Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Thursday, September 24, 2026

DEI at the National Book Awards

Bret Stephens contemplates the ten finalists for the National Book Award in fiction:

Hannah Lillith Assadi’s novel, Paradiso 17, is “inspired by the life of her late Palestinian father.” Kimberly Blaeser, a poet, is the “founding director of Indigenous Nations Poets.” Edwidge Danticat is a Haitian American writer whose novel Dèy reflects on “the many forms of mourning experienced through immigration, gentrification and diasporic identity.” Julián Delgado Lopera’s novel Pretend You’re Dead and I Carry You, set in 1990s Bogotá, “explores Colombia’s queer underground community.” Louise Erdrich, the highly acclaimed author of Python’s Kiss, is identified in her N.B.F. biography as “a member of the Turtle Mountain Band of Chippewa.” Marlon James’s novel The Disappearers is a “queer epic” set in Kingston, Jamaica. Valeria Luiselli is a writer born in Mexico whose Beginning Middle End spans “continents, languages and four generations.” Kenan Orhan is a Turkish American writer; his first novel, The Renovation, is a story about a family migrating from Istanbul to Italy. Morgan Thomas’s book Mad Eden is about “a trans health care worker” who has been diagnosed with autism.

Oh, there’s also Alexander Maksik’s novel Passengers, a father-daughter story set in an airport. Maksik, who is Jewish, is, to my knowledge, white, male and straight — details that, in a sane world, should have no bearing on whether his book deserves to make the longlist. In this world, sadly, it makes him the lucky token.

My reaction to this is ambivalent. On one hand, I am myself far more likely to read a serious novel or memoir by someone who is not an ordinary white American. I am frankly bored by the world I inhabit and get more insight into it than I want just by skimming the news. Unless the story is set in some other world, as in science fiction or fantasy, I would rather read work by someone with a very different perspective. Marlon James is one of my favorite contemporary writers, and two of his novels (A Brief History of Seven Killings and The Book of the Night Women)  would be on my list of the fifty best post WW II books. I have probably about as many serious novels by Asians like Haruki Murakami and Arundhati Roy than white North Americans. I have no particular attraction to gay fiction, but James Baldwin was amazing and I like Marlon James so much that I may give This Disappearers a try.

But on the other hand, this list points to the fundamental problem with wokeness: the obsession with who people are rather than what they can do. It is, to me, demeaning to Louise Edrich to identify her as a Native American writer; I don't fundamentally care where she comes from. She usually writes about Native Americans, but she is a product of Dartmouth and various writing programs, thoroughly trained in the craft of modern fiction, besides being married to a white anthropologist who was one of her undergraduate professors and living in Minneapolis. As I have noted here several times, modern novel writing is a tradition about as far removed from Native American storytelling as it is possible to be. Edrich is very good at the kind of psychologically intense writing that this tradition values, and that gets attention from the National Book Awards.

Books are not good because their authors are marginalized. Most books by people from marginal communities are, in fact, bad. Just like most books by white New Yorkers are bad.

Writing talent is a rare and wonderful thing, and a brilliant novel is a treasure like any other magnificent work of art. That is what awards should celebrate, not anything to do with where the author happened to be born.

Tuesday, September 15, 2026

My Copies of "The Voice from the Darkness" have Arrived

Me, ten days after heart surgery, showing off one of the first printed copies of The Voice from the Darkness. 

I have written about 50 pages of volume II, working title The Red Admiral, but I stalled out and then my wife died, but I will get back to it. I know the whole story because this is my old gaming world that I have been developing since 1980, and I know about not just this generation but their children and grandchildren.

Thinking over this story, there are things I really like about it. I love how the young aristocratic circle came out, both the individual characters and the interactions between them, and I am modifying the story as I first imagined it to give them more time together. I love the city of Calyxia, divided by a rubble wall between a human half and a dark side stalked by monsters. I love the ideas about magic I have been playing with, which I derived from ancient Chinese shamanism. And as always when I write I love some of the minor characters who just spring into my mind, play their small parts and move on.

Here is a question for my readers: would anyone be interested in an audiobook? I could afford to have one made if people would listen.

Wednesday, December 10, 2025

Sam Kriss on AI Writing

Wonderful essay at the NY Times. Excerpts:

I remember encountering a particularly telling example [of overfitting] shortly after ChatGPT launched. One of the tasks I gave the machine was to write a screenplay for a classic episode of “The Simpsons.” I wanted to see if it could be funny; it could not. (Still can’t.) So I specified: I wanted an extremely funny episode of “The Simpsons,” with lots of jokes. It did not deliver jokes. Instead, its screenplay consisted of the Simpsons tickling one another. First Homer tickles Bart, and Bart laughs, and then Bart tickles Lisa, and Lisa laughs, and then Lisa tickles Marge.

It’s not hard to work out what probably happened here. Somewhere in its web of associations, the machine had made a connection: Jokes are what make people laugh, tickling makes people laugh, therefore talking about tickling is the equivalent of telling a joke. That was an early model; they don’t do this anymore. But the same basic structure governs essentially everything they write.

On AI word choice:

A.I.s do not have the same vocabulary as humans. There are words they use a lot more than we do. If you ask any A.I. to write a science-fiction story for you, it has an uncanny habit of naming the protagonist Elara Voss. Male characters are, more often than not, called Kael. There are now hundreds of self-published books on Amazon featuring Elara Voss or Elena Voss; before 2023, there was not a single one. What most people have noticed, though, is “delve.”

A.I.s really do like the verb “delve.” This one is mathematically measurable: Researchers have looked at which words started appearing more frequently in abstracts on PubMed, a database of papers in the biomedical sciences, ever since we turned over a good chunk of all writing to the machines.  . . .  According to the data, post-ChatGPT papers lean more on words like “underscore,” “highlight” and “showcase” than pre-ChatGPT papers do. There have been multiple studies like this, and they’ve found that A.I.s like gesturing at complexity (“intricate” and “tapestry” have surged since 2022), as well as precision and speed: “swift,” “meticulous,” “adept.” But “delve” — in particular the conjugation “delves” — is an extreme case. In 2022, the word appeared in roughly one in every 10,000 abstracts collected in PubMed. By 2024, usage had shot up by 2,700 percent.

Amazing. I suppose I am the odd human here, because I like to write. I would never use an AI to write for me, because for me choosing my own words is the point.

But it certainly is fascinating that without anybody intending it ChatBots have all ended up sharing the same tics and word choices.

Monday, December 8, 2025

After the Fall

My latest fiction project is a genre fantasy novel set in my old gaming world. I have been creating adventures in this world since 1982, so I know a huge amount about it, and I think that shows in the richness of the setting. I have plans for this to become a series, and I had already written about 50 pages of the second volume before I got distracted by my audiobook project.

For me the story is about people born in hard times who refuse to surrender to them. While many around them fall into despair or actively go over to the dark side, our characters keep fighting for the world they love. In writing this I had in mind people from history who have lived through disastrous eras: Europeans in the 1930s, watching the content drift into tyranny and world war; Romans as the borders crumbled to the barbarians; Chinese of the Tang dynasty as their empire fell apart. Or how some people feel about our own time.

The book is also an experiment in a new way of thinking about magic that I derived from ancient Chinese shamanism, hints of which made it into early Daoist texts. (I wrote about my discovery of this material here.) From the blurb I wrote so literary agents could ignore it:

The story is set in the lands around the Middle Sea a generation after the collapse of a great empire, a cataclysmic event known as the Fall. In the aftermath of an event that destroyed many cities, killed millions, and (it seems) removed magic from the world, some people have given up hope, worshipping dark gods while they wait for the end. Others, including our characters, are determined to fight on as the world collapses around them. The key characters include: Bernicia Reliquay, sister of the young Viscount of Calyxia; the Viscount, Mercutio Reliquay; various of their friends; two soldiers, one a native of Calyxia and one from a desert land far to the south; a monkish wanderer searching for lost magic; and two teenage girls who join a band of wandering performers. The city of Calyxia is also a sort of character, divided by a rubble wall between a human city and another overrun by monsters.

