Author: newpoplitnews

Junot Diaz and the Sensitivity Police

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SENSITIVITY TRAINING FOR ALL NOVELISTS?

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(NOT the Sensitivity Police.)

I DISCUSSED the matter months ago in the latter part of my second post about the Junot Diaz controversy. The rules and standards the writer must obey, and the lines he or she must never cross, expand by the day. Maybe the hour.

The writer’s personal behavior is subject to scrutiny in the new Orwellian literary world. But as important is a person’s writings. Fiction is no longer regarded as fiction. It will be used in judging you.

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Case in point is this essay by Lyta Gold from the precocious characters at Current Affairs which appeared on May 8th. (I’ve covered Current Affairs before at this blog, including here.) Note how, referring to Junot Diaz, Lyta Gold has “strongly suspected, from his prose alone, that he’s a virulent misogynist.” Quite a leap. (Was the character Popeye in William Faulkner’s novel Sanctuary based on Faulkner? Who knows!)

The atmosphere of Gold’s essay is not that of literature, but religion. Current Affairs‘ peculiar pseudo-Communist/Social Justice religion.

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The giveaway line is when Lyta Gold says, about Junot Diaz’s writing, “his work was presumptively taken to be flawless and free of sin. . . .”

Free of sin? Is this how writing is being judged?

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Lyta Gold further says that “no writer . . . gets to be validated by invisible particles of virtue.”

Well, yeah. But is this the standard? Is this why Junot Diaz was validated to begin with?

Virtue?

David_A_Christian_in_dress_uniform(Literary awards– for virtue?)

Or because of his writing? Why are writers published? If all that will be accepted, after thorough personal screenings and background checks, are virtuous writers, the art of literature will be in even more trouble than it is now.
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(Current Affairs staff, from their website.)

PART of what’s happening, ironically enough, is the imposition of bourgeois morality. The Current Affairs staff, like many such staffs, is completely bourgeois in background and sensibility. When expedient– in feeding their own selfish needs and conveniences– they’re as egoistic as Ayn Rand. In the case of Current Affairs, ambitious careerist ladder climbers. Harvard grads, most of them.

The happenings which Junot Diaz puts into his stories and novels are outside their experience. Not surprising, then, that they’re thrown by them. Which doesn’t justify an easily applied label like “misogynist” (a clinical term). If we start judging writers by their musings, their fantasies, and their fictional characters, we’re all in trouble.

This could be the future, if the Sensitivity Police have their way. A kinder, gentler literature– innocuous, harmless, and irrelevant.

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Comments are welcomed.
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-Karl Wenclas for New Pop Lit NEWS

The Real Literary Gender Gap?

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VANISHING MEN IN LITERATURE AND PUBLISHING

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Much noise is made by organizations like VIDA about the gender gap in today’s publishing world. When you examine the actual data, however, you find a different tale.  According to this story from 2016 in The Guardian, the U.S. publishing industry is not only predominately white, but 78% women. (At the executive level, with hangers-on from past male dominance, the industry is 60% women.)

Doing swift calculations of the figures, we can further say that the single largest demographic group in the industry is white women, at more than 60%. By contrast, Latino men make up 1.2% of the industry– hardly registering, which makes the dilemma of Junot Diaz more eye-opening.

Another striking article is this one which appeared in The Atlantic in 2017, which describes how many male authors pretend to be women in order to be published– a turnaround from the days of George Sand. According to this article, 80% of fiction readers are women.

Do you want more statistics? Per the Humanities Indicators site, approximately two-out-of-three English graduates– bachelors, masters, and Phd– are women. Per Data USA, 62% of “writers and authors” are women.

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We’re beginning to see these ratios reflected in literary awards. For the most recent National Book Foundation awards, 15 of 20 finalists were women. All five of the “5 Under 35” award winners were women.

