Do Awards Matter?

THE STEPHEN KING CONTROVERSY

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THE LATEST literary news is that author Stephen King is the latest celebrity to have inadvertently generated outrage, with what some view as an outrageous statement. (Made on Twitter, which should never be taken too seriously.) He was discussing the Academy Awards. What he said:

I would never consider diversity in matters of art. Only quality. It seems to me that to do otherwise would be wrong.

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THE POINT both Stephen King and his critics largely miss is that the Oscars like all such awards have always been political. Awards ceremonies, like hall of fames– sports, music, and otherwise– are in reality highly successful PR appendages to their particular industry. As such, a big part of choosing “winners” is putting the best face possible on the industry, “quality” often pushed to the sidelines.

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Case in point: Academy Award winners for the retrograde year of 1961. (A very good year for cinema.) For the Oscars– presented in April 1962– two overtly political message movies dominated the nominations and awards. “West Side Story” and “Judgement at Nuremberg” received eleven nominations each. The former won ten of those categories; the latter, two.

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Both are fine movies. Yet in retrospect, one can name five other films from the same year which are artistically better (especially when viewed in a movie theater): El Cid, The Guns of Navarone, The Misfits, One-Eyed Jacks, and The Hustler. All five of these are visually superior, deeper films. The last three have not just better acting, but are virtual master classes of film acting. I’m confident that in the perspective of more time, all five will be ranked higher on any critical list than they are now– this especially true for One-Eyed Jacks, which is psychologically deeper than even the movie currently ranked all time #1 by the prestigious British Film Institute, Alfred Hitchcock’s Vertigo. (Which itself was ignored by the Academy Awards when it came out.)

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Awards are of the moment, swayed by the ideological currents of the moment. As important as they are for their particular industry as a way to hype products– and for the winners and losers themselves– in the long run their meaning is minimal, and should be recognized by the intelligent observer for what they are, and not more than what they are.

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-Karl Wenclas, New Pop Lit NEWS

 

What Is Pop Lit?

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Pop Lit is a new alternative writing style created in our minds as a way to avoid the generic.

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ABANDON THE SAFE

We’re out to overthrow ALL of that, every shard and shred, by presenting new hybrids with the intelligence and craft of literary writing combined with the clarity and excitement of standard genre work– while taking the best of both styles to new levels.

CAN IT BE DONE?

YES it can be done! But we depend upon YOU the new writer to accomplish this, and YOU the new reader disgusted with the same-old same-old to INSIST upon it.

We ourselves in the New Pop Lit Design Studio located underground near the Detroit River in the vicinity of Wyandotte, Michigan. are working furiously toward that objective.

We may not go all the way to the Promised Land of radically new art– but we seek to cut a path toward that end. Signposts for others to follow.

THE TWENTIES!

This year, a magical new year first year of a new decade– The Twenties!– we’ll present more of our own attempts, as examples of our experiments.

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We are mad literary scientists, using the high-tech code of language to create not monsters, but ART as shocking and powerful as any man-made monster which can be imagined. Please join us on that ambitious path.

(Listen to an audio version of this editorial here.)
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-Karl Wenclas, New Pop Lit NEWS

 

Bustle and the Books Editor Layoffs–

–AND HOW TO STOP THE LITERARY DOWNTREND

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CAN’T HELP NOTICING the layoffs today at online site Bustle, including of their Books Editor Cristina Arreola (pictured above). 

WHY are books editors invariably among the first ones cut when media layoffs take place?

WHY have book review sections vanished from newspapers (while sports coverage is greater than ever)?

WHO has an answer?

WE do! The thrust of our argument since this project began a few years ago has been that the established literary scene is generating no excitement. This is because there are no charismatic writers (sorry, George R.R. Martin and Margaret Atwood) and few if any exciting new literary products.

We’ve begun to resolve this situation on both fronts. First, by locating and publishing personable new talents who write with verve and style, such as Angelo Lorenzo, Brian EckertBud E. Ice and Rachel Haywire, and second, and in the long run more important, by developing better, faster moving and/or eye-catching stories and poems.

In truth, early this summer we sent promo materials– press releases, postcards, and emails– to a host of media persons who cover the literary industry, including Ms. Arreola, announcing our innovations (including the release of the world’s first “3D” multidimensional short story). We received zero interest. This, from a realm starved for the new and exciting, which should jump on any opportunity to announce radical advancements in the field they’re supposed to be covering.

Instead, they keep recycling the same-old announcements about the same-old style of paint-by-the-numbers products cranked out by “Big Five” Manhattan-based publishing.

Changes are afoot in the art. Those employed to cover such changes will be the last ones to see them.

