WHO’S NEXT at New York Review of Books?

IN HINDSIGHT–

A man at a writing desk, by Rembrandt

In hindsight, the appointment of Ian Buruma as Editor of the New York Review of Books was a disaster. Buruma was daring enough to court controversy, but not strong enough to fight for the integrity and independence of his publication.

Ian Buruma (2015)

(Ian Buruma.)

A fighter would’ve done a better job of explaining why he ran the Jian Ghomeshi essay. Why recovery and redemption are important. Why editorial autonomy is necessary– especially in a climate of rush-to-judgement lynch mobs and unthinking hysteria.

A fighter would’ve gone to advertisers– one by one if need be– to make his case. Instead, Ian Buruma became one more casualty of today’s Literary McCarthyism.

WHAT KIND OF EDITOR?

What kind of editor is needed as Ian Buruma’s replacement?

Someone who could replicate the daring intellectual excitement represented by the New York Review of Books when it arrived on the media scene in February, 1963.

1963-02-01-600x0-c-default

NEEDED: A large personality.

A contentious, voluble writer akin to Norman Mailer. A person willing to be aggressive in taking on and dispersing any unthinking mob– willing to use the momentum of intellect and power of voice to restore sanity to today’s literary world.

mailer at mic

WHO?

WHO WILL New York Review of Books choose instead?

One of two safe alternatives.

1.) Almost certainly, a woman. Knee-jerk reaction to appease the angry mob. In this time of MeToo mania, it would be too risky for their risk-averse publishers to choose otherwise. Have to remember those advertisers!

(The result: A completely neutered intellectual journal.)

2.)  IF they were to choose a male editor, it would be someone properly screened and defanged, without a shred of volatility. Fully establishment and left-leaning, on the order of smiling Keith Gessen. Ready to appease everybody. Affable, innocuous, and bland.

gessen smiling

Someone who’s had a relationship with New York Review of Books. Whose own publication, n+1 magazine was in many ways made by them.

Or someone of that kind.

(Painting: “Scholar at His Desk” by Rembrandt.)
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-Karl Wenclas, New Pop Lit NEWS

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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.

OLYMPUS DIGITAL CAMERA

(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.

lindsayandmackinnon

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

Fiction Illuminating Life

TWO classic American stories are wry commentaries on non-fictional news events.
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gaitskill2

“The Girl on the Plane” by Mary Gaitskill, written in 1993, concerns a man on a plane flight who gets into a conversation with a younger woman sitting next to him. This takes the man back to events in his youth. I don’t want to give away the plot, but IF you’re at all interested in the allegations about Supreme Court nominee Brett Kavanaugh, especially those coming from Julie Swetnick, I suggest you read the story. As the man on the flight says, “It’s complicated.” OR– things are never as simplistic as camps on both sides of the aisle pretend to make them.

READ IT– Not least because it’s well constructed and packs an emotional punch. One of the better– and more relevant– American short stories ever written.
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baldwin

“Come Out the Wilderness” by James Baldwin, written in 1965, illuminates an event much talked-about of late: the similar Senate hearings which took place when current Supreme Court Justice Clarence Thomas was nominated. In the Baldwin story, a young black secretary has lunch with a black executive from the same company. He drops the company facade for a moment to speak in an earthier tone. It’s a reflection of sorts on the more awkward conversations Clarence Thomas sought to have with Anita Hill, which were taken in a less kindly light than does the secretary in Baldwin’s story.

James Baldwin wrote several dynamite short stories which rank with any writer’s. This is one of them.

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-K.W. 

Media Morality Play

MORE THOUGHTS ON JIAN GHOMESHI AND IAN BURUMA

theater

LOOK into media controversies like the one involving Junot Diaz– or last week’s scandal featuring Jian Ghomeshi and Ian Buruma– and you begin to see patterns. You notice the theater smoke and stage scenery, and realize what you’re watching is a form of elaborately produced play. Cast ready; scripts on hand; producer or director lurking somewhere backstage pulling the strings.

The truth? The core truth of these matters is buried beneath layers of hysteria and noise.

As in many theatrical plays, today’s media productions involve stock characters.

A.)  Villain.

B.)  Innocent victim(s).

C.)  Hapless buffoon.

Who plays the hero?

In media morality plays, the hero is ourselves. We the Audience, observing the venality of others while congratulating ourselves for our sense of pristine justice, our virtue.

Justice is the key component of the plot. By the end of the play the villain is walked off stage in handcuffs, reputation shredded, name blackened, career over.

As We the Audience applaud.

