Year of Mysteries, Part 9: The Name of the Rose

I’m honestly a bit shocked at how resistant I’ve been to this book the whole year. I knew it would be “hard,” so I kept putting it off. But I love Infinite Jest and Gravity’s Rainbow and a bunch of hard books.

This book has a reputation it doesn’t deserve. I didn’t think it was hard at all in the same way those other ones are. It’s actually written in a very similar way to the way I write. There are so many interesting layers to this book that it will be hard to discuss the “mystery novel” aspect, because that was only one piece (and kind of the least interesting).

Early on, we get one of my favorite characters. He can’t speak any known language, but he’s lived in so many places that he’s developed his own. It takes from all the common languages and merges into a strange thing anyone can understand.

Eco doesn’t do this in the abstract, either. The speech is written out fully. This character is a synechdoche for the book itself. The Name of the Rose isn’t a historical work or pure fiction or a mystery novel or postmodernist metafiction or theology. It draws on a bunch of sources and amalgamates them to a strange hybrid a reader from any of these backgrounds could appreciate on a different level.

Eco doesn’t hide the pieces. They are all in plain sight through the characters. We have Jorge de Burgos representing Jorge Luis Borges. We get William of Baskerville representing Sherlock Holmes. And the title itself is obviously a reference to Romeo and Juliet.

…Or is it? Eco actually tells us the true inspiration is a Latin verse by a Benedictine monk named Bernard of Cluny. Since Eco was a semiotician, I have to believe he also had Wittgenstein in the back of his head, too.

What is the mystery?

The narrator travels to a monastery, and upon arrival there is a mysterious death of one of the monks. He appears to have thrown himself from the window of a library. Over the next few days, many more deaths occur.

This occupies the main narrative momentum, but I basically want to not discuss this further. Anyone who reads this book for the mystery is in for a shock. Let’s get back to the references.

Everyone sees some of the obvious Borges references here from his famous stories. But if you’ve read Labyrinths, you might start to think every single story in the collection gets referenced.

Much of the early part of The Name of the Rose has to do with navigating a complicated labyrinth (Labyrinths, The Garden of Forking Paths) to get to the library (The Library of Babel). They must crack a code (Death and the Compass, The God’s Script). They speak theology to each other (The Theologeans, The Three Versions of Judas). Issues of authorship with the narrator (Pierre Menard, Author of the Quixote). Strange language spoken by the characters (Tlön, Uqbar, Orbis Tertius).

I think I’ve made my point. It’s not just “The Library of Babel,” like many people believe. It’s almost a transformation of the themes of the full collection of stories into a novel.

Another fascinating, easy to overlook aspect of the book is the chapter summary at the start of each chapter. At first, I thought they were mere summaries. But they got long and weird and pretty humorous as they went on.

Most people probably skip them thinking they offer nothing but a summary. Here’s one:

In which, though the chapter is short, old Alinardo says very interesting things about the labyrinth and about the way to enter it.

It doesn’t say much, but it teaches you something important: these summaries will provide commentary in addition to the summary. Here’s another:

In which the labyrinth is finally broached, and the intruders have strange visions and, as happens in labyrinths, lose their way.

If these were just summaries it shouldn’t provide commentary on the length of the chapter or how “interesting” a certain conversation is or remark “as happens in labyrinths.” I grew to love these summaries as much as the chapters themselves.

I’m not sure what else to say. I’m excited to re-read this. I think it will be as exciting as the first time through as I catch more and more references and understand the themes better.

I must caution that this is absolutely not for everyone, but if you find any of this post interesting, I can’t recommend this book enough. It is brilliant and well-deserved of the praise it has received over the years.

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Maybe Infinite Jest is About Addiction

And so but I’ve been re-reading Infinite Jest in this strange, almost purely subconscious way, where I take on just a few pages (seriously, like 2-3 pages) every night right before sleeping. I’ve done the calculations, and so you don’t have to tell me it will literally take years to finish it this way.

I’m in no rush. I’ve read it before.