Just saying.
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-Karl Wenclas, New Pop Lit NEWS

 

 

How to Save Literature

THE PROBLEM with so-called serious literature is that it’s pitched at a narrow audience, and not at the vast bulk of the American public. (Pitched really, at upscale editors at desks in London and New York.)

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Occasionally establishment writers give the game away, as did renowned young novelist Sally Rooney in Issue #30 of The Moth Magazine:

A lot of what (literature) does, to me, is reassure bourgeois readers by saying, you read fiction, you are a member of a particular class. . . the question for writers who have a social conscience is, how do you challenge that in some way while still working within the same industry that produces it, and I don’t really know what the answer is.

Then there’s the recent rant in Paris Review by esteemed short story writer Peter Orner, explaining why he will not defend the short story– his remarks making clear he doesn’t believe the story art is for the general public– and no apologies for this from establishment writers are needed, thank you.
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boxNeither Rooney nor Orner consider a way out of the box in which the literary art is trapped, currently accessible only to “a particular class.” They have no incentive to seek an alternative.

We at New Pop Lit do, as we and our modest literary project exist on the margins of what has become a marginal art. We’re thinking of ways to change this.

ONE WAY is the multidimensional (“3-D”) short story, designed to be faster and more thrilling than the standard literary model, answering those attention-span questions Peter Orner scoffs at.

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One prototype example of this kind of story has been released by us, “Vodka Friday Night.” More are coming.

CAN THE ART BE SAVED?

elvis-60-years-of-rock-and-roll-1(Early Elvis and friends.)

Business history of other arts shows that it can. I’ve given often the example of the music business and the rise of rock n roll– which multiplied the size of that industry many times over. This is well explained in this article by Johannes Ripken. Can writers duplicate that outsized success? Maybe– if they create more exciting short fiction that’s even faster and more direct than our prototype. Moreover, what’s needed are young writers who can connect with a new generation of readers via personality, talent, and attitude. In other words, stars.

Screaming_Jay_Hawkins(Screamin’ Jay Hawkins.)

Is this do-able? We’ll see.
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-Karl Wenclas, New Pop Lit NEWS

 

The Future of Fiction Writing?

THE 3D MULTIDIMENSIONAL SHORT STORY

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NOW that it’s been introduced, the multidimensional story technique won’t be stopped. All attempts to shut out new ideas in art inevitably fail.

What makes 3-D Story technique unique is that it pushes against the bounds of time and space– short story limitations– in so doing working against the standard linear, one-viewpoint model which has sustained the short story form for decades.

A BETTER MODEL

The idea behind the 3-D “pop lit” short story– modernist pop– is that it’s faster-paced therefore more exciting than an old-fashioned story. Especially a finely drawn literary story. Taking advantage of rapid cognition. More complex yet still readable. A fuller look at the world but also entertaining, even thrilling.

SO FAR we’ve released for public viewing a single modest prototype.

tesla early view(Early Tesla Motors vehicle.)

Like all prototypes, it’s practice. Testing. Experiment. Example. Learning. Many more examples of the format, from both of us at New Pop Lit, will be forthcoming. We hope other writers talented and daring– early adopters– will try the technique, and go far beyond our own forays. A door has been opened. A glimpse of innovation. Once artists move past boundaries, possibilities multiply.

There’s no bandwagon for the technique, yet. There will be.
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-Karl Wenclas, New Pop Lit NEWS

The Decline of Literary Criticism?

OR THE DECLINE OF LITERATURE?

ERNEST HEMINGWAY

AN INTERESTING ARTICLE appeared last week at the Time Literary Supplement“Death of the Critic?” by Michael LaPointe. The article addresses the topic of the decline of literary criticism via addressing two recent books on the subject.

LaPointe argues against nostalgia for bygone literary days. He says the importance of literary critics circa 1950 was an aberration. In his eyes the absence of strong figures like Edmund Wilson and Lionel and Diana Trilling today is not to be taken too seriously. He concludes, in fact, by suggesting literature must become more detached from the culture-at-large. From general society. You know, like monks scribbling away in monasteries in bygone medieval days.

The bigger story is right in front of him, but Michael LaPointe waves the story away– the decline of literature in the culture.

CULTURAL FOOTPRINTS

Publishing seems as healthy as it’s ever been. Book readership has kept pace with GDP growth, demographic changes and the like. But that’s the point– it’s only kept pace the last seven decades, maintaining incremental improvement year-by-year, while overall cultural noise has exploded exponentially. While rival claimants for attention– notably sports and music– have increased their cultural profile many times over.

QUICK: Can anyone name an NFL player from 1950? Bob Waterfield maybe? Or a basketball player??

c o ebay(photo c/o ebay.)

In 1950 NFL football was scarcely a blip on the cultural radar screen. It produced zero (0) figures as recognizable and renowned as Ernest Hemingway.