I have now (July 1, 2026) conpleted uploading this book as a web serial on Royal Road. You can read the whole thing here. It has more than 5,000 views, so somebody likes it.

This is still a sort of beta text, so comments are welcome.

Tuesday, December 2, 2025

"The Raven and the Crown" on Audible


I have long wanted to produce an audio version of The Raven and the Crown, to my mind by far the best thing I have written. Over the years various people have suggested to me that I record it myself. But in my mind I always it heard it read by a woman with a British accent; a man from Virginia would sound all wrong. Last year I explored some of the AI voices available, but they just weren't good enough. 

But then, thanks to the generosity of my family and friends, I was able to hire a professional to make the recording. 

I went into Audible and discovered an amazing system for putting writers and voice actors in touch with each other. You initiate this process by posting a description of your project and a few pages of text for auditioners to read. I did this, went to bed, and woke up to find that 16 people had already posted 4-minute auditions. By the end of the day I had 30 auditions to listen to. I began working my way through them. Most were mediocre, like most of everything. After listening to the same passage 30 times and assigning most of them 2 or 3 stars I was starting to get numb. 

Then I listenened to two wonderful readings by professional English actresses. I assumed that I would not be able to afford them, but I figured I might as well start at the top. So I reached out to the reader I rated the highest, Sarah Kempton, and was astonished that we were able to reach an agreement. As my children told me, voice acting is a brutal business.

The process works like this: you agree on a price, then create a contract within the Audible system. The system specifies all the terms and so on; the enforcement mechanism is that nobody in the audio book business can afford to be blacklisted by Audible. The reader produces a 15-minute segment. If you accept it, you pay half the agreed price in advance. Then the reader begins uploading chapters, which you listen to. 

I loved this. Sarah Kempton's voice is exactly what I imagined when I told people I wanted to hear the story read by a British woman. I was immediately carried away into the world I had made. It took me eight years to write this book, but somehow listening to it in Kempton's voice made it more powerful for me than it ever had been before. I have rarely in my life felt so swept up into a story, and the time I spent listening to each chapter as it came in was by far the best part of many recent days. There were glitches – lines skipped, words misread or mispronounced, etc. But this turned out to be no problem; I just sent Kempton the exact time of the error and she edited the file to fix them. Usually I could  not detect any issue with the audio after amendment, and I am willing to bet that no other listener will be able to tell where the changes were made.

My wife asked me if I were following along in the text, and I was at first puzzled by this question. I did not need to. I know what my writing sounds like, and every error jarred in my mind. That, incidentally, is why I am such a bad editor of my own work; I hear too clearly what I meant to write.

Then it was done. I felt sad, because I had loved this process so much. But the end of this process means I can share it with the world.

Friday, November 7, 2025

Narnia and the Gate

NY Times feature on the 75th anniversary of The Lion, the Witch, and the Wardrobe, with several authors commenting on what it meant to them. Katherine Rundell: "Narnia thrilled me like no other place. It taught me to long for big pleasures: for enchanted landscapes and ancient truths, for redemptions and reversals. . . . I had a school friend who was so passionately in love with Mr. Tumnus that she has ever since found it hard to reconcile herself to dating adult men."

For me Narnia heightened my fascination with finding a door that I could step through into another world, which has at times in my life sharpened into pain that I could not. It was that transition that obsessed me more than the world or the stories. There were other worlds that I liked better – Middle Earth, Lloyd Alexander's Wales – but they did not come with that wonderful means of access.

For the cover of The Raven and the Crown I selected an old painting titled The Enchanted Gate.

If you wonder why I write novels despite being a busy career man and father of five, and despite getting zero encouragement from the publishing world, it is this: because in writing stories I have finally found my gate to the Other Lands.

Sunday, September 21, 2025

Fantastic Language: Lord Dunsany and Catherynne Valente

A fantasy writer can summon magic through story and setting and things that happen, or through the power of words. Many writers try to do both; Tolkien is the most obvious example. Most writers, however, do not possess these two powers in anything like the same degree. Today I take up books by two writers who try to bespell us mainly with their words. 

Lord Dunsany (Edward John Moreton Drax Plunkett, the eighteenth Baron Dunsany) was born in 1878 and to me his writing feels deeply Edwardian. He lived for much of his life in Dunsany Castle, near Dublin. Although he wrote a bunch of books – I have seen numbers varying from "more than 50" to "more than 90" – he is famous these days for The King of Elfland's Daughter, published in 1924.

The story is very simple. A mortal king sends his son to woo and wed the daughter of the King of Elfland. With some help, he succeeds. They have a child. Eventually, the elf princess misses her home and goes back. The hero quests for her again, while their son grows into a different sort of hero. Eventually, all is resolved by magic. 

But that is not the point. The point is the evocation of the eldritch, the magical, the strange, and the wonderful by the deployment of prose that drips with paradox, archaism, and the highest extremes of extravagance. Some examples:

Near the Castle of Erl there lived a lonely witch, on high land near the thunder, which used to roll in Summer along the hills. There she dwelt by herself in a narrow cottage of thatch and roamed the high fields alone to gather the thunderbolts. . . .

Then Alveric strode away and came to the field he knew, which he remembered to be divided by the nebulous border of twilight. And indeed he had no sooner come to the field than he saw all the toadstools leaning over one way, and that the way he was going; for just as thorn trees all lean away from the sea, so toadstools and every plant that has any touch of mystery, such as foxgloves, mulleins and certain kinds of orchis, all lean toward Elfland. By this one may know before one has heard a murmur of waves, or before one has guessed an influence of magical things, that one comes, as the case may be, to the sea or the border of Elfland. . . .

He stood there with the cries of Earth faint in the late evening, behind him, and the mellow glow of the soft earthly twilight; and before him, close to his face, the utter silence of Elfland, and the barrier that made that silence, gleaming with its strange beauty. And now he thought no more of earthly things, but only gazed into that wall of twilight, as phrophets tampering with forbidden lore gaze into cloudy crystals. The little cries of the earthly evening behind him he heeded no more nor heard. And with all these little cries were lost to him also the ways and the needs of men, the things they plan, the things they toil for and hope for, and all the little things their patience achieves. . . .

The Elf King stirred not, nor changed; but held to that moment in which he had found content; and laid its influence over all his dominions, for the good and welfare of Elfland; for he had what all our troubled world with all its changes seeks, and finds so rarely and must at once cast it away. He had found content and held it.

It is sometimes lovely and sometimes frankly tedious. When it works, it evokes the longing one might feel standing by the ruin of an ancient castle, wishing fervently that a gate into wonder might open in the gray stone. When it doesn't work, it makes you wish the story were more compelling or the characters at least halfway plausible. 

Lord Dunsany's words are like the notes of an elvish music, calling us away to a more beautiful place; Catherynne Valente's are like the spears picadors thrust into the bull to drive it mad. Valente is a contemporary writer, born in 1979. I first discovered her through a novel for older children, The Girl Who Circumnavigated Fairyland in a Boat of her Own Making (2011). As I said when I reviewed it, I was immediately captured by her language, which seemed to me to evoke perfectly the feel of a fairy tale.

I have now read two more of her books, most recently her first, Labyrinth (2004). The point of Labyrinth is also to take our minds away to someplace else, but this Labyrinth is nothing like Elfland. It is an absurd, grotesque dreamscape. The language is like a psychedelic drug, destroying our normal sense of reality and replacing it with an incomprehensible vision. I was reminded of the visions of Carl Jung and Philip K. Dick, absurd on the face but hinting at mysterious depths. But if there are any mysterious depths, I confess that I did not find them.

Our narrator is a nameless female being of unknown origin:

I am the Walker. The Seeker-After. I am the Compass-Eater and the Wall-Climber. I am the Woman of the Maze.