If you’ve never read it, you really must. It’s terrifying how prescient it is. How could someone in the mid 90’s have seen the coming technology that would be so entertaining it would totally consume our lives? I’m thinking Twitter and Facebook and our phones and the games on them. But DFW actually has a Netflix-like system where people can watch any TV they want at any time. That was unthinkable back then.

It also predicts that we’d come to live in an opioid epidemic.

And all of the below, etc.

Anyway, I digress.

This weird thought occurred to me around page 300 (yes, I’ve been doing this for 100+ days already):

Maybe Infinite Jest is about addiction.

Hear me out. This is one of those things that’s so obvious it requires justification.

I know, Don Gately is in a halfway house for Demerol addiction, and the opening scene is of Hal’s (supposed) reaction to taking DMZ destroying his life, and the kids at the Tennis Academy do pot and alcohol and amphetamines and have tricks to pass urine tests.

I know, the title refers to entertainment so infinitely addicting you pee and poop yourself and then die rather than pull yourself away, and that one character, whose name I can’t remember, holed up in the bathroom stall of a library and drank cough syrup every day to avoid withdrawal but had to go out at some point and ends up having a massive DT withdrawal on a train and probably dies.

I know DFW, himself, had addiction problems and was in AA.

Etc, etc.

But hear me out. It’s not as obvious as it seems. Addiction is everywhere in the novel, but what is the novel about?

What if someone said to you: Breaking Bad is about addiction.

You’d say: Whoa! Hang on. Addiction is everywhere in that series, sure, but that’s not at all what the show is about. Not. Even. Close.

DFW is famous for complaining about the reviews (even (especially) the positive ones!!) when it came out, because no one could possibly have read it in the two-week window (or whatever it was) and actually understood what it was about.

I owed it to him to understand what the book was about if he would rather have crappy reviews than positive reviews by people too intimidated by it to admit they were clueless as to what the book was even about.

I took his comments to heart.

Infinite Jest wasn’t about addiction. That was too obvious. Everyone would immediately understand the book if that’s what it was about.

DFW was also obsessed with literary theorists and philosophy and Wittgenstein and psychiatry and math and semiotics and postmodernism and irony, etc. I looked to these for answers, and I found a treasure trove of ideas.

I won’t try to go into depth on what I came up with. You can see early thoughts in some other posts I’ve done: Westward and Preparation for Infinite Jest among others.

Basically, one can read Infinite Jest as a critique of the psychological theories of Jacques Lacan. The “Entertainment,” at least as much as we can see in the novel, is an on-the-nose manifestation of his ideas.

Language is central to our subconscious, and Saussure’s signifier/signified distinction live on different layers. Wallace thought these poststructuralists were brilliant but flawed. Infinite Jest wants to use postmodernism to show why they were flawed.

Now we’re on to what the novel might actually be about!

Many scenes support this reading, mostly having to do with the various recovery methods. Wallace wants to say: how do we break free of our addictions? Well, it’s obviously not what these theorists were saying! Look what that would look like.

DFW presents a parody as refutation.

This view is also supported by all the circumstances under which characters literally lose their ability to speak. Sure, drugs are the proximate cause, but think through the other circumstances of their lives at that time. Think about Hal’s encounter with the therapist after finding his father having committed suicide.

Why was Wallace upset at people calling the novel funny?

Maybe it’s that things that were supposed to be deep references to Lacan were seen as surface-level jokes.

Corporations subsidize years in the future. Most of Infinite Jest takes place in the Year of the Depend Adult Undergarment (YDAU). We laugh, thinking about what it would be like to have to sign checks with the year being the name of an incontinence product.

No!

It’s more than that. The year wasn’t chosen purely for humor. It’s saying that when our society progresses to this point, adults will have regressed back to babies. All we think of is: want, want, want. We rage at the TV like a baby when Netflix goes out for, heaven forbid, 30 seconds.

In Wallace’s version of the future, terrorists use this entertainment as a tool of both terror and placation. In our reality, we entertain ourselves to death with Facebook while our adversaries use it to elect our presidents for us.

And so but then we don’t care. We want reality stars to be our leaders. It keeps us entertained.

What in the world was this post even about anymore? How did I start talking about real life when this is supposed to be about a book published over 20 years ago?

Focus.

