fantastic/mythic ("Lord of the Rings" and other fantasy series, serving as an escape (in Tolkien's sense) from being too close to events so that we can see them on a larger perspective), or the worlds hidden and horrendous that lurk just behind the ones in which we live (Delaney's "Dhalgren," Bolaño's "2666). As Roberto Bolaño suggested, though I can't find the source, the quest and the apocalypse are the two most prominent themes in American literature, and I would argue in stories in general since long before stories were written down. And it seems preposterous that one could even think to tackle these themes, much less represent a real world, in anything less than 800 or so pages. The novel on the other hand can only capture a subset, most predominately the individual (person or location). Short stories best communicate a series of events or Poe's unified effect, and flash fictions the immediacy of an event. The tome meanwhile can convey all these at once, while at the same time placing the character in a local, national, and global milieu to which they have to respond, in a world that is not just fully articulated but is itself changing alongside (and at best reflective of) the character/s. What the shorter forms dangerously lack is the ability to remind us that we live in such a total world, with all a worlds' problems, peoples, beliefs, circumstances, etc, beyond the immediacy of our easily distractable and entertainment-starved attentions. One could argue that the briefer our narratives become the less they are able to represent to us humanity and its deepest struggles on that necessary ultimate level, leaving us to forget the past beyond our last twitter or status update. If the written word has a future it is in striving to keep representing reality as it really and vastly is: all-encompassing.
So how does Infinite Jest work as a tome? It clearly encompasses a lot, but this far in I don't think it encompasses enough. The world represented is on one hand a futuristic satire of the West, where the Americas are one country, years are subsidized by corporations, and everyone is still as hung up on pleasure as they were last century. But at the same time the actual action (if there is any) is set in a tennis academy and halfway house in Boston that already feel outdated, presumably late 1990's era, leaving the represented world feeling somewhat contradictory and slapdash, as if these disparate ideas were thrown together to satisfy DFW's theme of Entertainment rather than because they formed a cohesive, realistic whole, like most other tomes I've read manage. Secondly, though the novel takes place over a period of ten years, most of the action takes place in a period of several months, the last of which is told first, so that the reader is not given that epic sense of broad-scale changes taking place over large swathes of time (we only get these events in flashbacks), but instead a flattening of event-ness, where the action focuses solely on the minutiae of everyday life, so that it reads that nothing of narrative importance is happening at all (except for in what up to this point seems a series of subplots). Third, due to this focus on the quotidian unjuxtaposed with the epic or kairotic, told from the POV of multiple quotidian characters, I am hard pressed to believe that any of these narratives add up to something. Though supposedly they do. Though I have a sinking suspicion I already figured out what in the first hundred pages. Lastly, and most relevant to Infinite Jest's infinite length is the banal, unmusical, longwindednes of its language. DFW broke the primary rule of engaging storytelling and chose to tell descriptions instead of show events occurring, which is frightfully slow to plow through in search of the moving bits. Whole pages are spent describing the structural integrity of a roof for instance, or sentences will repeat information just given a sentence before, as if DFW thought the reader too stupid or distracted to remember what he just said, most of this description seeming to serve no other purpose than to showcase the erudition of the author and/or the hyper-intelligent main protagonist (though all the other characters speak this way too). Not even to mention the colloquial use of the word "like," which is not nearly as funny or enduring as Pynchon's use of "that," for instance. And then there are the endnotes, almost a hundred pages worth, which I respect for their contribution to Ergodic literature, though in this case these notes are often even more irrelevant details, could have just been included in the text, sound faux-academic like some of the more ghastly footnotes in Danielewski's "House of Leaves," or can't even be left unread/add another perspective like the extra chapters in Cortazar's "Hopscotch," because IJ's endnotes contain actual information about what's going on in the story, often more useful information than is ever presented in the main body of the text, which just comes off as unadoringly postmodern. In fact, it seems that the first half of the book is DFW's attempt at creating this world (with how this world was created being the payoff?), while he never seems capable of just letting the created world do its thing, as if he was afraid that if he stopped tinkering the whole thing would fall apart.
