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CFP: Edited collection: Late Capitalism and Mere Genre

Posted in The Generic, The Profession, Writing with tags , , , , , , , , , , , , on 5 October 2013 by Ben

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I seek proposals for essays that explore the relationship between late capitalist culture/economics and texts which, in one manner or another, are “merely” generic. According to Fredric Jameson and others, late capitalism is characterized by new forms of business and financial organization, developments in media and the relationships amongst media, and planned obsolescence. By “merely generic,” I refer to those texts in any medium that seem less interested in pushing generic boundaries than in maintaining or perhaps hyperbolizing them (such as books by Robert Jordan and David Eddings) and/or belong to an obvious genre, but turn away from that broader genre in order to develop their own environments and/or conventions on massive scales (such as the expanded Stars Wars Universe). These texts may be: swiftly produced, developed in explicit and careful relation to others in their series or world, targeted at an existing audience already familiar with the genre, and crafted for easy consumption and quick obsolescence.

How do such merely generic texts define the cultural landscape of the postmodern/contemporary world? How does this cultural landscape condition them?

Possible topics include:

  • The audience for merely generic texts. Can anyone enjoy them, or are they only consumable by those who have an established, if not hypertrophied, relationship to the broader genre in question?
  • The development of groups of texts that predate the advent of late capitalism, but transform in some way afterwards or otherwise provide antecedents for more contemporary works, such as The Hardy Boys or Nancy Drew Mysteries.
  • Proprietary universes—such as the Stars Wars, Star Trek, or Dragonlance universes—and questions of authorship.
  • Fan fiction and other non-canonical or heterodox narratives set within established universes.
  • Problems of continuity in the mega-text.
  • The relationship between such merely generic texts and gaming, whether tabletop RPGs, first-person shooters, MMORGs, or other types of gaming.
  • The economic or cultural conditions that govern the production of merely generic texts, such as the nigh-injunction that, after Tolkien, works of heroic fantasy should be published as trilogies.
  • Mass-produced series of books for children, such as Goosebumps and Animorphs. How do these texts prepare youngsters for subsequent late capitalist consumption?
  • The shift, especially in film, from generic concerns to the logic of the tentpole and/or the franchise.
  • The development of the massive multimedia text in which the same storylines develop in print, in films, on television, etc. simultaneously.
  • The residue of genre in a post-generic world. With increased specializiation and fragmentation in daily life, does genre make any sense as a cultural form? Does genre become, or return to being, one niche product amongst others?

Obviously, numerous other avenues of inquiry exist and many of those mentioned here dovetail with one another. Please inquire at the email address below with suggestions or ideas.

Although I will consider a range of approaches, I am especially interested in essays that situate groups of texts or series in an historical moment or cultural frame. I am less interested in thematic and formal readings of individual texts.

Please send proposals of approximately 500 words as attachments (.doc, .docx, .pdf, .rtf, or .odt) to benjamin.j.robertson@colorado.edu by 15 January 2014. Again, also feel free to contact me with questions or other concerns.

Stefan Ekman on polders

Posted in Here at the End of All Things, The Generic, Writing with tags , , , , , , , on 14 August 2013 by Ben

A polder is, simply put, a space in fantasy literature protected from the outside (think Lothlórien, for example).

Following from Clute, who writes, “Polders change only when they are being devoured from without”, Stefan Ekman argues (in Here Be Dragons):

In other words, for a polder, the internal and external realities are set up as opposing forces, and as long as the polder is successfully maintained, it does not change. The world outside does, however, and its change widens the temporal gap between the two realities. The polder becomes a maintained anachronism–that is, an anachronism opposed to the time of the surrounding world, actively if not consciously (because it begs the question: whose consciousness?). The external time is, and must be, the wrong time, since, in a polder, any time but its own is wrong. Hence a polder must not only be maintained but also defended from external influence. (100)

It is always interesting to me the way in which theoretical discussions of genre mirror debates about the legitimacy of generic fiction. For example, we might consider Literature a polder, artificially protected from the ravages of genre and history, frozen (as if by one of the three rings for eleven kings) in place and rendered incorruptible–except that Literature is presented as the world and generic fiction as something foreign to that world, which seems to me opposite how the polder tends to work (at least in Tolkien). This is the Generic at work.