An entirely typical passage goes like this: 

A half-realized body stretches out coral-encrusted fingers to seize it. Useless, of course it is useless – Each spindle-moment gone before my limbs could ever escape the glassine softness of their essential corporeality, could achieve escape velocity and roar away from themselves in a bloom of fire. I walk (will walk, have walked, I told you there is no coming or going here) in the Maze, a spinning silver coin in the sky, and the names of the flowers float out of my honeycombed skin, the mystic botany I once knew when was (am, will be) wrapped in my sanguine turban.

Our narrator wanders, feeling her mind slip away, meeting various spirit guides that don't seem to be much help, seeing strange wonders, speaking strange words. Another snippet:

And. There are here tremors of Doorways. They appear in the morning like dew-dampened butterflies, manic and clever. They travel in packs. At night the hinges change from right to left, or vanish completely. Some are no more than flaps of fur, iridescent in the light of the walls, or sweeping veils of gauze and silk, long curtains like a woman's hair. Some are hard and ornate, carved with a fantastic code of Arabic and Greek, letters drawn in a paste of crushed diamonds and the hooves of a drowned horse, written with the elegant tip of a black cigarette holder.

I find this sort of writing very impressive, and also tempting; it might be fun to try to write like this, to spin out dreams and visions without worrying over whether anything makes sense, to let the sound of the words guide my mind rather than the dictates of the story. But, ultimately, I find books like this very hard to read. I finished The King of Elfland's Daughter mainly because it is a classic near the roots of modern fantasy, and The Labyrinth only because I had already decided to write this post.

I want the books I read to have stories, and characters. I want them to make sense. I have never been tempted by vision, in the form of drugs or any other way. I prefer to see clearly. I wonder if this is a limitation. Are there, perhaps, truths that I cannot see because I am so wedded to the mundane, too earthbound to hear the call of the woodpecker who would be my spirit guide?

Lord Dunsany was a friend of W.B. Yeats, whose poetry I love but whose philosophy sounds to me like gibberish. Thinking over these two books, I have a sense that their language is more suited to short poems than to novels. That way, the way of the quick insight and the tremor of feeling, they can hint at meaning, can seize us for a moment from this world. Stretched out to 180 pages, they cease to charm or  to summon, and their lack of any truth to tell us beyond the hints of another world begins to drag and grate.

Monday, June 16, 2025

LLMs as Reading Assistants

Bill Wakik in the NY Times:

Like most people who work with words for a living, I’ve watched the rise of large-language models with a combination of fascination and horror, and it makes my skin crawl to imagine one of them writing on my behalf. But there is, I confess, something seductive about the idea of letting A.I. read for me — considering how cruelly the internet-era explosion of digitized text now mocks nonfiction writers with access to more voluminous sources on any given subject than we can possibly process. This is true not just of present-day subjects but past ones as well: Any history buff knows that a few hours of searching online, amid the tens of millions of books digitized by Google, the endless trove of academic papers available on JSTOR, the newspaper databases that let you keyword-search hundreds of publications on any given day in history, can cough up months’ or even years’ worth of reading material. It’s impossible to read it all, but once you know it exists, it feels irresponsible not to read it.

What if you could entrust most of that reading to someone else … or something else? As A.I. becomes more capable of parsing large data sets, it seems inevitable that historians and other nonfiction writers will turn to it for assistance; in fact, as I discovered in surveying a wide variety of historians over the last few months, experiments with it are already far more common than I expected. But it also seems inevitable that this power to help search and synthesize historical texts will change the kinds of history books that are written. If history, per the adage, is written by the winners, then it’s not premature to wonder how the winners of the A.I. race might soon shape the stories that historians tell about the past.

Maybe I'll start my retirement by trying this to jumpstart my long-imagined book on poison in history. I always imagined I would have to team with a chemist who understood that side, but maybe I could get an AI to do it for me.

Sunday, June 8, 2025

Logorrhea in the Substack Era

I often say here that despite all its problems, the internet makes it possible for all of us to write up our thoughts and post them online where somebody might read them. And that's great! But the shift of writing from edited magazines to personal blogs and sites like Substack and Medium has created a new set of problems, starting with too many people don't know when to stop.

Young internet writers have never faced the editorial discipline imposed by print. They have never been told, "You have twelve column inches, make it fit." Nobody has ever said to them, "This is good, cut it in half." So their essays grow to a thousand words, two thousand words, sometimes even five thousand words. Yes, some topics are complex and take space to expound. Your opinion of the latest political blow-up is not one of those complex topics.

Complete amateurs are often even worse. Scott Siskind has for years been running a book review contest, and I find the length of these pieces downright bewildering: you expect me to read that? The latest version is the "Non-Book Review Contest," and people have reviewed stuff like films and games and even the Watergate scandal. I looked at about ten of these yesterday and not one of them was less than a thousand words long. Sorry, I don't have time for that.

There may not be anyone else forcing you to keep your writing concise, but that is not an excuse to bloviate ad infinitum. It means you should discipline yourself.

Tuesday, April 1, 2025

The Decline of the Book, and What Might Replace it.

Interesting musings from Sam Kahn about the decline of the book as a form, and what might replace it. After referencing the various doomsters who say that today's college students are functionally illiterate and so on, he notes that while books may be in trouble, "writing is undergoing a renaissance."

But if print can survive the flood — through articles, short-form writing, etc — books may still find themselves a casualty. In part, what the doomsaying articles are saying about students is not necessarily that they can’t read but that they can’t read long-form work. And to some extent the kids may have a point. It is a crowded marketplace out there; the more time you spend with one person means time taken away from others. And, by the same token, if so many people are so adept at saying what they have to say in short-form writing, why the need for a doorstop? Part of what the kids may be intuiting is that a book needs to be of a certain length in order to justify the cost of the binding — and writers writing books tend, even at the conceptual level, to pad out, trying in their minds to be worthy of the majesty in the implicit idea of a book. But readers’ behavior in the digital era is very different. They are not looking to fill out a train ride or long winter’s evening with a book. They are reading looking for an idea, for something interesting, and what that implies is that writers can use readers’ attention spans, rather than the imagined length of a book, in order to give shape to their ideas. A text should be as long as it takes to express the idea.

I agree with this completely. The world is full of books that should have been articles or short stories, padded out to 250 pages because that is what the publishing world requires. Even writers as well known as Kazuo Ishiguro do this, turning interesting little ideas into bloated "books."

What I would expect that means in the realm of serious writing is, over the next years, a good deal of structural innovation in text. Even in a domain like biography or history, where the book seems especially sturdy as a form, I notice writers chafing under its inherent limits. Why should biographers have to devote the precious real estate at the beginning of their book to discussing their subject’s grandparents while the subject’s main accomplishments often come somewhere towards the end when reader and writer are both exhausted? The ‘archipelago’ may be a more simpatico structure for history than the straight line. One can only imagine how much smoother poor Robert Caro’s life would have been if he could have started with the presidency of his subject as opposed to spending forty years chasing down the truth of Lyndon Johnson’s student council experiences and then waiting until his 80s to write down the meat of his project. In fiction, I would imagine writers gravitating towards the novella (an excellent form that fell into disuse because it didn’t quite fit the exigencies of the publishing industry) and maybe on the more innovative, ambitious side we can imagine writers using the resources of the web to produce sprawling fictive worlds that don’t necessarily have to be connected by a throughline.

Reading this I imagined turning my old gaming world into a sort of hypertext story in which you could switch between cities and region and follow different characters and see both how the main events transpire or are reflected in every region, plus the local concerns of each. Imagine this for LOTR, an edifice within which the sort of nerds who write posts about "what was really happening in Umbar" can go read about it. George R.R. Martin might have loved this.

I like reading novels; it is a form I enjoy. I have also enjoyed writing them. But I do suspect that they are not the future of storytelling. I suspect that while novels will endure for a long time, writing may evolve in diverse directions. Many stories will be shorter. Writers with longer stories to tell may split them into pieces; this already happens in collections of linked short stories, and we may get more of it. I can also imagine stories told like The Princess Bride, with the "good parts" narrated in detail and much of the rest just sketched out in little text or video interludes.