One thing Infinite Jest does well is that all its diverse characters/ruminations do in fact relate to the main theme of Entertainment (though admittedly a Western upper/middle class view of entertainment). This is particularly poignant in the Marathe/ Steeply dialogues, which are my favorite sections so far and could have been a much more streamlined philosophical document or cultural critique. I could care less about privileged tennis prodigies, and only find the AA digressions interesting due to knowing people in the program (though these bits are deeply informed, they are told in an ironic/hopeless manner almost counter to the kind of spiritual prescience and egolessness necessary it seems to really tackle the issue of addiction without mocking it, which leaves me thinking its no wonder DFW erased his own map last year if this was his worldview, or a worldview he was motivated enough to write over a thousand pages on). Nevertheless, I am still curious to see what happens, to see how and if it all ties together, and hope that my perspectives on the tome's style and discontinuities are proven wrong. If not then at least I will have the satisfaction, as an ardent reader, of having gotten through it, a satisfaction like that of mountain climbers who have reached the summit of a particularly challenging peak. As a tome, at least Infinite Jest is a challenging peak, and not just another narrative molehill.
Personally I have always been partial to these sprawling and epic books, perhaps due to reading Tolkien's "Lord of the Rings" trilogy as a child, followed by an unabridged copy of "Les Misérables" in middle school, and have recently come to feel that what Tomes (as I distinguish them as a literary form) do is allow an author to create and represent a fully realized world or reality, far beyond the ability of lesser fictions. Certainly the novel as a form was originally invented (at the end of the 19th Century) in order to represent reality as it is, ie: Realism, though it never quite did this. Even contemporary realist novels fall into the same problems of being able to present only selected facets of reality (and hence are more artificial than realist), relying on current cultural assumptions to convey what there isn't room to say about how worlds work, and preferring to deploy the quotidian and inconsequential as the most available sign of "real life," while completely neglecting to address other, larger, and just as necessary (if not more so) aspects of human existence, as if reality only happened in small towns, bars, or foreign countries. Some examples: historical/global change (Pynchon and Neal Stephenson's more tome-like works), a person's lifetime (Eliade's "The Forbidden Forest," Ellison's "The Invisible Man," Rushdie's "Midnight's Children"), Familial generations (Marquez's "One Hundred Years of Solitude"), the fantastic/mythic ("Lord of the Rings" and other fantasy series, serving as an escape (in Tolkien's sense) from being too close to events so that we can see them on a larger perspective), or the worlds hidden and horrendous that lurk just behind the ones in which we live (Delaney's "Dhalgren," Bolaño's "2666). As Roberto Bolaño suggested, though I can't find the source, the quest and the apocalypse are the two most prominent themes in American literature, and I would argue in stories in general since long before stories were written down. And it seems preposterous that one could even think to tackle these themes, much less represent a real world, in anything less than 800 or so pages. The novel on the other hand can only capture a subset, most predominately the individual (person or location). Short stories best communicate a series of events or Poe's unified effect, and flash fictions the immediacy of an event. The tome meanwhile can convey all these at once, while at the same time placing the character in a local, national, and global milieu to which they have to respond, in a world that is not just fully articulated but is itself changing alongside (and at best reflective of) the character/s. What the shorter forms dangerously lack is the ability to remind us that we live in such a total world, with all a worlds' problems, peoples, beliefs, circumstances, etc, beyond the immediacy of our easily distractable and entertainment-starved attentions. One could argue that the briefer our narratives become the less they are able to represent to us humanity and its deepest struggles on that necessary ultimate level, leaving us to forget the past beyond our last twitter or status update. If the written word has a future it is in striving to keep representing reality as it really and vastly is: all-encompassing.