OSCAR WILDE

Oscar_Wilde_sitting_portrait

ONE of the more famous early show trials involved Irish poet and playwright Oscar Wilde. In 1895 Wilde, a homosexual, was put on trial for Gross Indecency. The case provoked a storm of press publicity– public outrage over private behavior.

I’ll discuss the Oscar Wilde trials and their parallels to the Jian Ghomeshi matter in a separate post.

ERROL FLYNN

ANOTHER early example of the personal scandal style of media show was the 1943 Errol Flynn rape trial. The famed Hollywood actor and well-known sexual wolf was charged with statutory rape for having relations with two under-aged women. One of them, 17 year-old Peggy Satterlee, worked as a nightclub dancer. For the trial, the producers of the morality play dressed up Miss Satterlee to look as young and as innocent as possible.

satterlee2

The staging didn’t quite come off. Flynn, a man of good looks and outstanding charisma, was miscast in the role of Bad Guy– a part usually played in his movies by Basil Rathbone.

VILLAINS

robin-hood(Rathbone and Flynn.)

TO PROPERLY stage a media morality play, you must discover the proper villain.

Since we’re fallen creatures, there’s no shortage of corruption and evil to be found. Venality and worse are everywhere. In all of us. When we assure ourselves of our own virtuousness we’re lying. The Villain stands not in contrast to our actual selves, but to the image we hold of ourselves.

RICHARD NIXON

richard-nixon_1973-09-20

From the beginning of his political career, Richard Nixon seemed cast for a villainous part. Scheming, dark-browed and jowly, oozing the air of dishonesty. A Richard III essence.

richard III
(Laurence Olivier as Richard III.)

Nixon was eventually brought low by Woodward and Bernstein, with much drama and mysteriously-scripted characters like Deep Throat.

A DIRECTOR?

jesse brown

Jesse Brown, director of the Jian Ghomeshi drama, is hyper-ambitious. His career, beginning with a series of media hoaxes, has been marked by absence of restraint. Combine this with self-righteousness and you create a dynamic force.

In this period of MeToo, potential and actual villains are everywhere, and it’s easy to become self-righteous.

IF Jesse Brown had been searching for a possible villain, CBC co-worker and rising media star Jian Ghomeshi, in looks and lifestyle, well fit the part.

Ghomeshi

Jian Ghomeshi had a taste for rough sex, and frequented bondage clubs. Not a nice guy. Ghomeshi also turned out to be notably inept, unwittingly himself providing the evidence which allowed Brown’s budding expose to find print.

CLUES as to how Jian Ghomeshi was taken down are provided by a nerdy-but-earnest filmmaker named Diana Davison. Here’s one of the videos she made about Jesse Brown and holes in the plot.

Yes, victims and witnesses were enlisted– one of them, Kathryn Borel, a good friend of Jesse Brown’s. The accusers rehearsed their lines– too well, it turned out. When matters went to trial in 2016, the testimonies of three of the witnesses fell apart. (Here‘s a different look at the trial from an unlikely source.)

Jian Ghomeshi was acquitted on the charges. Another charge, the one involving Kathryn Borel, was dropped. Ghomeshi made a token apology. Jesse Brown celebrated this as victory.

Despite the missteps, it was. Jian Ghomeshi’s reputation was in permanent tatters, and more importantly, Jesse Brown’s reputation was greatly enhanced.

WHO WOULD’VE GUESSED that two years later a bigger target would be brought down by the same production– Ian Buruma, Editor at New York Review of Books.

an buruma
Villainous? Not really. But Buruma did fit the role of bumbling supporting character. Ian Buruma and his publication still carried the mores and mindset of a long-past genteel literary scene. Slow and refined. Patriarchal. Believing in old-fashioned liberal values of alternate viewpoints. Completely unprepared for a fast-moving new world of podcasts and twitter attacks. Of morality play productions with ongoing flurries of outrage and outrageousness, melodrama and dramatics.
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MORE Can’t-Miss stuff to come. Stay tuned!

-Karl Wenclas, New Pop Lit NEWS

 

Literary Lynch Mob Locates Another Villain

noose

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

Where’s the Evidence?

LATEST NEWS FROM THE JUNOT DIAZ CONTROVERSY

DNA-evidence

The latest news from the Junot Diaz controversy is there is no news.