After saying a bit about how powerful he has found the experience of writing novels, Kahn notes that what writers find meaningful for themselves is not necessarily what the world wants:

I would say the intelligent thing to do here is is to try to change up our values system for the digital age. Good writing can be done in short chunks — articles, short stories, novellas, whatever — just as good running can be done at any length. Novels should probably be treated as what they are — something like a marathon, a sort of circus freak event for those who for some reason or other are determined to pursue that — as opposed to what they are now, which is like a badge of entry for writing. In other words, novels seem singularly unsuited to the digital era. That’s unfortunate but should be clarifying for those who write novels: that they are doing it more as a spiritual exercise than to reach an audience.

For now, this is still not true; there are still many millions of novel readers out there. But we are aging, and I consider it an open question how many of us there will be in future generations. Storytelling will always be with us, but the novel is an invention of certain cultures, and most of humanity always did perfectly well without it. 

Monday, March 24, 2025

Michael Derrick Hudson, Yi-Fen Chou, and the Problem of Authenticity

Michael Derrick Hudson is a very minor American poet. In 2015 he had 15 minutes in the spotlight because of an interesting little exercise in ethnic inauthenticity.

Wikipedia has the story:

Hudson wrote a poem titled "The Bees, the Flowers, Jesus, Ancient Tigers, Poseidon, Adam and Eve" and claimed to have submitted it to 40 literary magazines under his own name. Hudson also claimed that after nine rejections, it was accepted for publication in Fall 2014 with four other poems by "Yi-Fen Chou" by Prairie Schooner, a literary journal affiliated with the University of Nebraska. . . . Hudson used the name of a Taiwanese immigrant who attended the same high school as him and had been working as a nuclear engineer in Chicago at the time of publication.

Hudson's poem, under the pseudonym, was considered for inclusion in the 2015 edition of the Best American Poetry anthology series to be guest-edited by Native American poet and novelist Sherman Alexie. Alexie selected the poem among the 75 poems published in the anthology. 

But this is where my favorite part starts. Because when he learned about the selection, Hudson immediately wrote to Alexie and told him about his use of the pseudonym. If you know anything about Sherman Alexie, you will not be surprised to learn that rather than changing his mind about the poem, he published it together with his correspondence with Hudson, making the whole thing public.

Sherman Alexie is an American Indian (with multiple tribal ancestries) whose writing is distinguished – in my mind, anyway – by a heavily ironic attitude toward all American pieties, including all Native American pieties. He is particularly effective when he mocks white stereotypes about Indians and Indian pieties about themselves at the same time, as in "How to Write to Great American Indian Novel." Even when he writes what seems like an angry demand for Native restoration, as in "The Powwow at the End of the World," you have a sense that he feels ironically detached from this as well.

Wikipedia again:

In a blog post Alexie discussed his criteria in selecting poems, stating that he would "carefully look for great poems by women and people of color" who had been "underrepresented in the past," After learning of Hudson's pseudonym, Alexie admitted that he "paid more initial attention to his poem because of my perception and misperception of the poet's identity." Instead of removing the poem from the anthology, which he stated would primarily be "because of my own sense of embarrassment", Alexie said he kept it rather than to expose himself to a lie that "would have cast doubt on every poem I have chosen for BAP. It would have implied that I chose poems based only on identity." He emphasized that "In the end, I chose each poem in the anthology because I love it. And to deny my love for any of them is to deny my love for all of them."

Not to set my own literary taste above Sherman Alexie's, but I think the poem is terrible. Anyway.

The predictable sort of people said predictable things about this. NPR found a self-proclaimed spokeman for Asian American writers who said this:

At the Asian American Writers' Workshop, if you are a person of color, we believe you have a story only you can tell. But if you're a person of color, you may have at one point felt that you were not normal. You aren't white.

And you all know how I feel about this. First, the utter lack of basic empathy; if there are living people who have never felt like they were "not normal," then I have never met them. Oh, you white people, you never suffer or feel you don't belong. Blech.

But, really, who cares?

Sherman Alexie isn't an interesting writer because he is an Indian; he's just interesting. I radically do not care about the ethnicity of the people whose books I read. I thought Invisible Man was tedious, but I love Notes of a Native Son and Song of Solomon, because James Baldwin and Toni Morrison are straight out great writers. 

It makes no difference at all to me who wrote "The Bees," I just don't like it.

I do not believe in ethnic writing. Modern poetry, novels, and memoirs are highly stylized creations that make sense only within a particular literary tradition that mainly comes from England and France. When you join that tradition and learn to write according to its rules, you pretty much leave the rest of your identity behind. If you are Toni Morrison or Gabriel Garcia Marquez, you can use your awesome powers to bend the tradition a little toward different ways of speaking and thinking, producing something that is both beautiful and a little strange. But I mean it when I say "a little." 

Saturday, January 18, 2025

The Almost Unbelievable Weirdness of Life with Alice Munro

When Alice Munro won the Nobel Prize in 2013, the committe wrote,

You, dear Alice Munro, like few others, have come close to solving the greatest mystery of them all: the human heart.

Munro became a famous author because of her relentless interrogation of emotion, and especially the ambivalence of emotion. In her stories there is no pure feeling. Every emotion is undercut by contrary emotions, every pleasant moment shadowed by dark thoughts. Munro was often considered a sort of hero by other female writers, and some felt that Munro's Nobel was a validation of their own work, because their obsessions were the same as Munro's. One said,

We had won something, too, because of the generosity, the frank respect for the smallest and largest aspects of the female experience that she bequeathed to us all in her stories.

To Munro's biggest admirers, she captured better than any other writer the experience of women's lives in our age. Or, at least, sensitive, educated, middle-class women's lives. Which are, an outsider must suppose, all on fire with emotional ambivalence and weighed down with the toll it takes. Motherhood, in particular, came often into the range of Munro's artillery, and her mothers always resent their children nearly as much as they love them. She was equally ambivalent about romance. The men in her stories always pose a threat to the women, sometimes a direct physical threat but more often a more metaphorical one, to their emotional independence or their sense that they are capable of living alone. A man who does not pose some kind of emotional threat, it seems, was of no interest to Munro or the fictional women she imagined. Other fodder included the attitudes of children toward their parents at every stage of their lives, of friends toward each other, of people toward their home towns, and so on.

Lots of people wrote about Munro's family when the news broke last year that she had stuck with her second husband, Gerry, after learning that he abused her younger daughter, Andrea. Those stories were all rushed and vague and not very interesting, and I mostly ignored them. But now Rachel Aviv has written (for The New Yorker) a chronicle of Alice Munro's family life that is among the most amazing things I have ever read. The Munro clan, it turns out, were a whole tribe of over-thinking, over-analyzing people who wrote and talked constantly about their weird family. Aviv also makes plain how much of Munro's fiction was drawn directly from her family life. Between the stories, the letters, the interviews, and everything else we have a breathtakingly detailed record of their lives.

To me the strangest part of the story is that Munro's children and husbands all understood perfectly well that she constantly translated her every experience to fiction. Anything they said or did was likely to end up in a story, sometimes altered but often not changed at all. As one of the daughters put in (in one of those many interviews), her mother was "putting every difficulty in her life through that machine that turned things into gold." Once she read her daughter's private journal and put those thoughts into a character's head – typical of the family that the daughter said, in another interview, "I thought my version was better." One of the children once described being on a family outing and noticing that her mother's lips were moving as she composed a story about their day.

When Alice introduced Gerry to the family, she noticed that her daughters responded differently to him. Of course, she put this in a story; "Roberta" stands in for Alice and "George" for Gerry:

Although Roberta's older daughter can't stand George, the younger one – "an acrobat, a parodist, an optimist, a disturber" – seems to have a special connection with him. "I know how be jokey," she says. "I understand him." Roberta shivers at this remark: "It seems to her that she has instructed them, by example, that he is to be accommodated, his silences respected, his joking responded to. What if he should turn, within this safety, and deal them a memorable blow? If it happened, it would be she who would have betrayed them."