As I pointed out in an earlier post about the Society of Children’s Book Writers and Illustrators, the few male authors in some writers organizations are so outnumbered by women they feel like kids in a candy store– some of them getting into trouble for too many affairs, too many hook-ups while partaking in the book industry’s “meet and greet” soirees.
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WHAT does it all mean? For starters, an industry or art form catering to the public gets into trouble when it disregards half of its potential audience. For example look at what happened to the Western movie when it began focusing almost exclusively on men characters (many Spaghetti Westerns did not have a single woman in the cast)– writing out the women who played a large part in the historic West, to present instead sociopathic narratives of obsessive bloodletting, often starring squinty-eyed and emotionless Clint Eastwood. A far cry from the days of the torridly romantic Selznick spectacular “Duel in the Sun.”

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Today, the Western movie has all but vanished.
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IF figures pertaining to class were available, we’d find the narrowness of viewpoint further skewed. Examine the mastheads of Manhattan magazines which cover arts and letters and you’ll find the staffers from the top down are graduates overwhelmingly of Ivy League universities, with a few Stanford grads and Brits from Oxford thrown in. The same holds true, from what I’ve examined, for the Big 5 New York City-based publishers. Those who decide which authors and books are published and reviewed are, in the main, upper-class women. Not by any measure the best way to create a representative literature for a very large and complex civilization like ours.
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With an array of male authors and editors being purged from the book industry after “MeToo” revelations, the trend toward an all-female business and audience doesn’t look to turn around any time soon.

MORE TO SAY on this matter. . . .
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-Karl Wenclas, New Pop Lit News

What’s the Future of Bookselling?

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A TRIP TO A BOOKSTORE

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WE HAPPENED to step into a Barnes and Noble bookstore the other day. The experience set the wheels in my head turning– reawakening ideas I’ve had for a while.

On one level the experience was disheartening. An enormous store filled with tens of thousands of titles of well-packaged books on every possible subject– with about seven customers in the entire gigantic place, counting the two of us. As it was, there were two clerks for the store– several registers sitting closed, as well as an information counter. We eventually found a stray clerk to help us– the other was at a front register which seemed a mile away.

I’ve often thought that while big box stores may work in some instances, they aren’t ideal for books. You need large turnover– one would think– simply to pay for leasing, lighting, and heating the monster places. High-ceilings yet. Tremendous overhead– not to mention the amount of stock.

Titles, yes, and authors. Too many for any of them to stand out.

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What am I saying? Less is more. Smaller is better. Avoiding Too Much Information is the first rule of sales.

OR– a new style of bookstore could be developed– it’s on our drawing board. It would work only in conjunction with the right kind of promotion, driving demand, and with an entirely new style of literary writing designed to stand out. Which hits the reader hard from the start.

The novel itself needs to be overhauled.

No easy trick– but possible.
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-Karl Wenclas, New Pop Lit NEWS

Power Grabbers of Literature

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HISTORY DOES repeat itself, but in vastly different ways. The patterns are there if you look for them.

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The ship of culture– even of literature– floats placidly along, but below deck revolution is taking place. All is conflict. The takeover of the ship is of a Gramscian variety– one room at a time.

SIMULTANEOUSLY occurs a struggle within the revolution itself, the pertinent question there being: Who controls it?

It’s a truism that in revolutions the communists devour the anarchists. (See Russia 1918; Spain 1938.) Philosophically, this is happening in the English language poetry scene– Control Freaks taking over, seeking to eliminate all who hold the opposite viewpoint. To shut down those who believe poetry– art itself– is imaginative commotion. Who think the way to attain this is through unrestricted expression. A vanishing attitude being squeezed between Left and Right. For the Control Freaks– the Poetry Cops and their go-along-to-get-along acolytes– this casual attitude is dangerous.

(The P.C.– Poetry Cops– are extremely casual about the poetry itself– but not about what it says, or who says it!)

DIFFERENT patterns from the past occur throughout the ship. One is a last gasp reaction of the (academic) aristocrats, similar to what happened in Russia during the civil war of 1919 between “Reds” and “Whites.” It’s what the noise of Jordan Peterson, Claire Lehmann, Quillette Magazine and their allies is about. This is doomed to failure. You can’t reimpose an ancien regime.

The question remains–

WHO CONTROLS CHANGE?

Old power structures are beginning to crumble, and a new paradigm in which a multiplicity of voices and identities hold authority is emerging. 