So how does Infinite Jest work as a tome? It clearly encompasses a lot, but this far in I don't think it encompasses enough. The world represented is on one hand a futuristic satire of the West, where the Americas are one country, years are subsidized by corporations, and everyone is still as hung up on pleasure as they were last century. But at the same time the actual action (if there is any) is set in a tennis academy and halfway house in Boston that already feel outdated, presumably late 1990's era, leaving the represented world feeling somewhat contradictory and slapdash, as if these disparate ideas were thrown together to satisfy DFW's theme of Entertainment rather than because they formed a cohesive, realistic whole, like most other tomes I've read manage. Secondly, though the novel takes place over a period of ten years, most of the action takes place in a period of several months, the last of which is told first, so that the reader is not given that epic sense of broad-scale changes taking place over large swathes of time (we only get these events in flashbacks), but instead a flattening of event-ness, where the action focuses solely on the minutiae of everyday life, so that it reads that nothing of narrative importance is happening at all (except for in what up to this point seems a series of subplots). Third, due to this focus on the quotidian unjuxtaposed with the epic or kairotic, told from the POV of multiple quotidian characters, I am hard pressed to believe that any of these narratives add up to something. Though supposedly they do. Though I have a sinking suspicion I already figured out what in the first hundred pages. Lastly, and most relevant to Infinite Jest's infinite length is the banal, unmusical, longwindednes of its language. DFW broke the primary rule of engaging storytelling and chose to tell descriptions instead of show events occurring, which is frightfully slow to plow through in search of the moving bits. Whole pages are spent describing the structural integrity of a roof for instance, or sentences will repeat information just given a sentence before, as if DFW thought the reader too stupid or distracted to remember what he just said, most of this description seeming to serve no other purpose than to showcase the erudition of the author and/or the hyper-intelligent main protagonist (though all the other characters speak this way too). Not even to mention the colloquial use of the word "like," which is not nearly as funny or enduring as Pynchon's use of "that," for instance. And then there are the endnotes, almost a hundred pages worth, which I respect for their contribution to Ergodic literature, though in this case these notes are often even more irrelevant details, could have just been included in the text, sound faux-academic like some of the more ghastly footnotes in Danielewski's "House of Leaves," or can't even be left unread/add another perspective like the extra chapters in Cortazar's "Hopscotch," because IJ's endnotes contain actual information about what's going on in the story, often more useful information than is ever presented in the main body of the text, which just comes off as unadoringly postmodern. In fact, it seems that the first half of the book is DFW's attempt at creating this world (with how this world was created being the payoff?), while he never seems capable of just letting the created world do its thing, as if he was afraid that if he stopped tinkering the whole thing would fall apart.
One thing Infinite Jest does well is that all its diverse characters/ruminations do in fact relate to the main theme of Entertainment (though admittedly a Western upper/middle class view of entertainment). This is particularly poignant in the Marathe/ Steeply dialogues, which are my favorite sections so far and could have been a much more streamlined philosophical document or cultural critique. I could care less about privileged tennis prodigies, and only find the AA digressions interesting due to knowing people in the program (though these bits are deeply informed, they are told in an ironic/hopeless manner almost counter to the kind of spiritual prescience and egolessness necessary it seems to really tackle the issue of addiction without mocking it, which leaves me thinking its no wonder DFW erased his own map last year if this was his worldview, or a worldview he was motivated enough to write over a thousand pages on). Nevertheless, I am still curious to see what happens, to see how and if it all ties together, and hope that my perspectives on the tome's style and discontinuities are proven wrong. If not then at least I will have the satisfaction, as an ardent reader, of having gotten through it, a satisfaction like that of mountain climbers who have reached the summit of a particularly challenging peak. As a tome, at least Infinite Jest is a challenging peak, and not just another narrative molehill.
7.15.2009
Essentials
"A human being should be able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyze a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly. Specialization is for insects."
— Robert A. Heinlein
- image by Brandon Jan Blommeart
— Robert A. Heinlein
- image by Brandon Jan Blommeart
7.14.2009
Interim Novae
Yes I still exist, but have been too focused most of this summer so far working on my novel to post much here, though I still have been paying attention to all sorts of interesting news items that would make for great science flash fictions, some of which can be found in the massive dump of links below:
Culture:
*As a male with a unique name, I find it fascinating that the more uncommon or feminine a boy's first name is, the greater the likelihood that he will end up in prison.
*An interesting article from Adbusters about realizing that mystery is still an integral part of human existence, despite 21st century rational empiricism.
*In celebration of the 40th anniversary of the moon landing, the original landing tapes have finally been found.
*While Americans have been torn up about the death of Michael Jackson, Japan may decide to abolish money.
Religion:
*Ireland has just passed a blasphemy law, which besides seeming several centuries out of date has pissed off all the atheists who don't believe in blasphemy anyway.
*Meahwhile, The Pope's encyclical, Caritas in Veritate calls for a new global economic system based off of love.
*A Saudi genie is being sued for harassment after it stole one family's mobile phones (perhaps jealous of the telecommunications genie?).
*An interesting chart detailing the views of the dominant religions on sex.
Literature:
*In London, this coming weekend is World Literature Weekend.
*Ernest Hemingway may have actually been a failed KGB spy.
*From an article on porn and literature a list of 18 challenges in contemorary literature.
*An interesting look at Lithuanian Book Smugglers, like the outlaws in Bradbury's Fahrenheit 451.
*How does language shape or thinking?
*William Gibson on how culture shapes our language.
*The importance of the ineffable in literature, as opposed to the enormous novel of technical, scientific, or historical knowledge that has become the highest credential for contemporary male writers (though I don't see why mystery and fact have to be opposed...)
