A FICTIONAL EXAMINATION OF DEPLATFORMING AKA CENSORSHIP
WE BELIEVE that fiction is a valid way of addressing current issues. “Fiction” can illuminate truths escaping other forms of investigation and argument.
The trick, of course, with writings that are in any way political, is making them credible. Putting balance into them so they’re not simply polemics. Not merely an unbalanced screed. Toward that end I focused as much on the failings of the lead character as on the issue he deals with. That much-dissed concept of objectivity comes into play.
The short story is “Safe Zones,” posted at one of my several personal blogs. (When deplatforming of myself occurs, eliminating all my forums and writings will be no easy task!)
***One of the things I wanted to convey in the story is how we’ve completely lost control of our own lives. That everything we do today requires a technological platform of some kind– without them, it’s difficult to live; to survive.***
Feedback to the ideas expressed, and to the writing itself, is welcomed.
-Karl Wenclas, New Pop Lit NEWS
ONE REACTION TO THE AILEY O’TOOLE PLAGIARISM ISSUE
(Photo from The Rumpus.)
THE BIG NEWS in the U.S. literary world over the weekend was the accusation of plagiarism against young poet Ailey O’Toole. The past couple years O’Toole was incessantly networking a host of interconnected literary journals, becoming known within that well-protected, well-screened community as one of the art’s rising young stars– culminating in this interview at The Rumpus. Much drama there expressed. A troubled individual, no doubt.
NOW it’s discovered, by those who published and promoted her, that O’Toole was plagiarizing not just one writer, but a lot of them.
ANOTHER discovery has been less acknowledged– that Ailey O’Toole was an enthusiastic member of the so-called Poetry Cops. She worked hard at having fellow poet Rachel Custer removed as a reader at a lit journal called Barren Magazine— and blacklisted throughout the poetry world. (In this day and age, many literary journals actively support the idea of an ongoing blacklist of journals and writers.)
IS it poetic justice then for Ms. O’Toole to end up in effect banned herself?
Is there a lesson in this?
IT MIGHT BE that more important than a writer’s perceived political stance is the quality of character. That when a poet is spending half her time trying to get other poets fired or blackballed– dissing and diming them out; instead of focusing on the art– it might be a sign of a lack of that long-forgotten quality.
-Karl Wenclas for New Pop Lit NEWS