. . .
The future canon will be based upon book sales. Questions like “how and why did so-and-so sell so many books” will take prominence in the classroom.
Scholars will seek ways to quantify other characteristics of literature, but until they succeed, 'book sales' will determine focus. Even if and when someone succeeds at measuring something like the “beauty” of work, those measurements will go on to impact book sales, which means that ‘copies sold’ is likely to remain the determining criterion of canonical merit.
A sizable minority of writers will continue to judge themselves by other, unquantifiable standards. They will continue inveterate pursuits and initiate novel chases wherein they employ language to achieve what have you. However, compared to the main race, these lesser races will attract fewer and fewer competitors. Less competition will mean less development. Within this alternative sector, progress will be slow and results diluted, not only because of fewer entrants into their so-called race, but because of the non-quantifiable definition of their object(s). Some will agree on a general goal, like “beauty,” but disagree as to the definition of its exact nature. Others will seek disparate goals altogether. Consequently, the alternative race will deliquesce into countless little races -- many no race at all, for one horse does not a race make.
However, inasmuch as alternative writers remain united by an opposition to quantifiable standards of literature -- namely 'book sales' -- as the determinant of reputation and canonical merit, their competition will yield some significant results. There will also be the achievements of the occasional and exceptional “lone wolf” to consider. But bear in mind that even if a lone wolf eschews the pack completely, it will still rely heavily on its own genetic code; and, the code will suffer from the lack of competition in the recent past even if its bearer is immune from the competitive circumstance of the moment.
And, regardless of these forces, some alternative writers (many under the protection of a traditionally significant genre -- like poetry) will likely to enter into the canon, much as collegiate women players enter the Basketball Hall of Fame.
In contrast, the competition will only intensify among writers engineering language to achieve market impact; and, out of a fiercer arms race will come fiercer arms. The spectacular achievements borne of this competition will attract yet more attention from scholars, will further solidify ‘book sales’ as the primary characteristic by which literature should be valued, which in turn will sway yet more writers to enter the main race, and so on, until the inevitable exhaustion. The best-sellers will be the "Michael Jordans" of the Hall.
In summary, the study and appreciation of literature will not be exempt from two trends in evidence for all other sectors of human endeavor. Trend one is to better understand the world by relying more heavily on quantitative methods and statistical analysis. This trend reflects the rising role of the quantifiable in our personal value systems. Such quantity-informed value systems were once labeled --pejoratively -- as “materialistic,” but are increasingly called “non-ideological,” a label that has positive connotations. The change in nomenclature hints that such a value system is still in ascent.
Trend two, which likewise cuts across academic and non-academic sectors, is to emphasize a larger structure when analyzing a cultural phenomenon. A book will not be studied so much in and of itself -- whatever that means -- but as an interaction with and a document of a culture as a whole. To study books will increasingly mean to study culture through books, and future scholars will naturally zero in on those books which sell the most copies.
Finally, the present rate (likely only to increase) at which raw linguistic data is generated means that scholars will not have much choice in these matters. In an era where every email and social networking update is archived, scholars will find themsleves in need of increasingly specific material criteria upon which to direct their searches through the infinitudes of words. Everything is now preserved regardless of “quality”, and old notions of longevity are obsolete. In the past, words were preserved according to a trait such as “literary value” which was in fact nothing but an evaluation by an institution which preserved literature, be it a church, a university, or a publishing house. Now, it is not what gets preserved, but what gets read, and what got read will determine what gets preserved in future university canons -- so insists “anthropological interest.”
This is not so much a prediction as an extrapolation of current trends.
Tuesday, November 10, 2009
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18 comments:
Can you provide any examples of these forces at work today? A case study would be useful.
The hip-hopification of literature! In the future, people will sell books by writing about how many books they sell! Except you forgot that in twenty years books will be a niche market with little cultural relevance!! You should write about "hits" instead!!!
Ok, it's time for me to start a blog and blogging about how many hits I get.