Symmetry and meaning in Lord of the Rings

Posted in Here at the End of All Things, The Generic with tags , , , , , on 25 July 2013 by Ben

Tom Shippey’s overall argument (in JRR Tolkien: Author of the Century)  involves explaining the consistency in Tolkien, against charges by CN Manlove for example (in Modern Fantasy and elsewhere). Manlove argues that Tolkien’s conception of evil is inconsistent, that the Ring does not affect everyone equally nor does it do what it is supposed to do (destroy Frodo’s mind, for example). Shippey notes that Tolkien began Fellowship with little sense of the overall story and that, as a result (he discovers after studying drafts of the text in The History of Middle Earth), often in the first book certain things are less than they come to be. For example, he notes that the Black Riders are not nearly so frightening, and that they do not appear powerful as they move through the Shire. Manlove also notes this inconsistency. (I thought this was partially explained by the fact that Sauron had not yet refound much power and that the Riders therefore were lacking at this point; however, it is strange that they did not use a bit more force as capturing the ring would have solved the problem of a lack of power.) In any case, Shippey notes this inconsistency and, while not exactly excusing it, makes clear that it might be a result of the writing process Tolkien went through.

However, in the overall argument Shippey seems to do too much to make everything in LotR explained and explainable. Whereas Manlove goes too far demanding explanations he thinks are impossible to find, Shippey goes too far I think in finding them. This is not to say that either is wrong. Manlove is operating under assumptions of “literature”, namely the realist novel. Shippey is operating from a position of deep knowledge  (that Manlove would not have had access to in 1976, even if he would have wanted it, which is unclear): that knowledge provided him by the publication of the History of Middle Earth and seemingly having know Tolkien. Shippey also “benefits” from his training in philology, and therefore his attention to the languages of Middle Earth. In both cases, however, the question of explanation is problematic if we want the text to do something other than what literature does.

For, it seems, that Manlove is content to exclude Tolkien from literature (and indeed most if not all fantasy, even if some, such as Peake, is better than others–he says Tolkien is the worst in Modern Fantasy). And, it seems, Shippey desires to place Tolkien in an expanded field of literature, one not guarded by critics such as Manlove, but one dedicated to the complexity of the individual work and the voice of public opinion. But, again, to do more the work of fantasy cannot rest on the commonplace, cannot be for or against literature, but must be other than it, must refute the Generic not directly, as in historical conflict, but by existing either beyond its horizon or by escaping (forever escaping, never escaped) over that horizon even as the world turns and meridians pass under our feet and thereby we include ever more within the known.

Attebery on Tolkien, or Lord of the Rings as the returning king

Posted in The Generic with tags , , , , , , , on 28 June 2013 by Ben

Brian Attebery, in The Fantasy Tradition in American Literature, writes: “J. R. R. Tolkien’s trilogy The Lord of the Rings, compared to others, is an achievement of such magnitude and assurance that it seems to reshape all definitions of fantasy to fit itself. Indeed, no important work of fantasy written After [sic] Tolkien is free of his influence, and many are merely halting imitations of his style and substance.” Later, in a chapter entitled “After Tolkien,” Attebery continues this line of thought, stating how the publication of LotR

changed the position of fantasy in this country. Even before it became a bestseller and the object of a cult, Tolkien’s story was noted by critics sympathetic to the genre as the workd they had been waiting for, the first extensive exploration of the possibilities of modern fantasy. It seemed on the one hand to sum up the whole Western tradition of the marvelous, with its echoes of Homer, Dantae, and Wagner and its outright borrowings from the Kalevala, the Scandinavian Eddas, Beowulf, the Mabinogion, George MacDonald, and William Morris. On the other hand, the trilogy was an integrated story with a perception and a point of view that many readers found appropriate to the contemporary world: that is, it was not only a culminating work but also a seminal one, a challenge to the reader to go out and create something equally grand and equally magical.

Attebury writes here without irony and without any apparent thought with regard to the way that the reception of Tolkien in the US (and perhaps elsewhere) mirrors the very conventions of the quest fantasy that Lord of the Rings more established singlehandedly. That is,insanely enough, the reception of LotR, as a sort of prophecied chosen one, fits with the quest narrative that it establishes: the “return” of the king who promises a new reign of justice and peace (but who cannot, perhaps given the merely generic nature of what follows [looking at you Terry Brooks], of course, live forever and sets the stage for the disappointment that is his offspring). I don’t mean to fault Attebery here, as he is working on a much different issue than what I am thinking about. I just find it interesting.