This is a quote from an article at Dispatches Poetry Wars, one of the new literary outfits struggling to get to the forefront of radical change in the poetry field. The key to their mindset is to “hold authority,” because that’s what the poetry wars they promote and document are about. Publicly denouncing alleged abusers like Joseph Massey is a means toward that end. It’s not about the poetry. For thirty years or more it hasn’t been about the poetry– which is why an Anders Carlson-Wee poem in The Nation won’t find too many defenders, because in truth it’s not very good. It’s political posturing more than poetry.

IT’S NOT SURPRISING that most if not all of the writers being attacked or taken down by MeToo advocates the past six months or last few years have been on the Left– because that’s all who inhabit the scene. (Not surprising that both Joseph Massey and Anders Carlson-Wee have had poetry in the faux-Leftist magazine The Nation, which publishes short examples of the dwindled art on their site, in-between splashy ads for hyper-priced Alfa Romeos.)

What a Dispatches Poetry Wars is about is the total politicization of the art.

I’ve read their manifesto. I have to say, I agree with much of it. It could’ve been distributed fifteen years ago by the Underground Literary Alliance and no one would’ve been surprised. But let’s understand why these fellows are using activism– for the same reason the ULA used activism: To increase their profile. To upend the literary scene and become a credible player within that scene. With DPW however I smell a trace of phoniness– in that they don’t really want to liberate “autonomous” zones (safe spaces). They don’t actually support unruly, “wild poets,” because otherwise they wouldn’t be joining the chorus of Poetry Cops eager to remove from the scene the work of all those who scribble or act outside the lines of acceptable behavior. (A Rachel Custer, say.) But they do see in which direction the parade is headed. They call for Robespierre-style denunciations and more denunciations.

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–we’re appalled by the silence emanating from institutions that have supported this person and granted him platforms from which to extend his predation.

A LITTLE CHECKING reveals that Dispatches Poetry Wars is run by two older white guys, Michael Boughn and Kent Johnson, who have ties of their own to the established poetry world. Boughn (if it’s the same Boughn) seasonally teaches at the University of Toronto, Jordan Peterson’s old stomping grounds. Kent Johnson (if it’s the same Johnson) has received grants from the heart of the cultural establishment, including a National Endowment for the Arts Literature Fellowship and a PEN grant.

I suspect their position is analogous to that we outlined here of Boston Review editor Joshua Cohen. Unleash the mob and it may someday turn on yourself!

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(Titanic paintings by Karl Beutel and Henry Reuterdahl. Portrait of Maximilien Robespierre by Labille-Guiard.)

-Karl Wenclas for New Pop Lit NEWS

Who Defends Artistic Expression?

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THE LATEST NEWS is that literary editors are adding what they themselves refer to as Morality Clauses to their sites. Not an aesthetic guideline for submitted work– the clause regards the writers themselves. Editors are doing background checks on writers via google and other tools. Background checks! The mindset has come full circle. We’ve entered a neo-puritan world.

For these uptight-to-the-max editors, getting along with the herd– enforcing an ideology– is their primary focus. Art is a secondary consideration.

THE EDITING POLICE

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These literary editors have taken it upon themselves to monitor the writer’s behavior– including after the work has been published. “Yep, he did something regrettable and embarrassing. We published his poem five years ago. Doesn’t matter. Yank it out!”

The entire history of literature is filled with writers engaging in bad behavior. (It once was a badge of honor.) Beginning with Christopher Marlowe– who wouldn’t make the cut in this day and age. Neither would Shakespeare. There’s that rather disconcerting speech in Hamlet when he says, “Get thee to a nunnery!” Hurtful words. Yank his works.

WHEN I fronted an activist group from about 2000 to 2008, our numbers included many outcasts, outsiders, and those who regularly engaged in bad behavior. They were from every possible ideological stripe, left to right. We had no litmus tests or background checks.

Today, we see Editor-as-Cop. “Are your papers in order? Where are your papers! Can you prove you did not engage in harassment and abuse?” (One silly lit editor argued for R****l C****r proving she hadn’t engaged in verbal abuse.)