Today the situation is reversed. With the rise of the NFL has come countless commentators and analysts– magazines by the score and entire cable networks– devoted exclusively to picking apart every last personality and encounter involving their favorite game.

Music? The music business began increasing its cultural footprint beginning in 1956– interest generated by energetic new products and wildly charismatic personalities.

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With the rise of rock came the creation of the rock critic, via flagship rock magazines like Creem, Rolling Stone, and many others.

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Meanwhile, the ship of literature floated placidly along. Unconcerned. Unaware. Complacently satisfied that within the stuffy world of letters, all seemed fine.

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Literature’s leading figures became less charismatic, less interesting. Finally– with the likes of Donna Tartt and Jonathan Franzen– either reclusive or irredeemably bland.

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The art’s attempts to reverse this situation– with authors literary or popular from Roxane Gay to George R.R. Martin– are going no place. (Bret Easton Ellis fights heroically to gain cultural attention, but is himself too identified with a moribund and stuffy “Big 5”-backed establishment literary scene to make much headway.)

Without an exciting underlying art to describe, there are unlikely to be exciting critics to describe it.

IS THERE A SOLUTION? 

YES! The solution is the one we prescribe: to mesh both poles of the art, the literary and the popular, creating a new synthesis that’s relevant and meaningful yet connects with a large portion of the populace at the same time. Popular critics would arrive as byproduct.

This starts with a better product. (See recent posts of ours about the 3D Short Story here and here and here.)

Then, more striking personalities to become faces of a renewed art.

Quixotic? Maybe. Art is never transformed by the timid.

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It’s time for literature to walk away from its clubby salons and musty university lounges and step fully back into the game.

THE 3D STORY DEBUTS JUNE 6 AT OUR MAIN SITE.

http://www.newpoplit.com
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-Karl Wenclas, New Pop Lit NEWS

Literature of Limits

THOUGHTS ON SALLY ROONEY’S NOVEL NORMAL PEOPLE

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ONE CAN’T HELP but notice, with the massive hype accompanying the U.S. release of the Sally Rooney novel Normal People, how willing literary people today are to settle for limited accomplishment from limited talents. To accept the achievement of small effects, delicately arrived at.

I read the novel before most because a friend of ours in the U.K. gave it to us. It’s not a bad novel. Not at all. But the final emotion given this reader upon finishing it was, “So what?” Is this really the best Big Five London-New York publishing can come up with? Careful language, careful plotting, careful characters, careful themes and ideas– as if today’s world of political correctness has put today’s writer into a cage.

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Maybe it’s not politics (though there are signs that it is). Possibly it’s the temperament of this age, to see the world in muted tones. Melodrama? Heavens no. The reverse. By and large no drama– other than a couple brief appearances of a mostly offstage male villain in the form of an angry brother– whose rage is never explained or understood. Or the drama of deciding which MFA writing program to enroll in. (I kid you not.)

For temperament and limits, this novel can be compared to the delicate poems of recently deceased award-winning poet Mary Oliver, which aim for modest achievement, limited effects. Worthy, if that’s all you want– but a distinct dropping off from the exuberance of a Walt Whitman or Allen Ginsberg. Or the craft and passion of a Sylvia Plath.

Today’s literature exists inside the constraints of a cage or a box. It’s time to crash out.

(As we’ll attempt to do with our 3D Story project.)

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-Karl Wenclas, New Pop Lit News

Khabib, MeToo and Misbehaving Men

ARE WESTERN MEN TOO DOMESTICATED?

AP photoJohn Locher(AP photo/ John Locher.)

While the MeToo movement has accomplished many good things, exposing an array of real sexual predators, it has also occasionally strayed over the lines, in this commentator’s estimation. Lost in the effort to properly domesticate Western men is context. Context! Meaning, the relationships between men and women worldwide.

Case in point is Saturday night’s UFC mixed martial arts fight between Conor McGregor and Russian Muslim Khabib Nurmagomedov, which Khabib won fairly easily.

Conor McGregor had been the Gold Standard for macho male misbehavior. Saturday night he was out-macho’d and out misbehaved. First Khabib defeated McGregor in the Octagon, then climbed out of the cage they’d fought inside and began beating on McGregor’s trainers. A domesticated male? Not hardly.

khabib with wife(Khabib with wife.)

Khabib Nurmagomedov comes from an ultra-macho culture, and an extremely populous (1.5 billion-and-growing) male-dominated religion in which women are manifestly subservient.

While Western Man is becoming feminized.

bora(Bora Zivkovic with friends.)

Think I’m joking? Poster Boy for Male Misbehavior on the literary scene might be Monica Byrne Target #1, 125-pound Bora Zivkovic, aka “The Hugger.” His modus operandi wasn’t jumping out of ring cages and punching out people, but being in effect “one of the gals.” Harmless– one would think.