I thought Infinite Jest was about this brilliant refutation of heady philosophers. It cleverly uses addiction to get these points across in multiple ways. It invents its own language to poke at the signifier/signified hypothesis.

Then I woke up in the middle of the night with cold sweats, heart pounding, disoriented (probably withdrawal), and I thought to myself:

Maybe Infinite Jest is about addiction.

Then I realized it doesn’t matter.

Your phone notified you of 10 more interesting things since you started reading this. You haven’t made it this far, and we can’t progress. Our eyes are stuck to the screen. We won’t be able to pull ourselves away. We will poop and pee ourselves and wish we had put on our Depends until it doesn’t matter, because we’ll all be dead.

The thought brought me comfort, and I went back to sleep.

Year of Short Fiction Roundup

The year of short fiction is over, so I thought I’d post my final thoughts on it. Here’s a list of what I read with links to each post:

  1. Daisy Miller by Henry James
  2. The Awakening by Kate Chopin
  3. The Red Pony by John Steinbeck
  4. Breakfast at Tiffany’s by Truman Capote
  5. The Call of Cthulhu by H.P. Lovecraft
  6. Cosmicomics by Italo Calvino
  7. Interpreter of Maladies by Jhumpa Lahiri
  8. Tenth of December by George Saunders

I planned on doing at least two more than this, including Stories of Your Life and Others by Ted Chiang (mostly because I hated Arrival and felt a little bad about not reading the story it’s based on first). Unfortunately, I tend to read by picking up whatever I see at the moment I need a book, and so I got derailed at some point by not committing to my list.

If this collection of short fiction seems to be lacking the standard “greats,” it’s because I intentionally didn’t re-read stuff I knew I loved (like Dubliners or Kafka, etc). I actually got so far ahead of my reading goal of 52 books for the year that I went crazy the other way and added a few 1000 pagers (the second Stormlight Archive book [much better], the second Wheel of Time book [a little better], and the entire rest of the Dark Tower series [each gets worse]).

I did a good job of keeping the mix of novellas and short stories even (four of each). Breakfast at Tiffany’s was by far the best novella of the ones I read. It’s heartbreaking and subtle and the characterization is very deep for how short it is. That novella is a masterclass in great writing and was exactly the type of thing I hoped to encounter by doing this.

I think Interpreter of Maladies was the best short story collection, though Tenth of December is a close second. Saunders experimented a lot more than Lahiri, and I came to a realization that short stories were the perfect medium for experimentation. Some of his stories didn’t work for me, but that was okay, because they were short.

I have to say that I’m a little embarrassed I never picked up the Lahiri collection before now. It’s been on my radar for at least a decade. Those stories taught me that short fiction can have the same gut punch of emotion that great longer fiction often has.

I’ve always had the impression that a key component of generating emotion in the reader is to have them spend a lot of time with the characters to develop empathy. Lahiri gets reader empathy for her characters in a very small space. A lot can be learned by studying this collection.

I’ve had a sinking feeling for a while now that I like short fiction better. This year has confirmed it.

In my opinion, the novella is the perfect medium for storytelling. Most novels ought to be novellas, but for marketing reasons and social/career pressure, people take their novella-length idea and make it a novel. This means there’s often too much description, dragging the narrative. There’s often a soggy middle, where some artificial barriers stall the characters and the story along with it.

The novella (to clarify, I mean around 30,000-50,000 words) fixes all these problems. It gives one plenty of space to develop the story and characters, have the action rise and fall in a satisfying way, and still layer in description and worldbuilding. I often end up despising novels that have great premises and great writing, but they refuse to end. Maybe it’s just me, and the internet age has finally taken its toll.

Last year, I ended up not liking almost any of the “giant novels” I read. This year, I genuinely liked all the short fiction. We can come back to this idea in a week when I do the best books of the year post (spoiler: if the book was 80,000+ words, I probably didn’t like it).

Now you may be thinking, why did I have a “sinking feeling” about this revelation? Answer: I want to primarily write short fiction, since that’s what I like. But short fiction has a much smaller reader base (especially in sci-fi/fantasy). This shouldn’t be the case, but it is!