In broad strokes: the academy's acceptance -- now embrace of genres such as mystery, fantasy and crime fiction. Those books which move the market, will move the classroom.
Expect more dissertations on J.K. Rowling than on any other contemporary author.
@ terrence: Tao Lin sells books by writing about how many books he sells.
Surely we’re overreacting here. If the New York Times is any judge of what the Establishment considers Literature, they spotlight books that, sure, sell a great many copies, but not nearly as many as cookbooks, inspirational guides, unabashedly trashy romance novels, etc., etc., which are excluded from serious discussion in the Times. Things might get bad. But never so bad that, say, Joel Osteen’s books of Christian motivation make it onto a college lit. syllabus, regardless of how many copies it sells. Also, sure: Harry Potter will be the topic of a thousand Ph.D. dissertations. Is this so threatening to our Republic of Letters? They need to find something to write about, after all; some virgin landscape to strip-mine. Let’s thank God that Ph.D. dissertationists don’t call the shots.
I estimate apx 35-40 years for the model I outline to be fully in evidence.
I don't believe the course adumbrated in my analysis is "bad" at all. If I wrote anything that gave you that impression please let me know so I can duly correct it.
As for cookbooks, I would not be too terribly surprised if they made their way into the conversation -- and I'm not just talking the alice b. toklas cookbook. But, I think it unlikely. More likely is that a run of the mill cookbook would be excluded by virtue of the consideration to genre which I noted (though should it outsell its nearest rival by an order of magnitude or more, it would demand close study).
I'm not familiar with Osteen, but I wager it's only a matter of time before inspirational, self-help, romance, and financial books acquire similar status as a mystery novel now enjoys. That said, many of those books have yet to show sustainable sales, and that might relegate them to a more marginal category.
In fact, it's an evaluation of sales' sustainability which may preserve older notions of literary value, though in a slightly different form. Many names in the current canon are not about to go anywhere: Shakespeare is the greatest selling english language author of all time.
Eric, how many "hits" are you getting to be culturally relevant?!! Seriously, PUT IT UP OR GET OUT THE GAME, like, two million? Three million??! I wont listen to you.
Wow. This is the stupidest thing I've seen on this page in awhile--and that's saying something considering the usual hand-wringing over the role of the artist in contemporary society disguised as thoughtful (in a hurried sort of way) analysis that I often get from this blog.
How you find a causal relationship between the decline of alternative modes of writing and the increase in reliance on profitable modes of writing is beyond me: as if 99.9% of writers have any choice in the mode they end up expressing themselves.
As I reflect on my time spent reading in the past few years I can only think of a couple writers who didn't think what flowed from their brain to their pen wasn't inevitable--that it wasn't some manifestation of Logos being beamed straight from the Center of the Universe.
This is probably b/c the total number of writers alive and active at any point in history, who have a healthy relationship with the twin sciences of Rhetoric and Grammar AND know how to manipulate them darkly--in ways outside those known to the applied sciences, has probably been constant throughout the history of writing. Christ, show me a writer who can articulate the difference between anaphora and anadiplosis, or engage in fine colloquy regarding the possesive use of the dative--with a mind towards what is diachronic and synchronic in that particular use--then I'll eat my hat. Furthermore, if he can hold this science up his sleeve and not fall for that false choice between the sentimental and the avant garde--well, then I'll be out of hats to eat, so I'll simply look on in admiration.
If a writer makes some money tuning his little radio brain in to the Voice, he probably reassures himself that he's lucky enough to be in step with the universe at a profitable moment, temporally speaking: right place, right time--or so he says to himself on the way to the bank.
Also, spotting trends should not be mistaken to be in anyway representative of what goes by the name of truth--which whatever it is, is not the predictable uptick of an inclining graph.
AND the sleight of hand involved in statements like "Shucks, I'm just sayin' the facts" is painfully obvious--like, Jerry Sullivan bad.