FROM THE MOMENT the Junot Diaz alleged harassment controversy broke big-time on May 4th, two of the three original accusers, Monica Byrne and Zinzi Clemmons, have made numerous tweets promising everyone that more stories would be forthcoming. Zinzi Clemmons has said she has “receipts”– emails from Junot Diaz documenting the fact he’d harassed her. Monica Byrne has mentioned time and again “39” other accusers waiting in the wings. Those who’ve been covering the story, including ourselves, have been waiting, and waiting, and waiting. (Alisa Rivera came immediately afterward with an incident from a date gone awry 15 years ago, as did ex-girlfriend Alisa Valdes with her experiences.)

THE ASSUMPTION– in my opinion the wager by the original three– was that Diaz was unquestionably an abuser and that many more accusers would come forward after the coordinated presentation on May 4th made international headlines. Monica Byrne had been through this twice before (see this), and based on those experiences, believed enough other women would come forward to remove Junot Diaz from his positions at Boston Review and MIT. As we now know, both institutions held the line.

HOW LONG had the planned revelations been under consideration?

Here is their genesis, in a few of the tweets exchanged between Monica Byrne and an initially reluctant Carmen Maria Machado– dating from 2015:

THE THIRD member of the trio was brought on board beginning in December of 2017, at the same time MeToo stories were breaking everyplace. See this, and this, and this.

MEDIA BLITZKRIEG

Ausbildung, Überrollen durch Panzer

GIVEN the intensity of the criticism, Junot Diaz should’ve been completely destroyed. The calculation with any such maneuver is that the target will be. It’s analogous to Germany’s “Operation Barbarossa” invasion of the Soviet Union in the summer of 1941. After a string of easy victories, Hitler believed the rotting structure of the world’s first Communist regime would collapse in on itself, as a result of a strong push. Didn’t happen. He didn’t count on the enormous fortitude of the Russian people.  What followed was a long, slow slog. Which is what’s been happening the last several months between both sides of the Junot Diaz controversy.

Bora Zivkovic and Raphael Martin, obsequious liberals unprepared for their personal idiosyncrasies to be exposed to the world, immediately apologized and resigned in the face of accusations. What happened in the Junot Diaz matter was that a recording of his verbal exchange with Carmen Maria Machado was produced– and completely changed the dynamic of the controversy. This led us, and others, to look further into the matter.

question mark

WHAT HAPPENS NEXT? We’ll see.
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-Karl Wenclas for New Pop Lit NEWS

The Real Literary Gender Gap?

VANISHING MEN IN LITERATURE AND PUBLISHING

Penguin_Random_House_Tower_New_York_2005

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.

documents

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.”

duelinthesunb - Edited

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

Power Grabbers of Literature

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

Sea_Trials_of_RMS_Titanic,_2nd_of_April_1912

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.

463px-Labille-Guiard_Robespierre

–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!

The-Sinking-of-the-Titanic-–-Drawn-by-Henry-Reuterdahl-898x520
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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

Should Writers Be Purged?

LITERARY EDITORS AND PUBLISHERS are divided over the question of whether or not a writer’s work should be purged over misbehavior imagined or real taking place outside the sphere of the art itself. We may well be in the minority for answering, “No.”

Another question inevitably arises during such censorious periods: Where does the purge end?

Ezra_Pound

For instance, should Ezra Pound, founder of literary modernism, be deleted from memory banks and lit-history books? Should every award granted him be expunged?

(We addressed the question here in our yet-to-be-resumed All-Time American Writers Tournament.)

What do you do with a host of classic-but-problematic writers whose lives or art would today be considered beyond acceptable bounds?

American_Psycho_by_Bret_Easton_Ellis_first_US_paperback_edition_1991

ARE WRITERS BEING BLACKBALLED?

We have the case of poet Joseph Massey, accused earlier this year of harassing women. According to Massey,  this was based on anonymous, distorted, and fictitious allegations. His chief accuser is a poet who had a two-year affair with him. I haven’t looked into the substance of the claims. Massey did admit, in a Facebook apology which was later taken down, to having issues.

WE’VE SEEN in the Junot Diaz controversy that an apology isn’t enough.

Joseph Massey, well-regarded though he’s been, lacks as big a name and reputation as Diaz. After the allegations, accompanied by an article or two about the matter, Massey’s work was deleted from The Academy of American Poets website, including an essay written about his work. Joseph Massey was also deleted from The Poetry Society of America, where he’d been announced as “New American Poet” in 2009. Down the memory hole.

NO DOUBT there are many flawed individuals within the walls of the literary scene, as there have always been. Some seriously flawed. As there have always been in the arts, period. History shows that many of the best artists, writers, composers, musicians, have been in some ways disturbed, wrestling with demons in the world, and within themselves. An argument can be made that it’s part of experiencing the world with more intensity than the rest of us. To feeling, raging, and suffering more than “normal” people.

van-gogh

(Some will regard this as mere excuse making.)