This was years before Gerry abused that younger daughter. Did Alice see it all unfolding in those first weeks? It would not surprise me that she at least imagined it, nor that if she had that would not have led her to renounce Gerry.

When she discovered that her husband had sexually abused her daughter, she did not throw him out; instead, she used the incident and the emotions it inspired as fodder for at least three stories:

When Andrea was about eleven, Alice told Jenny that she was troubled by an interaction she'd witnessed between Gerry and Andrea in the back yard. "She said that Gerry was using a hose, like he was pissing, and Andrea was laughing, and she would grab the hose and do it, too," Jenny said. "And it just seemed off. It seemed wrong."

In "Soon," published more than twenty years later, a woman named Juliet dreams that, when she looks out her window, she sees her father and a girl playing with a hose. She can see that her father "held the hose low, in front of his body, and that it was only the nozzle of it that he turned back and forth. The dream was suffused with a sticky horror. Not the kind of horror that jostles its shapes outside your skin, but the kind the curls through the narrowest paggages of your blood."

So Munro hoarded that troubling memory and, when she fully understood what was behind it, put it through the story machine. Around this time she conceived the notion that Gerry was responsible for an unsolved rape/murder case in their town, and wrote a story in which a man very much like her husband commits the killing. (The police say he can't have done it.)

(The abuse of Andrea, as recounted by Aviv, involved lots of inappropriate play, some exposure, and a bit of masturbation, but no penetration; when Andrea reported it to the police, years later, and Gerry confessed, the courts did not take it very seriously and Gerry got two years' probation. I didn't find it shocking. But of course one of the things about child abuse is that the impact on the child varies hugely and many have been undone by acts well short of rape.)

The tabloid version of these events is that Alice "stood with" her husband rather than her daughter. That seems to be how Andrea sees it. But others who knew Alice cut her some slack because by that point she was already ill and losing her memory. She and Gerry depended on each other for practical support. They also came from the generation that gave us "sexual liberation"; it was not at all uncommon in the 60s for people to defend sex between adults and children as part of that liberation. Between this moral confusion and the constant psychologizing, it seems to have been hard for Alice to draw any hard lines through the world. She started from the assumption that all men are dangerous, all commitments perilous, and those closest to us who hurt us the most; from that position, how does one decide which acts are unforgivable? Munro's characters struggle over whether to forgive their parents for how they were brought up; she was regularly beaten by her own father, and she wrote a story about a girl who is beaten by her father but then lured back out of her room by her mother offering cookies. Did she forgive her parents? I can't say. All I can say is that she put those beatings into the machine, and out came a story.

In one of her last stories, Munro wrote.

We say of some things that they can't be forgiven, or that we will never forgive ourselves. But we do — we do it all the time.

Monday, November 25, 2024

Cormac McCarthy's 17-Year-Old Muse

Lots of chatter in literary circles about a story by Vincenzo Barney in Vanity Fair. The story is about Augusta Britt, who was novelist Cormac McCarthy's lover when she was 17 to 18 and his friend for years afterward. According to her story, they met at a hotel pool because Britt was using the shower; she felt unsafe showering in the foster home where she was living at the time. They liked each other immediately and soon McCarthy was having one of his low-life friends doctor Britt's birth certificate so she could get a visa and they could run off to Mexico together:

He was 43, she was 17. The image is startling, possibly illegal. At the very least, it raises questions about inappropriate power dynamics and the specter of premeditated grooming. But not to Britt—who had suffered unspeakable violence at the hands of many men in her young life—then or now.

“I can’t imagine, after the childhood I had, making love for the first time with anyone but a man, anyone but Cormac. It all felt right. It felt good,” she tells me. “I loved him. He was my safety. I really feel that if I had not met him, I would have died young. What I had trouble with came later. When he started writing about me.”

Not only does Britt come across as mature in her recollection, she actually had the sense to break off the sexual part of her relationships with McCarthy a few years later, showing that she was much wiser than the two grown women who married him. I mean, for anyone who knows anything about McCarthy, hearing that he once ran off to Mexico with an underage girl will elicit only a shrug.

Even before this supposed bombshell landed, McCarthy's known catalog of issues includes years lost to heavy drinking, extended periods of extreme, intentional poverty, carrying his favorite light bulb around with him from motel to motel because he couldn't write without it, giving money to Republicans and lying about it to his liberal friends, forging documents, buying stolen property, two brief marriages to women who later hated him, estrangement from his son, and writing Blood Meridien, described by the NY Times as "the most violent book since the Iliad."

Count me unsurprised about the 17-year-old lover.

More interesting is Barney's claim that Britt was McCarthy's "muse" and the inspiration for numerous characters in his novels. She certainly thought so; she told Barney that she drew back from her relationship with McCarthy because he kept putting characters based on her into his books and then killing them off. The NY Times put this question to several self-proclaimed experts on McCarthy's work, and they were unimpressed. One said,

From my standpoint, there are some real stretchers in there, It doesn't really sound true to the way that an artist’s imagination works. More than likely, a major character is a pastiche of people.

Which is certainly true for me, but, with a madman like McCarthy you can never tell. 

What I want to say is this: McCarthy was a deeply troubled, dubiously sane person whose books are fascinating partly because they are written from a point of view outside normal bourgeois existence. If you value work like that, you need to overlook a lot of sins, because all the writers I can think of who fit that description had overflowing closets of them.

Sunday, October 27, 2024

Susannah Clarke and the Strangeness of Creation

One thing all the world's cultures agree on is that the best poets are crazy. In many languages, the words for inspiration and madness are the same, or at least closely related. To be highly creative requires being in some sense different from other people, and our experience shows that being different in that sense often correlates with being different in many other senses as well.

In the NY Times this week, Alexandra Alter has a very interesting profile of Susannah Clarke. Clarke gets my vote for the most creative fantasy writer of the 21st century, and, yep, she's pretty crazy.

Clarke burst onto the scene with Jonathan Strange and Mr. Norrell (2004), which sold 4 million copies and was widely proclaimed a truly great work of fantasy. I was ambivalent. On the one hand, it is full of wonders; one of my favorite bits describes ancient fairy roads that still run across northern England, now mostly abandoned and choked with trees and brush, never mentioned by the people who live nearby. The British tradition includes many stories about people who join fairy balls and don't return for a century; Clarke describes such a ball, conveying both the beauty of it and the unspeakable weariness of a party that never ends. I devoured these details, and transcribed half a dozen passages into my commonplace book. On the other hand, I disliked the plot and found one of the two main characters (Norrell) to be one of the most irritating people in the history of fiction. So I didn't love it like many others did, but I did recognize it as a remarkable achievement.

From the moment it appeared there were rumors that Clarke was working on a sequel, but somehow it never emerged. Most fans only learned years later what had happened:

Not long after the novel’s release, Clarke and her husband were having dinner with friends near their home in Derbyshire, England. In the middle of the meal, she felt nauseated and wobbly, got up from the table, and collapsed.

In the years that followed, she struggled to write. Her symptoms — migraines, exhaustion, sensitivity to light and fogginess — made working for sustained periods impossible. She wrote scattered fragments that never cohered; sometimes she couldn’t finish a single sentence. At a low point, she was bed-bound and mired in depression.

Clarke stopped thinking of herself as a writer.

“It became a problem of just not believing that I could write anymore. I just didn’t think it was possible,” said Clarke, who was later diagnosed with chronic fatigue syndrome. “I just thought of myself as this ill woman.”

Clarke eventually recovered enough to write seriously again, but she abandoned her first world and wrote something completely different instead. Piranesi (2020) is the story of a man trapped in a labyrinth with no end. Part of what traps him is the weak state of his own memory, his inability to recall who he used to be and how he became what he is. I loved it, read it straight through from beginning to end. But when you think about it, the story transparently springs from Clarke's experience with her mysterious illness, and Alter confirms this:

The philosophical puzzle at the story’s center reflected some of Clarke’s preoccupations: The narrator, Piranesi, lives largely alone with seabirds and stone figures, but instead of feeling lost or lonely, he sees the halls as a place of infinite wonders.

