The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence; does more than represent the limits of knowledge; it limits knowledge. Whether it is obscuring state language or the faux-language of mindless media; whether it is the proud but calcified language of the academy or the commodity driven language of science; whether it is the malign language of law-without-ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek – it must be rejected, altered and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language – all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas…
Even though I grew up a comic book nerd, I’m pretty much over all the Marvel/DC Comics superhero movies. I used to watch them religiously at the movie theater – because if one must watch a big budgeted bloated bonanza of bombastic visual proportions, then it must be watched while on the big screen – however, I’m trying very hard to wean myself off of them. Key word: trying.
Despite the fact that I know without a doubt I’m going to be hugely disappointed at the movie’s end, I still find it hard to resist them. For instance, the buzz around the Black Panther movie is phenomenal so chances are pretty good I’ll make the trek to my local Frank’s Theatre and hope for the best… while still expecting the worst.
Fortunately, thanks to the likes of HBO, Netflix, Amazon Prime, and the… like, the superhero genre has not been left behind during this amazing renaissance of television we’re happily going through.
As for there being any good content on broadcast television, I wouldn’t know. I haven’t watched anything on any of the broadcast channels, other than sports, since Happy Days went off the air… what has it been? a year or two ago?
Except for one broadcast show, that is.
I am off on a hardcore wide-eyed binge on that show, which should tell you that I don’t actually watch it when it’s broadcasted on Fox. No way. Never again will I be a slave to a network time slot.
I watch Gotham as any discerning 21st Century viewer would, at my leisure on that amazing little channel of an app called Netflix.
With all its dark, demented, hyper-violence, let me tell ya… Gotham is good. Real good. It actually feels like a comic book has been brought to life, making it exactly what a discerning 21st Century television viewer like yours truly wants…
Hey! What’s up?! Long time no speak. Everyone surviving these bizarre times okay?
I must admit that I have grown accustomed to not blogging or socializing on the internet these past several months. Not that I haven’t missed you, it’s just nice to be engaged so heavily in the really real as opposed to the virtually real.
Well, I guess not all my time has been spent in the real real. Much of it has been spent in the imagined real as I’ve been chugging along on a new book.
Yes, I think I’ve finally found a novel-length story with lasting appeal, at least to me, that I may be able to bring to an end instead of just starting and sputtering out like so many others.
Colson Whitehead was born in 1969, and was raised in Manhattan. After graduating from Harvard College, he started working at the Village Voice, where he wrote reviews of television, books, and music… COLSONWHITEHEAD.COM
I’m not a very good writer, by which I don’t only mean it in regards to what I’ve written, but also and mostly to how I’ve written.
The act of writing pains me and I’ll pretty much do anything mostly legal I can to get myself out of it. I guess the best way to express how I feel about writing is: I don’t like having to write, but I truly love having had written.
But still, I don’t really know why I do feel the need to write except that there is some unidentified force and/or source beyond my reach and comprehension that obliges me to do so.
You know, seeing how we already have robots writing poetry and composing music, I assume we will soon have robots taking over as reviewers and editors, as well.
I yearn for that day…
You see, months and months ago — essentially an eternity in our hyper-paced, brain-frazzling, tele-connected, continually-morphing-right-before-our-eyes day and age — in an effort to enhance (establish?) my writing cred, I submitted a couple short stories to various literary journals in the hope that they will get selected to be published so that when I self-publish my short story collection I can add a highfalutin aside within the book’s front matter that gives a self-congratulatory thank you to these literary journals for their wisdom and insight in selecting my work to be published.
Can ya dig?
I bet you can…
As I’m sure you suspect, I subject myself to the subjective and contrary literary values of these human reviewers and editors because, just between you and me, I (like most other self-published authors I suspect) would like to someday be an unself-published author and be recognized as a “real writer” within the old slow (really, really slow) world of traditional publishing. (A good read on the question of whether one should self-publish or not can be found here.)
But man* let me tall ya that from all the brain-scattering hyperlinking/twittering/buzzfeeding** I’m now addicted to, I’ve become a very impatient man***, which is why back in 2011, after experiencing how long it took agent after agent to reject my highly exceptional queries (that, and because back then I wasn’t sure I would be of this world too much longer) I began all this ego-degrading self-publishing and self-marketing nonsense in the first place.
And which is why now, months and months after submitting my highly exceptional short stories to these good-fortuned literary journals I am getting extremely impatient with their less than expeditious responses and am once again beginning to rethink my strategy for literary fame and wealth, all of which is causing me to consider withdrawing my submissions and just go ahead and publish the damn short story collection minus the self-congratulatory front matter aside.
Off I go to my Submittable account for the third time this morning to see if the status of any of my submissions have magically changed to something other than “In-Progress.” At this point, I would celebrate even a status of “Declined” just so I can move on in certitude and vigor.
And, while I’m (over-)indulging in my self-inflicted publishing pain at Sumbittable, I invite you to indulge in a short piece of mine that was actually selected to be published by a highly respected (at least by me) though highly unknown independent publisher, and which can be found by click clicking right here.