Do we delete them and their work, all of it?

HOW MANY of the rest of us writers and poets have misbehaviors in our backgrounds which could someday be exposed? A few of us? All of us?

Do we all submit to background checks before submitting our work, just in case?

In this hyper-regulated day and age is the following statement obsolete– or does it still have relevance?

Let the one among you without sin cast the first stone.

stones
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-Karl Wenclas for New Pop Lit NEWS

How to Create Media Frenzy

THE JAY ASHER STORY

worldnewscollage

DID THE MEDIA MOB CONSUME ANOTHER PROMINENT AUTHOR?

A few months before the Junot Diaz accusation story broke across the globe, there occurred another media meltdown over an author accused of misbehavior– this one generated by a statement made to two media outlets which did little-to-nothing to investigate the story the statement was about. The person who made the statement, director of a writers organization, was at the time herself being pressured from an online mob to “do something” about the issue of sexual harassment. She did. An author’s career was all-but-destroyed as a result.

The writer? Jay Asher, author of the #1 best-selling novel 13 Reasons Why, which was the basis for the popular Netflix TV series.

Thirteen-Reasons-Why

New Pop Lit NEWS first covered the story in a general way last February, in an article we titled, “Publishing Industry Feeding Frenzy.”

(NOTE THAT the key part of the matter, an article at School Library Journal which received 199 comments, has been taken down. This is a story in itself, which we may or may not address in a separate report.)

The January 3 SLJ article can be considered THE CRUX OF THE MATTER, because this was where, for all intents and purposes, the story about Jay Asher’s behavior originated– via anonymous comments to the article. As our NPL NEWS post indicates, SCBWI Executive Director Lin Oliver felt herself under pressure from those comments.

Lin_Oliver_-_2015_National_Book_Festival_(2)

( Lin Oliver)

Indications are that Oliver and her staff were, at the time, unable to investigate the matter. She reacted regardless, making statements to Buzzfeed News, then to Associated Press, that Asher and another writer had been removed from her organization. (Jay Asher denied he’d been removed, and denied the harassment allegations themselves.)

That was it. A face-saving response to two media outlets. The result? A media feeding frenzy.

media3

How bad was it?

Here’s an incomplete list of media stories run on the matter in a three-day period, from February 12th through the 14th. (Many of the outlets reprinted the Associated Press article verbatim, with-or-without attribution. Others modestly reworded it while saying the same thing.)

buzzfeednews.com
apnews.com
people.com

vanityfair.com
businessinsider.com

indiewire.com
ew.com
teenvogue.com
theguardian.com
publishersweekly.com
usatoday.com
thoughtcatalog.com

nme.com
mashable.com
nylon.com
independent.co.uk
narcity.com
popbuzz.com
slate.com
bustle.com
seventeen.com
fortune.com
jezebel.com
nydailynews.com
hollywoodreporter.com

vulture.com
hellogiggles.com
foxnews.com
globalnews.com
clevver.com
billboard.com
mynorthwest.com
sltrib.com
wtnh.com
perezhilton.com
wionews.com
popculture.com
thewrap.com
country105.com
kare11.com
tvweek.com
mtv.com
9news.com
canoe.com
enstarz.com
lifezette.com
triblive.com
complex.com
ksby.com
wpxi.com
wtop.com

cosmopolitan.com
ibtimes.com
wftv.com
post-gazette.com
zimbio.com
chron.com
bookstr.com
wbal.com
refinery29.com
deadline.com

videtteonline.com
fox23.com
tristatehomepage.com
tvguide.com
betches.com
thebookseller.com
popcrush.com
girlfriend.com

cbc.ca
popstaronline.com
booksandpublishing.com/au
breitbart.com
yalovemag.com
sanluisobispo.com
cuestonian.com

Talk about destroying a career! All of these sites prominently displayed a photo of Jay Asher, with properly hyberbolic headlines: variations of “13 Reasons Why Author Jay Asher was booted from a writing organization over sexual harassment claims.” One of them picked that up a notch, with: “13 Reasons Why author becomes literature world’s Harvey Weinstein.”

THIS, over a disputed dismissal from a writers organization because of anonymous comments on a blog!

AS A RESULT, Asher’s Philippines tour was called off, numerous other speaking appearances and book signings were quickly canceled, his literary agent dropped him, and at least two bookstores stopped carrying his books. (See Westbrook bookstore dumps books by author.”)

Jay Asher’s somewhat-less-widely-circulated defense can be found at his blog.
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-Karl Wenclas for New Pop Lit NEWS