I even get it. If you’re a casual reader, it’s easier to make a single purchase and live in a giant novel for a few months. If you’re an avid reader, it’s more cost efficient to buy larger books so you aren’t making three book purchases a week.

But I think it would be good if more writers in the genre embraced shorter fiction.

Sci-fi is almost always at its best when exploring one interesting idea. Sci-fi writers often have way more cool ideas than they can write novels for. So why not do a short story collection where each idea gets a story? This is what made The Twilight Zone so great. This way no one has to suffer through a whole novel conceived from this idea. If it’s longer, do a novella. One should only write a novel if one’s story arc actually calls for it.

This used to be more common. Many of the great works in the genre were novellas: Foundation, Rendezvous with Rama, Brave New World, and Fahrenheit 451Even The Hitchhiker’s Guide to the Galaxy didn’t break 50,000 words. Even Samuel R. Delany started with novellas.

Unfortunately, we’re in an age of the ten-volume space opera and 10,000-page epic fantasy series.

Literature is for the Other

I’ve decided to end my silence by responding to a recent Tor article by Liz Bourke entitled Sleeps With Monsters: On the Question of Quality.

I have one main beef with it, and it comes as a fundamental misunderstanding of the importance of literature. But before I get to that, I want to address a throwaway comment that gets at a pet peeve of mine.

She says, “Past a certain level of prose and structural competence, ‘quality’ is a nebulous concept.”

No, it’s not. This is one of those things people say that aren’t true. In the best-case scenario, she hasn’t thought very hard about this. In the worst-case scenario, it’s a rhetorical trick used to defend works of dubious quality.

If quality were as nebulous and subjective as Bourke wants us to believe, all editors may as well quit. Let’s inform the big publishers they can save millions of dollars a year. Those suggested edits won’t improve the quality of your manuscript.

Why waste time as an author even going beyond your first, rough draft? Your edits might change the words on the page, but there’s certainly no sense in which you’ve improved the writing, because, hey, quality isn’t a real thing. While we’re at it, no more literary agents. Everything in the slush pile is a masterpiece to someone.

Since this was published at Tor, let’s also inform those people at Writing Excuses that they’ve wasted twelve years of their lives teaching people the ins and outs of various aspects of the craft of writing. Because, hey, that’s like just their subjective opinion, right? Following that advice can’t improve the quality of your writing. Quality isn’t even a well-defined concept.

What about the hundreds of books on writing and writing programs across the country. Call up Robert McKee and tell him story structure is meaningless. Let’s burn our copies Strunk and White, since prose style doesn’t matter. We can save universities tons of money by canceling Freshmen Composition classes, too. Why not kill the whole English department? What’s to be learned in a literature class when all that matters is what you subjectively feel as you read. Those professors can’t add anything.

I’ve done dozens of “Examining Pro’s Prose” articles pointing out aspects of high-quality writing. I’ve also done a few “Lessons in the Fundamentals” pointing out low-quality writing.

Anyone who has consider the idea for more than a few minutes knows that quality is not a nebulous concept. The notion of “quality” is reasonably objective and fully separate from whether anyone connects with or appreciates the product. One is related to the craft of writing, the other to the art of writing.

End rant and on to the real point of this post.

Bourke writes:

I wrote a column in September about the utter shock of feeling catered to, of feeling seen, of feeling centred in books as a queer person. It was a shock that brought home to me that this is how straight white cis men can rely on feeling when they come to a narrative. After a lifetime like that, it must be disconcerting to experience narratives in which you are present but not central.

It must be alienating to come to narratives where you are an afterthought, or not there at all.

Sit with that for a minute. Just sit with it.

You can feel the smugness emanating from those words. She feels so clever, like she’s struck upon something profound. I almost feel bad that she has literature exactly backward in its importance.

More than any other art form, literature can transport you inside the soul of another person no matter how distinct their identity or experience is from your own. We read literature precisely to get the understanding and empathy that a perceived other is just as worthy of compassion and consideration as our own in-group.

It’s why I chose to be a writer.

It is such a shallow, egocentric, and frankly embarrassing admission to say an important revelation of your reading life was seeing yourself represented. Literature is for the other, not for the self.