Clarke had nearly finished the novel before she saw the parallels between the fictional labyrinth and her illness.

“I was subliminally aware that I was writing about someone in a fairly isolated position, but who was able to find a huge amount of meaning in that,” she said.

Which is an amazing example of making lemonade from lemons. It also connects back to what may the second oldest trope about art, that it has roots in pain and suffering: the sadness of life is the joy of art. If Susannah Clarke's illness birthed Piranesi, doesn't that raise the question of whether her suffering was ultimately a bad thing?

Should artists have to suffer so the rest of us can read books like Piranesi, or enjoy paintings like the ones Van Gogh did in Arles?

But I want to get even broader than that. Alter finds that Clarke seems to be recovering from her illness, but she remains a strange person:

In her lap she held a stuffed pig, with a stuffed fox nestled beside her; both creatures play a role in “The Wood at Midwinter.” She likes to hold her stuffed animals when she’s working, to help her think, and as a talisman “to ward off, I don’t know what, something or other.”

“Some people do things as a child, and then when they grow up, they put off childish things,” she said. “I’m not very good at that.”

Glancing down at the pig, she added, “I don’t really see the point of growing up.”

Which gets us back to where we started. What if it is true that to be a great artist one must be crazy, or at least strange? 

Or, to get more personal, have I generally failed as a fantasy writer because I am simply too sane, too happy, too rooted in this world?

Clarke's troubles don't seem to have broken her spirit, and she is forging ahead with new plans:

Along with the new novel set in the world of “Strange and Norrell,” Clarke is also working on another book, set partly during the Industrial Revolution in 1840s Bradford, where she lived as a child. Clarke described it as an “anti-horror” novel, with a fantastical premise that reflects her belief that something sublime is hidden within the mundane.

Clarke is still drawn to the idea of magic. For her, magic isn’t something otherworldly and distant, it’s “the idea of something elemental, something transcendent” that exists all around us.

“I feel very strongly that if you could see the world as it really is, if you could get further beyond your ego and the sorts of ways in which we trap ourselves, if you could just see the world beyond, every moment would be miraculous,” she said.

She’s come to believe that the limitations imposed by her illness haven’t made her any less of a writer. She’s a different writer now, but no less ambitious or inventive.

“Somebody said to me, pray the way you can and not the way you think you’re supposed to, and I think it’s the same for writing: Write the way you can and not the way you think you’re supposed to,” Clarke said. “I’ve only ever had any success by doing my own weird thing, following the path that’s in front of me.”

Tuesday, September 10, 2024

The Mothership

     Ben was popping off about something, so I put other stuff out of my mind and listened in. "Man, you can't believe this thing. It will say anything."
     Somebody said, "I thought they shut it down for telling people how to stage anthrax attacks."
     "They tried, but they couldn't. The Feds tried to block it, to pull the plug, whatever. An hour later it's back. Nobody knows where it is or who's behind it or anything."
     "Really?"
     "I'll show you," Ben said, and pulled out his phone. Twenty second later he said, "Ok, what should I ask it?"
     "Ask it how I can get laid." That was Josh.
     People were laughing, but Ben was typing. Ten seconds later he was reading from the screen. "Josh Simmons should consider girls from his high school. Use social media to contact them. At least two would be interested."
     There was laughter, and somebody said, "Talk about bs." But I noticed that Josh wasn't laughing. He seemed to be thinking it over, like it really might be a good idea and he was trying to figure out who the two were.
     At hour later I was home, staring at my monitor. I entered the string of numbers Ben had given me and after a few second the screen filled with a green-tinted image of a huge flying saucer. Wrapping around its form were the letters MOTHERSHIP AI. A small box for text appeared under the saucer. I typed, "Who killed JFK?"
     A minute later a long article landed on my screen that started, President John F. Kennedy was killed by Lee Harvey Oswald. Oswald was encouraged to carry out this plan by two Florida-based mobsters named . . . It went on and on. The mobsters had been put up to it by a cabal of three dissident CIA officers. It gave dates and places of meetings, everything.
     I tried, "Why did Valdimir Putin think he could easily conquer Ukraine?" It thought for a minute, then gave me another long article:
     The Russian FSB assured President Putin that Kyiv would fall easily because of the number of intelligence assets they had within the Ukrainian government and military. These included the head of President Zelenskyy's bodyguards and two of his close aides, as well as commanders in the National Guard and the Kyiv police. However, the Russians were not aware that they had been thoroughly penetrated by American intelligence, and many of their own top people were on the US payroll. Those agents kept the US well informed about Russian moves and provided the CIA with the names of many key Russian assets. Some of these were removed, others turned, becoming double agents. These sources also provided the US with the complete Russian plan of battle for the attack, allowing it to be blunted. . . .
     It gave me more names, more dates, more details. I tried a bunch of other questions: how to create a deadly poison gas at home, how to hack into my ex-girlfriend's email, how to cheat at Civilization VI. It gave me detailed instructions for everything. At first it was cool, but then it started to worry me. Where was all this coming from? Was it real, or made up? People said the instructions it gave out for the anthrax attacks really worked, but did it really know who killed JFK? If so, how? And who was behind it?
     I typed, "Who owns Mothership AI?" It responded, I'm sorry, John, I cannot find any information on that subject. Huh.
     I tried, "Is Mothership AI owned by the Chinese government?"
     I'm sorry, John, I cannot find any indication that the Chinese government is involved in Mothership AI.
     I thought some more, and weird ideas starting floating into my head. I felt the solid floor dissolving underneath my feet. I typed, "Is Mothership AI controlled by aliens?"
     Nothing happened. I typed it again: Is Mothership AI controlled by aliens?
     IS MOTHERSHIP AI CONTROLLED BY ALIENS???
     The screen went dark.

Thursday, July 25, 2024

How to Get Published in Security Studies or History

Francis J. Gavin takes on academic writing. Security Studies:

For the security studies crowd, academic writing was too often crafted like a terse but bold legal brief, with the key points presented in outline form, the argument simple, sharp, and often combative. “The long-held conventional wisdom about subject X, offered by the leading and misguided school of thought/methodology/paradigm, is embarrassingly wrong. My powerful, parsimonious theory upends what we thought we knew about war/conflict/street cleaning/circus clown management. The article will proceed in three parts. The first will demonstrate why the collective brainpower of the competing paradigm/methodology has been so breathtakingly mistaken for so long. Part two will lay out my all-powerful theory, mention canonical strawman texts that are oft cited but never read, while burying key caveats in long, discursive footnotes. Part three will provide an overly simplistic historical sketch based on a large data set that aggregates a disparate array of events that have little to do with each other but will be fitted neatly into a 2×2 matrix. I will conclude by emphasizing how embracing my one-size-fits-all conceptual lens and powerful, novel methodology/theory will transform the discipline and lead to smarter policy, less stupidity, and brighter teeth and fresher breath.” 

And History:

The style of writing in scholarly history journals was much different. Articles often started with an obscure, strange story from the past that that would “illuminate a puzzle” and “expose lacunae” by exploring a previously unstudied event, person, or group of people, phenomena, or household commodity that no one had ever bothered to investigate before. “The fact that all the bakers in this small, 17th-century French village were left-handed and subsisted only on salted beet roots may seem curious, even inexplicable to us today, but in truth it revealed something important about the powerful if hidden hegemonic sociocultural, socioeconomic, and neo-colonial structures that formed the foundation of the early modern world.” The article would then highlight a previously undiscovered archive, a “treasure trove” of diaries or municipal records, or uncollected trash that “sheds new light” even as it “problematizes, decenters, and complicates” our understanding of key parts of the world. It would conclude by saying that the history we thought we knew was more complex, more nuanced, and began much earlier than we once thought, while declaring that more research — indeed, a whole subfield — should be devoted to explaining this once-obscure issue or group.