Yeah, write on…
**included for dramatic purposes only – I’ve never actually been on buzzfeed…no, really
Mysterious Characters and Unforgivable Acts of Violence
by Jason Greensides
One piece of writing advice that never set well with me – however useful it is at a practical level – is to know your characters: that you should be able to understand every little aspect of your character if you ever want them to be believable, sympathetic, and to leap off the page. Of course, in general this is useful advice, however, not only has this the potential to make writing less fun (one of the reasons I write is to discover something I didn’t know), but seems a fundamental flaw in how we should perceive other people in everyday life, particularly the violent and anti-social ones. It presupposes that characters and real people can be fully understood (and therefore judged), which I believe to be not only impossible, but ethically wrong.
The Baltimore Riots and other events of social upheaval always produce the same reaction in me. Not: How could those people act that like that? But: How could those reporting on events (which, because of ‘likes’, shares and unseen algorithms, is actually you and I), cast absolutist judgement upon people whose circumstances we can’t fully comprehend, as they themselves can’t. This too is another reason why I hate that writing mantra Know your characters: How can I truly know my characters when I don’t understand all the things that make me me?
Not only do the episodes of one’s own life seen through the lens of chance obfuscate analysis of what motivates us – our childhood, our parent’s lives, our grandparent’s lives, and back through human history – but at a genetic level, when you analyse how genes move from generation to generation through natural selection. It is the interplay between their outward characteristics and the environment in which they find themselves, not foresight or inherent strength, that ensures their survival through time. Once you know this, you can’t help but come to the conclusion that really genes just make this shit up as they go along.
Then there are random geological and cosmic events that shape the course of the planet and life as a whole – an endless swirling and shifting series of events with (possibly) no primary cause, adding yet more uncertainly about what made us who we are.
And at the atomic level, Heisenberg stated that you can’t know the position and momentum of a particle to 100% accuracy. So if you can’t know that then how can you know everything about someone’s deeper motivations, which in turn are obscured by their own life’s events, and in turn their understanding of those same events.
Life is brimming with chance and the ever unknowable – it’s everything but perfect and absolute – and this is what we (as artists, as writers) must embrace if our work, however down-to-Earth, is to reflect the great mystery of existence.
The hard thing about this is, of course, when writing so called ‘evil’ characters (and if you’re still with me you’ll agree this is a useless term), or seeing ‘evil’ acts play out in society, trying to suspend judgement upon them is one of the hardest things we can do. If a group of guys broke into my house, for example, and assaulted me and my wife, I too would call them evil, would want absolute judgement to squeeze the breath from their throats. I too would not be able to forgive.
But we must try, because ultimately, however you think about it, there had to have been at least one Nazi who, while placing the cold barrel of his Luger to the back of the head of a Polish Jew, thought, ‘Seriously, what the hell am I doing?; there must have been one Cheka officer who, while denying a Kulak his daily allowance of bread, thought, ‘My wife is really not going to like this’; there must have been one RPKAD commando in Indonesia who, before raping the fifteen-year-old daughter of a suspected Communist, thought, ‘What if my own daughter found out?’ Then moral complexity is further muddled when we do not consider pilots of Allied forces carrying out the bombing of Dresden as monsters, do not view leaders of the Western world as having committed an atrocity when imposing economic sanctions on Iraq.
So, suspend your judgement in everyday life, if you can (and I, for my part, will try to suspend my judgement upon those who deal with sweeping, all-inclusive statements of evil), and maybe, just maybe, the characters you create may have a little mystery, may have a little of the unknown, may be dynamic enough to hold our attention until the last page.
It seems that some of you may actually think this blog is now about dogs and ramen. It’s not. That post about dogs and ramen was an April Fools’ prank. This blog has been and will continue to be all about books and writing in general and Kurt’s books and writing in particular. Right on?
Ha ha…what more can I say about the two submissions in response to today’s prompt other than they both are frikkin’ awesome and just the bizarre fun and wonder I was hoping for. The only problem is having to choose one over the other.
I had pretty much resolved myself to the international standard selection process of the Flipping of the Coin to let Chance decide. However, right before the flip, as the coined balanced precariously on my thumb, I manned* up, so to speak, and decided that I would not choose my selection by such a cop-out of a way.
The selection had to be up to me not a coin. I had to find a way to differentiate between the two. So I got to thinking about what if it were me writing a response to the prompt. Which response would I be more likely to write – the humorous or the macabre? Yeah, you guessed it, I probably would have gone dark with this one.
Consequently, it is my pleasure to present to you…
Detectives are baffled by findings of human remains found floating in the Channel. All of the dead were cut into pieces, but meticulously scrubbed clean of blood, fingerprints, and other evidence.
Lead Detective Jeff Murdock would not confirm the rumors that there is a serial killer on the loose, but did confirm that there are multiple victims.
Anonymous sources within the department tell BBC News that they believe there are at least two victims who were dismembered, cleaned, and then dumped into the Channel.
BBC News has also learned that a task force dubbed “The Butcher” has been set up within the department but has been unable to determine whether it is related to this case. We have also learned that at least one witness may have been brought in for questioning by the task force.
In other news:
The families of Westham’s famous Candlestick Maker, and his friend and world-renowned Baker are asking the public for assistance in finding the two men, who never returned home after a fishing trip. Anyone who knows anything about their whereabouts is asked to call 111.