Some of the most profound reading experiences of my life were reading James Baldwin’s Tell Me How Long the Train’s Been Gone, and getting a glimpse at what it was like being a bisexual black man in very dangerous time for both of those identities. And The Brief Wondrous Life of Oscar Wao by Junot Díaz, and The Woman Warrior by Maxine Hong Kingston, and Invisible Man by Ralph Ellison, and Jhumpa Lahiri and Joan Didion and Margaret Atwood and Toni Morrison and and!!!

These books all made me a better person precisely because I was not represented as the main character. They gave me empathy and understanding I wouldn’t otherwise have had.

People who LARP (live action role play) have a name for this: bleed. When you inhabit someone other than yourself, those effects can be profound and lasting on your life. The narrative experience “bleeds” over to real life. This only happens when reading about people dissimilar to oneself, and it’s the most important and powerful part of great literature.

(My next novel delves into this concept considerably).

You know what wasn’t a powerful experience for me? Seeing myself as a main character in a book. I’m gay, and I can’t even tell you the first time I read a gay main character. I read The Perks of Being a Wallflower in high school, and this had a gay side character. If I had to guess my first gay main character would be from the novel At Swim, Two Boys. That is a beautiful book, but I don’t know for sure.

Do you know why this wasn’t a “shock” to me? Because I already had that experience. It was me. There wasn’t as much to learn from it. I’ve also never had trouble jumping right into the mind of a character of any sexual orientation, gender, race, etc.

I find it kind of disturbing that Bourke thinks people other than herself (namely straight white cis men) would find a book centered on a character of differing identity “disconcerting” and “alienating.” This probably says more about her than about the people her article is lambasting.

I’ve just made the correct argument for quality diverse literature in the world. It allows people to inhabit the other and find common ground and understanding. It unites through revealing the human condition.

You know what is not a good argument for diversity in literature? To see yourself represented. That creates a useless bubble, and I’d be embarrassed if I read books for that purpose.

As a postscript, I wouldn’t make the same claims about visual media. Representation in film or tv, where you are separate from the character, and their physical traits are present all the time is a different scenario and underscores how important literature is as a distinct storytelling medium where you inhabit another person for a time.

Critical Postmodern Readings, Part 4: Derrida

This series hasn’t been as rough as I’ve expected this far. The first few parts showed some of the classic postmodernists to be clearer and more prescient than many give them credit for. This changes all that. Derrida is rough going. I chose his most famous work, Differance, for today.

I couldn’t remember if I had read this before, and then I read the first paragraph. Oh, boy. It all came flooding back. Not only had I read this, I’d watched a whole lecture or two on it as well. I’m not sure it’s fair to be super critical of lack of clarity when reading a translation, but in this case, I think it’s warranted (more on that later).

The article begins by Derrida making up a new word: differance. It is phonetically related to “defer,” meaning to be displaced in time, and it is phonetically related to “differ,” meaning to not be identical.

So what is differance? Here’s the clearest explanation I’ve come up with after reading the opening paragraphs many, many times. Derrida wants to say that two things can only differ if there is a relationship between them for comparison. Anything that has such a relationship must have something in common. So:

We provisionally give the name differance to this sameness which is not identical.

Derrida then starts dancing around what he means. I don’t say this to be demeaning. His whole point is that language can’t describe the thing he is getting at, so he must dance around it to give you some idea about what he wants differance to mean.

To defer makes use of time, but differance is outside time. Differance produces the differences between the differences. It isn’t a word. It isn’t a concept. I’m going to describe differance as a “tool” or even “thought experiment” to get at Derrida’s particular form of deconstruction even though he doesn’t exactly say that.

Now I’m supposed to be doing “critical” readings of these texts, so I’ll admit this type of thing makes me feel a little funny. On the one hand, I’m okay with being a bit loose on definitions if the only point is to perform a thought experiment. On the other hand, I fear there will be a switch at some point where we start attributing a bunch of unknowable things without argument to a term that has such nonsensical properties as “being outside time.”

So, I want to carefully keep track of that.

Derrida moves on to the relationship between spoken and written language.