AT ONE TIME, the novel, poem or play itself was considered verbal abuse! Its very existence.

Has the writer engaged in bad behavior outside the walls of  our little literary project known as New Pop Lit? What’s that to me? I’m a literary editor. If he or she has broken a law, report them to the authorities.

A QUESTION: Would you publish a story or poem by a convicted murderer sitting in prison if the work were good enough? 

LAST LINE OF DEFENSE

Every other segment of society has reasons to limit or crush artistic expression. The state, the advertiser, the dependent-on-donors foundation, the speech-squelching university, the project-a-proper-image corporation. It’s the task of the artist; the writer– and the editor, the publisher, the promoter, the arts impresario– to stand up for creative expression. For the ability to be creative. The ability to surprise, stir, anger, or shock. If not us: Who else?
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-Karl Wenclas, New Pop Lit News

Collapsing New York City Media?

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NEW YORK DAILY NEWS: THE BIGGER PICTURE

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SOMETIMES things move slowly. Incrementally. Glacially. Ever see snails? They come out when it rains. They’re not moving– but they are. One minute in one spot. Later it’s in another spot, and you can’t be sure, really, how it got there.

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“How did you go bankrupt?”

“Two ways,” Mike said. “Gradually then suddenly.”

-Ernest Hemingway, The Sun Also Rises
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SUCH is the case with the mighty edifice of New York City media. With every aspect of New York media: newspapers, magazines, publishing companies. You can’t see them collapsing, but they are. The New York Daily News layoffs were inevitable. There will be more layoffs at other Manhattan flagships. Many more.

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Why? Because the fundamentals are strongly against them. New York City is a ridiculously expansive place in which to do business– yet Big Five publishing and their many acolytes insist on being there. In the internet age when one can set up anyplace, there’s no reason to be on that narrow island or its environs– other than to have swanky three-martini lunches at Sardi’s while playing the role of Manhattan editor or journalist circa 1959.

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Taxes, rents, leases, staffs, cost of living– everything in New York City is hyperexpensive.

A recent cost of living index put out by the Council for Community and Economic Research put Manhattan’s cost of living rating at 238.6. By contrast, Detroit’s is 96.9.

Manhattan’s recent average cost of office space was pegged at $75 per square foot. Downtown Detroit’s? It’s risen to $20 per square foot.

Manhattan is a more appealing place to live, no doubt. But when you’re in competition in business, the arithmetic will eventually catch up to you. Glamor or no glamor.

It’s not just the where these legacy businesses are located. It’s how they’re constructed– top-heavy, vertical, overstaffed. Leaner, meaner, more aggressive upstarts will eventually destroy them. Hungrier upstarts– those willing to do most of their work rent-free at Starbucks, or set up printing presses in a basement. And eat at McDonald’s.

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The Ivy League prep school crowd inhabiting New York skyscrapers may scoff (or whine and cry when they lose their jobs), but it’s the way of the world. Always has been. Doesn’t look to change now.
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-Karl Wenclas for New Pop Lit News

Happy Hemingway Day!

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YEP, another year has shot by and we’re again back celebrating one of our favorite authors, Ernest Hemingway. Maybe we just like his Michigan connection, an excuse for us sneak up to Hemingway country in Petoskey and environs. Away from urban civilization as we know it.

WE were there this May, encountering a Hemingway statue–

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–and examining the pier in Harbor Springs where the boat from Chicago carrying the young Hemingway would dock–

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–or staying in the exact same hotel in Petoskey that young Ernest Hemingway boarded at–

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–drinking at taverns with trademark Hemingway atmosphere–

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–reading Hemingway novels–

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–then closing the day with a Petoskey Michigan sunset.

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Schizophrenic Literary World

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THE CURIOUS REHABILITATION OF TAO LIN

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THE WAR within establishment literature continues– as evidenced by this article by Jakob Maier of Buzzfeed News commenting on the sudden comeback of alt-lit opportunist Tao Lin.