My Eaton/SFRA 2013 Paper: Media Theory and Genre

Posted in Conferences, Here at the End of All Things, papers, Writing with tags , , , , , , , , , , , , , , , , , on 13 April 2013 by Ben

Here is my paper for the 2013 Eaton/SFRA conference, as part of the panel on “Mediation and Transmedia” with Scott Selisker (“Transmedia Automatism: Cinematic Motion in Paolo Bacigalupi’s The Windup Girl“) and Veronica Hollinger (“The Dis/enchantments of the Mediated Real”).

Media Theory and Genre

This paper is sort of chasing a certain claim, a double inversion of Arthur C. Clarke, although I cannot address it in any depth here: “Any insufficiently advanced magic is indistinguishable from technology.”

So, this boringly-titled talk opens a discussion of genre as media and genre’s relation to other media. By “genre,” I mean at the start something fairly non-controversial, I hope: a set of texts, however blurry the boundaries around that set, the conventions of which take on meaning within the set and without historicity. By “media,” I follow McLuhan who more or less understands a medium as a thing, in the broadest possible sense. At times the term “technics,” which here is closely aligned with media but takes on Stiegler’s definition as “organized inorganic matter,” will supplement or replace “media.”

There are a number of strands of thought here that I hope to weave together. First, I am interested in theorizing fantasy as a genre, especially in relation with science fiction and horror, although the latter will not be present here. I am not interested in defining fantasy with regard to dragons or magic or elves and, likewise I am not interested in SF insofar as it involves technology or aliens, nor horror insofar as it involves vampires or transformation. We all “know” fantasy, SF, and horror when we see them, even if we continue to argue about many specific cases and definitive boundaries. Rather than ask “what is fantasy?” I wish to ask “what does, or perhaps better can, it do?” I shall draw shortly on a talk China Mieville gave in 2009 to help articulate this theorization.

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Paper Proposal for 2013 &Now Conference

Posted in Conferences, Writing with tags , , , , , , on 2 April 2013 by Ben

Second proposal of the night. If it weren’t for the last second and all that. This one is for the 2013 &Now Conference, this September in Boulder. I wish this proposal was a bit more fleshed out, but that’s the way it is.

Horror after History: Glenn Duncan’s The Last Werewolf

Proposal for &Now 7

Benjamin J. Robertson

Jake Marlowe is, as the title of Glenn Duncan’s 2011 novel suggests, The Last Werewolf—and he dreams of suicide. Jake’s life, perhaps never meaningful, has become unbearable in its absurdity. Despite the pleas of his single friend, he prepares to end his centuries-long existence in the knowledge that his death will be as meaningless as his life.

According to Kojève, following Hegel, at culmination of modernity, the end of history, the human, having achieved its perfection and without the possibility of art and therefore meaning, will revert to animality. Similar to Marlowe’s understanding of his imminent death, the disappearance of the human has little consequence for the universe: “The disappearance of Man at the end of history is not a catastrophe: the natural World remains what it has been from all eternity. And it is not a biological catastrophe either: Man remains live as animal in harmony with Nature or given Being. What disappears is Man properly so-called.”

This paper investigates, through a consideration of The Last Werewolf, the horror genre in relation to questions of history, knowledge, and human being. Far from returning the human to a state of nature, in The Last Werewolf, the animal ‘inside’ the human takes the human out of sync with itself and undermines the notion of history’s end by undermining the notion of history itself in the manner that Kojève pace Hegel understood it, Specifically, I consider Marlowe’s statements, made with regard to his soon-to-be werewolf lover Talulla: “Thus she’s discovered the Conradian truth: The first horror is there’s horror. The second is you accommodate it. […] You do what you do because it’s that or death.” This short passage moves the horror genre beyond the knowledge practices of modernity, in which horror derives from a challenge to positive knowledge and rationality, a challenge to our deepest epistemological assumptions. Here, horror becomes the groundless ground of being, an ontological “truth” that renders all meaning impossible, including the meaning of one’s life and the meaning of one’s death.

 

Cloud Atlas notes part the fourth

Posted in Teaching with tags , , , , , on 19 March 2013 by Ben

Okay, here are my day four teaching notes for Cloud Atlas. They cover up to and including the “Sloosha’s Crossin'” section. Again, very idiosyncratic. Would really love to know if they mean anything to anyone else.

 

discussion points

  • finishing last time and adding reading and writing “Sloosha’s Crossin’”
  • coming unstuck in time and history
  • connection between human passing and the desire for immortality Continue reading