In French, “differance” and “difference” have the same pronunciation. He spends far too long talking about how difficult it will be to talk about this, since he’ll have to indicate verbally “with an a” each time (this paper was originally a talk given to the Societe Francaise de Philosophie).

He next spends quite a bit of time explaining some very precise etymological concerns about the word differance:

But while bringing us closer to the infinitive and active core of differing, “differance” with an a neutralizes what the infinitive denotes as simply active, in the same way that “parlance” does not signify the simple fact of speaking, of speaking to or being spoken to.

This type of thing is a pretty silly game. He freaking made the word up! There is no etymology or historical context to analyze. It’s a pure fiction about the word. I hear the Derrida defenders here saying that this is precisely the point, because every word is made up and we play an etymological game to understand them.

Maybe, but I don’t really see what’s gained by presenting that idea in this way.

Derrida then recaps some of Saussure’s structuralist ideas about language: the signifyer / signified distinction. The word “chair” is a mere symbol that signifies an actual chair. The connection is arbitrary. We could easily make up a word like “cuilhseitornf” and have it symbolize the exact same thing. (All that was the Saussure recap).

Derrida wants to now say that actually it’s not so simple as Saussure thinks.

Words don’t have a one-to-one correspondence to things (concepts, etc). In fact, meaning comes from being in a linguistic system, and the meaning of a word comes from understanding what the other words are not signifying. He wants to call this negative space “differance.” Again, I’m worried about how much we’re loading into this one made up word.

black and white book business close up
Photo by Pixabay on Pexels.com

But overall, if I clarify this point to a degree Derrida would probably hate, I’m somewhat sold on the concept.

Think about removing the word “chair” from the English language (i.e. a linguistic system). If you think about something that is different from all the remaining words, you’ll probably get something close to “chair,” because it’s partly defined by the differences between it and all the other words in the system. This seems an okay statement to make, if a little confusing as to its importance to theory.

Derrida introduces the concept of “trace” to make the above point. Basically the trace of a signifyer is the collection of all the sameness and differance left on it by the other words in the linguistic system.

Overall, I don’t get what real contribution this paper makes. To me, it is essentially a reiteration of Wittgenstein’s ideas about words in linguistic systems/games with a single, seemingly unnecessary, mystical layer that comes through the meta-concept of “differance.” Maybe if I were to read some of Derrida’s later work, it will become clearer why he needs this, but at this point I don’t get it.

Derrida is less confusing than I remember. He’s not hard to read because of obscurity or complex sentences or big words. He’s hard to read because he just meanders too much. There are entire pages that can be thrown out with nothing lost, because they are pure reiteration of minor tangential points.

Critical Postmodern Readings, Part 3: Baudrillard

Jean Baudrillard is one of those postmodernist philosophers that people can name but probably don’t know much about.

He’s most famous for his work Simulacra and Simulationin which he argues we’ve replaced everything real in our society by symbols (more on this later). If you’re thinking of the movie The Matrix, then you’ve understood. That movie gets misattributed to a lot of different philosophers, but the underlying concept is basically a fictionalization of Baudrillard’s ideas.

I thought we’d tackle his paper “The Masses: The Implosion of the Social in the Media” published in New Literary History, Vol 16, No 3. The paper appeared in 1985, and it tackles issues relevant to our current media environment. I thought it’d be interesting to see how it holds up now.

He begins with an observation about the media:

…they are what finally forbids response, what renders impossible any process of exchange (except in the shape of a simulation of a response, which is itself integrated into the process of emission, and that changes nothing in the unilaterality of communication).

In the 80’s, as well as traditional media today, this is certainly true. There’s no way to comment on or engage in a dialogue with the people presenting information on TV or radio or even podcasts or newspapers and blogs with closed comments. Traditionally, media gets to define the conversation, and when there is “response” to what they say, it’s still controlled by them, and they still distribute that response to you.

Baudrillard wants to frame this as a power imbalance. The media have a monopoly on information. When a response is allowed, the exchange of ideas becomes more balanced.