*And speaking of enormous novels of that type, I've been reading David Foster Wallace's Infinite Jest for Infinite Summer, which is really a long winded, uneventful yet gripping read. More on this soon.
*Whereas I am much more intrigued by the idea of writing down our dreams as a form of literary self-criticism.
Science:
*Speaking of dreams, here's an article on the evolutionary enigma of dream contents.
*Both bird's eyes and the photosynthesis of plants may work by quantum entanglement.
*Light that has either attractive or repulsive forces of "push" has been discovered.
*Frogs and toads around the world synchronise their mating behaviour to the full moon.
*Scientists are still searching for a three foot long spitting earthworm in Idaho.
*As if she was the fountain of youth, an infant-sized teenager may provide clues to reversing the aging process.
*A synthetic tree has been built able to capture carbon from the air 1,000 times faster than real trees.
*Scientists have also created artificial sperm from stem cells, making men progressively more obsolete.
*The new interplanatery internet just got its first node on the ISS.
*Stephen Hawkings in the meantime has decided that humans have entered a new stage of evolution, one based off our ability to exchange information.
*But only if NASA doesn't build self-replicating robots on Mars first.
*Whereas planets themselves might be living super-organisms.
*Perhaps we really do have twenty-one senses, which humanity is still learning to develop.
*Ants however have suddenly become a global super-colony.
*And lastly, a new theorem shows that if humans have free will, then so must elementary particles.
That seems about it for now. Hopefully now that my writing process is stabalized I will have more time to post here. Enjoy the summer!
Culture:
*As a male with a unique name, I find it fascinating that the more uncommon or feminine a boy's first name is, the greater the likelihood that he will end up in prison.
*An interesting article from Adbusters about realizing that mystery is still an integral part of human existence, despite 21st century rational empiricism.
*In celebration of the 40th anniversary of the moon landing, the original landing tapes have finally been found.
*While Americans have been torn up about the death of Michael Jackson, Japan may decide to abolish money.
Religion:
*Ireland has just passed a blasphemy law, which besides seeming several centuries out of date has pissed off all the atheists who don't believe in blasphemy anyway.
*Meahwhile, The Pope's encyclical, Caritas in Veritate calls for a new global economic system based off of love.
*A Saudi genie is being sued for harassment after it stole one family's mobile phones (perhaps jealous of the telecommunications genie?).
*An interesting chart detailing the views of the dominant religions on sex.
Literature:
*In London, this coming weekend is World Literature Weekend.
*Ernest Hemingway may have actually been a failed KGB spy.
*From an article on porn and literature a list of 18 challenges in contemorary literature.
*An interesting look at Lithuanian Book Smugglers, like the outlaws in Bradbury's Fahrenheit 451.
*How does language shape or thinking?
*William Gibson on how culture shapes our language.
*The importance of the ineffable in literature, as opposed to the enormous novel of technical, scientific, or historical knowledge that has become the highest credential for contemporary male writers (though I don't see why mystery and fact have to be opposed...)
*And speaking of enormous novels of that type, I've been reading David Foster Wallace's Infinite Jest for Infinite Summer, which is really a long winded, uneventful yet gripping read. More on this soon.
*Whereas I am much more intrigued by the idea of writing down our dreams as a form of literary self-criticism.
Science:
*Speaking of dreams, here's an article on the evolutionary enigma of dream contents.
*Both bird's eyes and the photosynthesis of plants may work by quantum entanglement.
*Light that has either attractive or repulsive forces of "push" has been discovered.
*Frogs and toads around the world synchronise their mating behaviour to the full moon.
*Scientists are still searching for a three foot long spitting earthworm in Idaho.
*As if she was the fountain of youth, an infant-sized teenager may provide clues to reversing the aging process.
*A synthetic tree has been built able to capture carbon from the air 1,000 times faster than real trees.
*Scientists have also created artificial sperm from stem cells, making men progressively more obsolete.
*The new interplanatery internet just got its first node on the ISS.
*Stephen Hawkings in the meantime has decided that humans have entered a new stage of evolution, one based off our ability to exchange information.
*But only if NASA doesn't build self-replicating robots on Mars first.
*Whereas planets themselves might be living super-organisms.
*Perhaps we really do have twenty-one senses, which humanity is still learning to develop.
*Ants however have suddenly become a global super-colony.
*And lastly, a new theorem shows that if humans have free will, then so must elementary particles.
That seems about it for now. Hopefully now that my writing process is stabalized I will have more time to post here. Enjoy the summer!
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