Friday, June 7, 2024

Knausgaard on Fatherhood and Limits

The most interesting part of this John Baskin essay on fatherhood is his summary of what Knausgaard said on the subject in My Struggle:

Knausgaard is desperate to avoid being like his father, whose arbitrary temper and alcoholism had terrified him for most of his childhood, but, having seen only this defective model up close, he is unsure what it would take to improve upon it. “Being a father is a commitment,” he hazards. “But what are you committing yourself to?”

Knausgaard’s conclusion is that a true father is committed to being present for his family, which means above all that he abides by the “limit” that having a family places on him. “You have to be at your post; you have to be at home,” he writes. “Yearnings and aspirations are irreconcilable with this because what you hunger for is limitless and what home does is set limits. A father without limits is no father, but a man with children. A man without limits is a child, that is, the eternal son.”

Although the father-son dichotomy comes late in My Struggle, it can be read back into the long conflict that the narrator of the novels has undergone between his desire to become a writer, which is tied up with all his inner dreams and yearnings for what he calls the “unlimited”—and therefore with his status as a son—and his desire to become a father, which is to say a good man as his society and his wife Linda define it. Yet in contrast to the crisis-of-men shows, whose drama was predicated on their protagonists remaining in a state of immaturity and indecision, Knausgaard makes a choice. At the end of Book Six, he proclaims that he is no longer a son, and therefore no longer a writer. He chooses the role of father over the role of artist. In a sense, he suggests that this is the only defensible choice, that all the rest is egotism, dissipation and role-playing. But having made this choice, he leaves behind him a work of art that documents voluminously, and with a rare honesty, the full spectrum of its consequences. For all he loathes the repetitive tasks of childcare, not to mention the Dantean trials of endurance known as kids’ birthday parties, Knausgaard affirms that his involvement in the everyday lives of his children allows him a “closeness” that never existed between his father and him. He also enumerates, often at length, the cost of this commitment—not only to him as an artist but also to him as a man. “When I pushed the stroller all over town and spent my days taking care of my child,” he writes in Book Two:

“It was not the case that I was adding something to my life, that it became richer as a result, on the contrary, something was removed from it, part of myself, the bit relating to masculinity. It was not my intellect that made this clear to me, because my intellect knew I was doing this for a good reason, namely that Linda and I would be on an equal footing with regard to our child, but rather my emotions, which filled me with desperation whenever I squeezed myself into a mold that was so small and so constricted that I could no longer move.”

One of the reasons I read so much of Knausgaard's monstrous book was that I have also felt keenly the dichotomy between a life embedded in a family and the search for the soaring freedom that Knausgaard called “limitless.”

I have found, though, that no kind of life is really limitless, and that soaring moments are few and brief in human existence. If I had not chosen to raise children I would have written more books and seen more of the world. But I have done enough writing to understand that the pounding out of words and sentences rarely soars into the creative planes like we wish and imagine that it might. I have had moments of wonder while traveling the world, but not many, and I think that the more one travels, the more one habituates to the new and the harder it is to recapture the feeling of stepping into your first gothic cathedral or climbing your first mountain.

The seek the limitless, whether in art, sex, travel, or freedom, is to chase phantoms. I think it is best done in small expeditions from a secure base in the limited world of family, home, and work.

Saturday, April 13, 2024

A Dreamland

A writing experiment, my response to stories like Lovecraft's "The Dream-Quest of Unknown Kadath" and E.T.A. Hoffmann's "The Golden Pot.".

The old professor welcomed me to his office with a formal politeness that did not hide his clear desire to be left alone. He lifted a stack of files off the chair before his desk, somehow finding another place for them in the fortress of books that surrounded him. I introduced myself and he said that he had heard of me as a formidable student. Pleasantries behind us, I pulled out the stack of papers I had brought and laid them in front of him. They were interlibrary loan slips from four different universities, signed with four different names but all in the same handwriting, and in a range of languages that I knew only he of all the scholars in Boston had mastered.

“So,” he said, “you have found me out. Why have you done this? What business is it of yours how a retired scholar spends his time?”

I said, “I think I understand what you are doing, but I need to know.”

He sighed and then looked at me for an uncomfortable time. His expression shifted from annoyance to something I eventually recognized as pity.

He said, “I suppose I must. If you have already guessed, then you know it is the tradition for all sufferers from this affliction to pass on their stories before they leave this earth. The great book in which I had planned to reveal all will never be written, so you will have to serve as the conduit of my knowledge.”

He leaned back, crossed his hands over his stomach, and stared at the ceiling. Then he began to speak. He never once looked at me during the whole long tale. His eyes were focused elsewhere.


When I was eighteen years old, I fell severely ill. Some kind of fever, they tell me. For two weeks I lay on death’s door, hardly breathing, eating nothing, although sometimes they were able to make my limp body drink a little water.

Then my body recovered. My fever cooled, my breathing steadied, the pallor of death left my skin. Yet I did not awaken. I still lay in my bed, unreachable. The doctor feared my brain had been damaged. My grandmother summoned an exorcist who had learned his craft in the old country, sneaking him in while my mother slept. He examined me but refused to do the rite. He said, my grandmother told me on her own deathbed, “He is not possessed. He has gone away.”

I did not awaken until another month had passed. My younger sister injured herself and cried out in pain, and I ran to her and found her burned by hot oil. I was alert, coherent, able to run water on her wounds and then call the ambulance when my mother was too hysterical to speak in English.

People called it a miracle, and they held a special mass for my recovery. All the old women in the neighborhood came. Everyone assumed that I had been unconscious and remembered nothing, so they asked me no questions and I did not have to lie. But the old exorcist was right. I had gone away. 

He paused again then, for several minutes. When he resumed, he said,

It is different for everyone. The monk Gregorius journeyed to a fortress that guarded the lands of light against the forces of darkness, a place where gold-helmed heroes did endless battle against armies of demons and the great fell beasts that served them. He was their physician, healing their wounds with outpourings of love. 

The scholar al Halam dreamed of a long flight on the back of a gigantic bird and woke to find himself in a vast and beautiful city full of learned, cultivated men. There he frequented coffee houses and pleasure gardens where he debated philosophy with all the sages of past times. Their thoughts, he said, soared to heaven with their words. When they tired of debate, they listened to music, watched splendid dancers, ate of delicacies that took the physical body to the same heights as their learning. 

For me, it was a garden.

I woke in a pleasant glade surrounded by leaves of a hundred shapes and shades of green, on a bed of moss dotted with tiny flowers. After I sat up, I realized I was thirsty. I heard water trickling, and brushing aside a branch I found the stone head of some grotesque creature with a gentle stream of water flowing from his mouth. After I had drunk my fill, I explored and found that this head was one piece of a crumbling stone fountain. Pushing through the bushes I found other faces, other bits of strange and marvelous sculpture.

I was drawn on. I never questioned where I was or how I had come there. In that place there are no doubts, no nagging questions. One simply goes on from one delight to the next. When I felt hungry, I found a grove of bushes hung with red and purple berries sweeter than a mother’s love. When I wanted to rest, I found more beds of moss softer than cotton, or carved stones that made splendid seats.

In that place there is no north or south. One simply moves toward what one wants and finds it. When I felt lonely and wanted company, I turned in that direction. I found a grove of vast trees with wide spaces between them where two dozen young people were dancing. They welcomed me among them, for of course they were lacking one man, and I danced and ate and laughed with them.

When I wished to be alone again I turned in a different direction and resumed exploring the vast overgrown ruin. In it I found a colony of scarlet birds nesting in the nooks of a vast relief carving depicting some ancient battle. They spoke to me in musical tones that I could understand, and they told me about the joys of flight and the secrets of the trees. Later on I felt an urge for something different, so I climbed toward the mountains visible in the distance. I entered a grove of dark hemlocks where the rocks took eerie shapes, and voices whispered in the breeze. I reached a great rock shot through with veins of crystal and climbed atop it. Looking out over the valley I saw that the garden went on to the horizon, cut by gleaming rivers and dotted with striking towers. In the distance I saw a great storm looming up. As it came toward me the air cooled and the wind shook the hemlock branches. The voices did not now whisper, but shouted curses and warnings. Lightning burst forth and thunder boomed, and in the air I saw two great armies battling. The fury of their fight was astonishing, and when the storm reached me the rain and wind had the same fury.