Baudrillard brings up the case of an opinion poll as an example to motivate the next part of the paper. He points out that this distribution of information is merely symbolic of the state of opinion. There is a complicated interaction where the information itself changes opinion, rendering itself obsolete. This type of distribution of information introduces uncertainty on many fronts:

We will never know if an advertisement or opinion poll has had a real influence on individual or collective wills—but we will never know either what would have happened if there had been no opinion poll or advertisement.

Here, I have to say this analysis is a bit dated. This statement was probably accurate in the 80’s, but with Google, and other analytic big data companies, tracking so much of our lives, we can be quite certain if certain advertisements or polls have caused some sort of influence on both individual and collective wills.

This point is mostly not important to the overall thesis of Baudrillard in the article, though. He goes on to make an astute observation that can cause a bit of anxiety if you dwell on it too much. We don’t have a good way to separate reality from the “simulative projection in the media.”

It’s a complicated way to say that we just can’t check a lot of things. If we see on the news that there was a minor earthquake in Japan, we believe it. But we weren’t there. All we get is the simulation of reality as provided by the news. Of course, there are other ways to check that fact by going into public seismic activity records, etc.

But there are other narratives and simulations that are much harder to check, and in any case, we are bombarded by so much information that we don’t have time to check it. We believe the narrative as presented. If we come across a competing narrative, we only become uncertain. It doesn’t actually clarify the situation (here we get back into Lyotard territory).

Baudrillard would later write a book-length analysis of this about the Gulf War (entitled The Gulf War Did Not Take Place) in which he claims that the American public only received propaganda about the war through the media.

The war took place, but the simulated reality the public received did not accurately reflect the events that occurred.

Moreover, there were pretty much no sources outside this propaganda to learn about the actual events.

We live in an age of hyperinformation, and the more we track how everything is changing, the worse our understanding gets. This isn’t Baudrillard’s wording, but I can see how this makes sense: we confuse noise for signal when we pay too close attention. We also get trapped in our own little information bubbles when we pay too close attention. “Hyperinformation” (his term) can lead to more uncertainty, not less.

I think we’ve come to a point where hyperinformation is at least somewhat good. Yes, for the reasons listed, it can be paralyzing if you want the truth. But at the same time, it means the truth might be out there to discover. We don’t only get the corporate media narrative now. There are independent reporters and journalists working hard to present viable alternatives. It isn’t hopeless to see through the noise now (as it was back in the 80’s).

Baudrillard says we can get out of the despair of all this by treating it like a “game of irresponsiblity, of ironic challenge, of sovereign lack of will, of secret ruse.” The media manipulates and the masses resist, or better yet, respond.

I’ll just reiterate that what Baudrillard identifies as the central problem here has been partially solved in modern day.

The masses have twitter and facebook and comments sections and their own blogs and youtube channels.

The masses have a way to speak back now. Unfortunately, this has opened up a whole new set of problems, and I wish Baudrillard were still around. He’d probably have some interesting things to say about it.

Now that I’ve been doing this Critical Postmodern Reading series, I’m coming to believe these postmodernists were maligned unjustly. I’m coming to believe we should keep two terms distinct. The “postmodernist philosopher” analyzes the issues of the postmodern condition. The “postmodern academic” utilizes the confusion brought on by the postmodern condition to push their own narrative.

It’s easy to look at the surface of Baudrillard and claim he’s some crackpot history denier that thinks there’s no such thing as objective reality so we all make our own truth.

But if you read him carefully, he seems to be saying some very important true things. He thinks there is an objective, true reality, and it’s dangerous that we all simulate different versions of it (i.e. we filter the news through an algorithm that tells us the world is how we think it is). The truth gets hijacked by narratives. He sees the monopoly the media has on these narratives as damaging and even simulating a false reality.

His writing doesn’t even slip into incomprehensible, postmodernist jargon to obscure the argument. I thought this article was illuminating despite and comprehensible. The only parts that don’t still feel applicable are where he didn’t predict how technology would go.

Examining Pro’s Prose Part 13

Graham Greene is one of my favorite “classical” English language writers (I guess I mean he’s taught in some schools). I first read The Power and the Glory eleven years ago, and I was blown away by it. I haven’t returned to the novel since then, but I wanted to use it to dig into Greene’s prose a bit.