Ah, but then those dastardly male hormones kicked in. Out with Mischievous Monica for a drink, married Zivkovic confided– as any “gal” might do– in Monica about his unsatisfactory sex life. That was enough. Outrage! Zivkovic career destroyed. The poor soul still doesn’t know what hit him. As befuddled as Conor McGregor after last night’s fight. As if Bora himself had been in the ring with dangerous Khabib.

What happened to Bora Zivkovic? Check out this article by Amy Alkon from 2015 and read the gory details.

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(NOTE: Monica Byrne’s next hapless target was discredited for giving Monica an actual hug, at the end of a night of drinking.)

Monica+at+15(Monica Byrne at 15.)

Never mind that Monica Byrne lifts weights, beats men at arm wrestling, and might give Khabib Nurmagomedov a tougher battle in the MMA cage than did Conor McGregor.

arm wrestling2(Monica arm-wrestling.)

WHAT’S THE SOLUTION?

The solution isn’t to turn Western men into walking wimps afraid to raise their voices or offer a difference of opinion to women. (Both instances used as evidence of abuse in the Junot Diaz case.)

NEITHER is it to pretend men and women are physically and temperamentally the same. (Volatile Celt Monica Byrne notwithstanding.) On the whole, by nature women are less aggressive, and more easily triggered– as events have shown– than males of the species. A distinction which can’t be wished away, no matter how many Gender-and-Feminism 201 courses are taken stating otherwise.

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NOR is the solution to divide men and women forever into opposing camps of incels versus radical feminists, each side alienated and angry, warring with the other everywhere but in the MMA ring.
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elcid2(Charlton Heston as “El Cid.”)

The solution? Perhaps the solution has been with us all along, in the chivalric ideal of knights powerful and pure of heart. Mighty in battle but behaving with deference and gentleness toward the esteemed ladies who give their quests purpose.

Such ideal is considered woefully obsolete in this unhappy period of Harvey Weinstein pigs and purge-hungry Poetry Cops. In this timid time of self-censorship and safe zones. Of sexless Mao-jacket sameness in all things.

Could the chivalric ideal of gentlemen and ladies return?

Should it return?

You tell me.
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-Karl Wenclas for New Pop Lit NEWS

Media Insanity Report

KEEPING UP ON MAINSTREAM MEDIA ANTICS

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-A NEW FEATURE-

WE JUST learned today that the term “lady” is now considered unacceptable by the Orwellian arbiters of thought and language. I’ve seen the notorious wannabe-totalitarians known as the Poetry Cops complain about the term. Now, from someone a bit higher up on the media power ladder– Ginia Bellafante of “paper of record” The New York Times.

QUESTIONS arise.

-Is the term “gentleman” also considered offensive? (Does this explain Brett Kavanaugh‘s alleged behavior in the past?)

-Does the prospective outlawing of these terms explain a lot of behavior from a great many people in recent years?

And finally–

-WHO is going to tell Lady Mary?

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THE spectacular success of Downton Abbey (movie version being filmed as I type this) might be because a large part of the populace is tired of people looking like slobs. They’d like a return to those old-fashioned concepts of grace, beauty, class, and style.

Even (gasp!) a return to ladies, and gentlemen.
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-Karl Wenclas, New Pop Lit NEWS

Literary Lynch Mob Locates Another Villain

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WORD today is that Ian Buruma is out as editor of New York Review of Books after fallout from his allowing accused sexual batterer Jian Ghomeshi to write a mea culpa complaint for the publication. Some past accusers like Jesse Brown counter-complained  that Ghomeshi’s essay was filled with “inaccuracies, omissions, evasions, and mischaracterizations.” Other literary persons and activists were outraged simply that Ghomeshi’s name appeared in anything.

Ghomeshi, yes, gave his viewpoint. Distorted? Probably. Surely fair game for attack and debate.

BUT– that wasn’t enough for these hysterical times. For the mob, Ghomeshi and anyone who enables him– though he was already judged by the legal system– needs to be obliterated.

New York Review of Books was founded under questionable circumstances during a newspaper strike with Random House money. Yet, over the decades it’s had quite the glamorous history. Has been contentious, and to this commentator’s knowledge has never before caved under pressure– at least not so immediately.

SOME OBSERVATIONS:

-WRITERS themselves seem to be leading the literary lynch mob, which conjures up images of approved apparatchik scribblers during the halcyon days of the Soviet Union.

-WHETHER Ian Buruma resigned or was fired, someone at NYR of B caved into mob pressure all too quickly. Another blow to the integrity and independence of literary magazines.

-THIS is another in the ongoing castration of classically macho establishment literary publications. (See Paris Review.)

WHO’S NEXT?
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-Karl Wenclas, New Pop Lit NEWS