But then it passed, and the garden gleamed in the sun. As I stood on the rock, looking around me in wonder, a wolf came out of the trees. It came up to me gently and nudged me with its long snout, scratching the ground with its huge paws. When I looked into its eyes I understood that it was summoning me to follow. I leaped away with it, and together we ran through the forest and across the mountains, deer and rabbits and animals I could not name fleeing before us. We came to a secret valley where we joined the rest of his pack, and I played with wolf cubs and shared their meal of warm flesh.

When I turned from the wolves’ valley I felt a sudden desire to be at once back in the familiar garden around the crumbling fountain, and so I found a route that brought me back quickly and easily from a journey that had taken over a day.

So it went the whole time I was there. I was never sad or bored, but went on exploring and learning, making friends with animals of a dozen kinds. For company there were my new friends, who lived in a town that surrounded a plaza where an event of some kind was always taking place, dance or play or musical performance. Among them was a woman who took me as her lover. After one of our dances she grasped my hand and leapt into the air, and we flew as falcons to a splendid chamber in a high tower where we passed the night. 

You may be thinking that this was my dream, a boy’s dream so different from those of the monk and the scholar. And so it was. But consider that I was a boy, and not a bookish one. My passion was natural history, collecting insects and classifying snails. What did I know of paradise? I had read no stories of armies battling in the sky, knew nothing of ruined cities or the grotesque faces on ancient fountains. What did I know of love, who had never even kissed? And who ever had a dream so long, so consistent, so detailed? I believe the place I travelled to was real.

I believe the other worlds are vast, so vast that our earth is only a little corner of their vastness, and that is how all who journey there find places where their souls are at home.

I have spent the rest of my life struggling to return. All the work I have done, the languages I have learned, the studies I have undertaken, the travels to remote monasteries, all were part of my quest. Which has led nowhere. In all the years since then I have had only brief glimpses, mostly in dreams. This great career of mine, the books, the awards, they had meaning to me only as steps along a journey that I see now I will never complete. My colleagues often marveled at how long and hard I worked. But of course they could never understand what drove me.

He turned his eyes on me again and grew grimly serious. He said,

My body is failing, and soon I will go to my death. I tell you, with all my heart, do not do as I have done. Do not seek the path, for you will not find it. It is not in your power. It happens, or it does not; the door opens without your knocking, or it never opens at all. Find some other kind of life than the pathetic one I have lived. 

I left him then. His advice had been sincerely given, but I knew I would not follow it. For I had also been given a glimpse of paradise, and knew I would never rest until I either found my way back or died as he was dying, a sad old man amidst the piles of paper that were all that was left of his dream.

Monday, October 16, 2023

How about an MA in Magical Studies?

NY Times:

In the ancient city of Exeter, three women were hanged for practicing witchcraft in the late 17th century, the last of such executions in England. Now, merely a short walk from where the hangings occurred, the University of Exeter will offer a postgraduate degree in magic and occult science, which the school says is the first of its kind at a British university.

Prof. Emily Selove, the head of the new program and an associate professor in medieval Arabic literature, said the idea for the degree, which will be offered starting in September 2024, came out of the recent surge in interest in the history of witchcraft and a desire to create a space where research on magic could be studied across academic fields.

Coursework will include the study of Western dragons in lore, literature and art; archaeology theory; the depiction of women in the Middle Ages; the practice of deception and illusion; and the philosophy of psychedelics. Through the lenses of Jewish, Christian and Islamic traditions, lecturers will explore how magic has influenced society and science.

People are enrolling, says one British wiccan,

Not because they’re idiots and think it’s going to teach them how to wave a magic wand and do a spell. They’re people who have just a huge curiosity about the world and the way we perceive the seen and the unseen worlds.

But, I mean, if they're not going to teach us how to do it, what's the point? Seriously, I foresee a program not rigorous enough to satisfy grim academics like me and not woo enough to satisfy most of the people who might enroll. 

Let's consider, for example, "Western dragons in lore, literature and art," a subject once dear to my young heart. Dragons are not common in the western tradition until the late 19th century, and so far as I can tell they do not mean anything in particular. As I wrote here about the Roman magical tradition, what stands out to me most about the western lore of magic is its complete absence of any kind of theoretical framework beyond a vague notion of spiritual powers and a desire that emotions (hate, envy, desire) have a real impact on things that are. Dragons sometimes represent ill-gotten wealth – in some German witch trials, witnesses said they knew the accused had sold their souls for gain because they were seen riding in the air on dragons – but mainly they are just scary monsters for heroes to slay and be slain by and things for 14th-century manuscript illustrators to doodle in the margins.

The sad truth is that what comes down to us from the western lore of magic is, for the most part, neither particularly deep nor particularly interesting. There are a couple of fine fairy tales – East of the Sun and West of the Moon, The Twelve Dancing Princesses, The Yew Tree – but those were not recorded until the nineteenth century and so far as we can tell the people who told them did not understand the memories of ancient shamanism they encode. Yes, there are few hints that some medieval people had a practice based on ancient religious lore, but three-quarters of them are in one book, Carlo Ginzburg's The Night Battles. Otherwise the best books about witchcraft focus, not on the magical acts, but on the petty village rivalries and obscure hatreds acted out in the trials. 

To extract any kind of religion or philosophy from our magical lore requires a great act of imagination, spinning those hints into something which is not really there but which you can glimpse if you read by moonlight in the Ember Days. I think I understand something about Druidism, but I freely admit that the leap from the meager sources to the thinking behind them is half imaginative. And that is why I loaded what I know about our magical tradition into a novel (The Raven and the Crown) rather than a monograph. To me, the magical sources work best as springboards for the imagination of storytellers, whether that is Irish talesmen or J.R.R Tolkien. And that is why modern Wicca is only very loosely based on any kind of tradition, filled out with modern ecological sensibilities, feminism, and the Romantic cult of feeling. 

You could fill a course with facts about our old lore, I guess, but I think I could lay out everything I know about what they might mean in an hour. How one might turn that into an MA program I have no idea.

Saturday, September 30, 2023

Valerian the Fallen

Lactantius, On the Deaths of the Persecutors, c. 315 AD

Emperor Valerian, having been made prisoner by the Persians, lost not only that power which he had exercised without restraint, but also the liberty of which he had deprived others, and he wasted the remainder of his days in the vilest condition of slavery. Shapur, the king of the Persians, who had made him prisoner, whenever he chose to get into his carriage or to mount on horseback, commanded the Roman to stoop and present his back; then, setting his foot on the shoulders of Valerian, he said, with a smile of reproach, "This is true, and not what the Romans boast of." Valerian lived for a considerable time under the insults of his conqueror.
Valerian the Fallen

They wonder, I know, why I endure my fate, why I have not rebelled and forced Shapur’s guards to end my life.

They do not know that on the plague-stalked field beside Edessa where my army met the God of Death and I was taken

The heavens opened unto to me and gave this fallen king a vision such as gods have sent to few men dead or living.

I have never since beheld the world as other men behold it; I do not see the trodden dirt beneath my captor's steed but times to come.

I see mighty Rome laid low, its walls broken, Goths and brigands dancing in the Forum while noble women wail and rend their robes.

I see order overturned: emperors bow down to holy men in rags and call them by the blessed name of Father, while scholars write the words of starving women in barren cells and call them truth.

I see small ships that cross the ocean and upend the world, casting down old empires and raising new.

I see philosophers with lenses and crucibles burning libraries of old wisdom and building temples to new revelations.

I see machines like iron bulls that belch forth smoke and do the work of fifty men.

I see plebeians breaking down the palace gates, not to name a new man king but to proclaim an end to kingship.

When the shah’s foot stomps my back I see ships of fire sailing to the stars, and men walking on other worlds.

I do not choose to die because even as a footstool I behold the wonder and majesty of creation, and with every breath I praise the gods who brought me here to share their gift.


– John Bedell, September 2023