(NOTE: Buzzfeed News was at the forefront of promoting accusations against Pulitzer Prize-winning author Junot Diaz— we have yet to receive a yes-or-no answer from reporters Amber Jamieson and Dara Levy about how much they knew in advance about the Zinzi Clemmons confrontation with Diaz at the Sydney Writers Festival this past May.)

ACCORDING to the Jakob Maier article, Tao Lin is currently being promoted by several icons of the established literary world– Vintage Books, The New Yorker and New York magazine. Anna Silman of The Cut (a New York mag project), has been leading the charge against Junot Diaz, so it’s a bit surprising to see this article in New York about what Tao Lin– accused of statutory rape four years ago– adds to his shopping cart.

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AS Tao Lin infamously published a book titled Shoplifting at American Apparel, can we surmise that he doesn’t have a shopping cart? Confusion, confusion, all is confusion.

(To add to the confusion, the publisher of that book, Melville House, has also been on the anti-Junot Diaz bandwagon.)

For the record, Tao Lin as a writer is no Junot Diaz. In this critic’s opinion he has yet to demonstrate any writing talent at all.

More worrisome is possibility that the entire alt-lit movement of literary scam artists will make a comeback. Let’s hope not.

Is Politico a Credible News Outlet?

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WHY DOES POLITICO EMPLOY LOBBYIST MOLLY MCKEW?

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FOR THE PAST YEAR Politico has been publishing hysterical articles by Molly McKew of Fianna Strategies. The titles of the articles would make tabloids like the National Enquirer and Weekly World News blush:

“Putin’s Attack on the U.S. Is Our Pearl Harbor”

The articles are accompanied by tweets promoting those articles:

THE PROBLEM is that Molly McKee’s company Fianna Strategies is a registered foreign agent for the President of the Republic of Georgia. McKee is PAID to offer their viewpoint. (By one account, $320,000 over a 16-month period.)

Georgia– once part of the Soviet Union; sitting between Russia and Turkey– wants NATO membership. McKew is paid to expedite this.

THE QUESTION is why Politico presents as a credible journalist an individual paid to be biased?

BEYOND THIS, it’s irresponsible for anyone to casually make analogies to the attack on Pearl Harbor, where 2,403 American sailors and soldiers died in an actual military event. What does Molly McKee advocate? That the United States declare war on Russia? (Listed as co-author of the Pearl Harbor article is a retired U.S. General who was involved in the 2003 invasion of Iraq.) (The last time we witnessed this level of war hysteria was in 2003, about Iraq.)

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Russia has a crumbling economy smaller than California’s. They have a plummeting population, and are desperately trying to hang onto what remains of their shattered empire. BUT they also retain an enormous nuclear arsenal. Thoughtlessly promoting war with that country is insanity.

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WHAT OF Molly McKew’s neoconservative thesis that Russia is promoting a “global imperialist insurgency”?

FACTS contradict this. The USA surrounds Russia with military bases to the immediate west, south, and east– Germany, Bulgaria, Italy, Greece, Kosovo, Turkey, Kuwait, Oman, Qatar, UAE, Afghanistan, Indian Ocean, Philippines, S. Korea, Okinawa, Japan, etc. This doesn’t include NATO troops stationed in Latvia, Lithuania, and Estonia, which are on Russia’s border.

Russia meanwhile has ONE military base outside its immediate vicinity– in Syria. None in the western hemisphere.

WHICH nation is the insurgent global imperialist??

The Politico articles go beyond bias and slant into actual untruth.
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THE PREMISE behind the flood of articles from Politico and other news outlets is that Russia is engaged in some kind of massive propaganda assault. Yet when looking at which countries are more greatly influencing elections– which have the propaganda and cyber ability to influence elections– Russia, for all its machinations and duplicities, ranks far down the list. We’ll cover this with a follow-up sometime next week we’re tentatively calling “Propaganda USA.” Stay tuned.

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(NOTE: We’ve gone outside the lines of our usual topics because we like this planet and don’t wish to see it wiped out because of bouts of war hysteria. We have follow-ups to the Junot Diaz matter, and coverage of other lit-world topics, COMING SOON.)

-Karl Wenclas for New Pop Lit News.