I’m not religious, and I wasn’t back when I read it either. One of the things that struck me most about the novel is its ambiguous stance toward religion. The book takes place in a (future?) time where religion is banned. Literally every single reference to any religion is destroyed by the government.

The main character is a Catholic priest secretly keeping religion alive and standing up to the evil government. It sounds like the setup to a cheesy, made-for-tv, inspirational religious movie. But the priest is a drunkard (known as the “whisky priest”). He’s gluttonous and immoral. Now it sounds like anti-religious fiction about hypocrisy in the Catholic church.

Eventually I realized that thinking in terms of these competing narratives was a mistake. This setup was merely a powerful tool to examine the human condition. Each of us has virtues and vices. Each of us has a moral compass we try to live by, and part of the novel is to show how even the strongest of us can throw these ideals away when put in dire situations.

Greene writes with a simplicity and clarity necessary to drive these points home. The book could have easily slid into excess drama and cliche and angst if done by a less-skilled writer. Instead, we get a beautiful story of human frailty.

Anyway, I thought that preface was necessary to understand an analysis of the prose style. Here’s a segment from the second chapter:

The lieutenant walked home through the shuttered town. All his life had lain here: the Syndicate of Workers and Peasants had once been a school. He had helped to wipe out that unhappy memory. The whole town was changed: the cement playground up the hill near the cemetery where iron swings stood like gallows in the moony darkness was the site of the cathedral. The new children would have new memories: nothing would ever be as it was. There was something of a priest in his intent observant walk- a theologian going back over the errors of the past to destroy them again.

One of the hallmarks of non-professional writing is the misapplication of “show, don’t tell.” Something that is supposed to be a small detail blows up into paragraphs of showing for no reason. The brilliance of Greene here is how he uses single, carefully chosen descriptive words to evoke feelings, mood, scenery, backstory, and more. Lesson: one can show more with less words if those words do work.

One could imagine an exuberant young writer letting that first sentence get out of hand with descriptions of the shutters and houses and the general mood and atmosphere of the town. Instead, Greene’s use of the phrase “shuttered town” does all this work for us. We understand the people are terrified. They’ve shut themselves in. No one is out and about. It’s desolate and bleak.

All of this “showing” happens in our head, because Greene struck upon a great word. If the word “shuttered” were something like “terrified,” we’d only get the mood. If it were something like “locked up,” we’d get a visual, but not the mood.

Next, Greene does multiple things at once. He describes select places in the town in order to get backstory on the lieutenant and paint a picture and explain the current political climate.

When the lieutenant was a child, there was a school. He was part of wiping it out and replacing it with the “Syndicate of Workers and Peasants.” Greene doesn’t take the time to explain what this is, but it’s clear. This is some bureaucratic government thing. The name evokes this without further need to explain.

A cathedral was destroyed, and a playground put in. But if Greene had said it this way, we might think this is a happy place. Instead, he gives us the simile “iron swings stood like gallows.” It evokes the disturbing thought of children having to do with chopping people’s heads off. Careful juxtaposition like this can paint vivid imagery in people’s minds. Greene continues this theme. The playground is “cement.” It’s near the cemetery.

Everything about the description of this place is disturbing, and what’s brilliant is that he reveals so much about the character and the town while doing this. This is a man remembering his own history with these places: how he helped wreck the town.

Then he uses a parallel concept. The new children will have new memories. Greene shifts from the character’s childhood to new children and what they’ll think.

The paragraph closes by drawing a parallel to the priest. He connects two of the characters in the novel and draws out a theme. All people want redemption from their past mistakes. But sometimes things we do to absolve a “mistake” only makes things worse. Those “mistakes” might not even have been mistakes at all, but we only see this in hindsight.

The takeaway from Greene’s prose is that one can show more with a few carefully chosen details than if one were to spend paragraphs describing it all. This stripped back style strikes emotional resonance in the novel (especially the haunting last chapter).

Of course, style must be chosen to suit the needs of the work, so this might not be the best choice for everything. But it’s hard to think of a modern novel that wouldn’t be made better by moving in this direction a little.