All of my love,
Shane
@shane: It is true that my analysis neglects to factor in Logos, the Voice, and the Center of the Universe. However, were I to include them as factors, I don't believe my conclusions would be materially changed, for two main reasons. One, the lack of reliable data on your proposed factors (Logos especially). Two, the statistically insignificant number of writing professionals who employ them as resources.
For, while I admire your (quite spirited!) commitment to a conception of writing that is likely (and ironically) prehistoric, I respectfully disagree with your assumptions about intentionality and the contemporary pen. Your claim that "99.9%" of writers operate by non-volitional means is rhetorically forceful, but it is not supported by any evidence available to me. If I were compelled to make a guess, I'd say you have it almost perfectly backward.
Similarly, the model you propose ignores the feed-back loop between the writers and the public, a dynamic which is responsible for the well established phenomenon of literary fashions. It's a fatal omission. For, the very fact that fashion is feedback-driven makes it cyclical and predictible, and a valid subject for the kind of predictive analysis offered here.
In short, although I respect the sincerity and energy of your opinion, I hold firm to my conclusions, as unexciting as they may be.
Thank you.
Just because your analysis is uninspired and sleep-inducing doesn't mean that it's soundly reasoned.
"were I to include them as factors, I don't believe my conclusions would be materially changed, for two main reasons. One, the lack of reliable data on your proposed factors (Logos especially)."
I was using Logos, etc. pejoratively; i.e. when contemporary writers are asked (my sources are Charlie Rose, Terry Gross, CSPAN BookTV, Paris Review--all searchable databases) where what they write comes from they--to a man--will hem and haw before offering some convoluted version of the Logos myth; e.g. contemporary writers do not view writing as a science--nor do they view their writing as objectively definable. Most writing is written to communicate the idea that the writer, with astounding credulity, thinks comes from some place within him--which coincidentally hews to a universal principle; i.e. the fact that it can be communicated. If you can find a contemporary writer who implicitly or explicitly approaches language from the side of the object then let me know.
"For, the very fact that fashion is feedback-driven makes it cyclical and predictible, and a valid subject for the kind of predictive analysis offered here."
I don't doubt this statement at all; I was more interested in your thinly vieled lament that market-driven writing would sap resources and ennervate the drive toward canon preservation/perpetuation. You can disguise it as sober analysis, but you can't disguise the emotional force (omg! you write/talk about it all the time!) required to undertake said analysis in the first place.
"If you can find a contemporary writer who implicitly or explicitly approaches language from the side of the object then let me know."
It's not that I can't name a writer who approaches from that side, it's that I can't name one who doesn't. The quantity of analytical writing about writing, from poetics to criticism to classroom lectures, attests that most writers approach the craft objectively. The very existence of English departments (not Logos departments), the ungoogleable number of times a writer has said "in this book I try to ____" . . . the vast amount of evidence mocks any attempt to select a small set of cases.
Of course, part of the writer's craft is deception, and part of a writer's job (or at least a certain type of writer's job) is to perpetuate the myth of Logos. 'Writers are con-men because language is the biggest con of all' and that kind of thing -- but this is getting a bit far afield.
There are probably a few believers out there. However, the unintentional, inspired, Logos-driven writing they perform will fall subject to the market forces which should increasingly enter into an intentional writer’s calculations. Inasmuch as there is a "zeitgeist" out there to be channeled through the writer's antenna, that zeitgeist will lead writers to write bestsellers -- for that is the temperature of the times.
It's also worthwhile to note something I refrained from discussing in my brief piece; namely, the more "situationist" aspects of a writer's career. The Life of the writer, the talking about writing, all a writer does off of the page itself. These activities increasingly lean toward selling books.
James Ellroy is an excellent example. He writes books while keeping in mind their adaptability to screenplays. His books get made into movies, which then sells more books. His afterward to his bestseller "The Black Dahlia" is mostly devoted to promoting the movie version and flatly states his hopes the movie will help booksales. He also sensationalizes his own life to promote his future works. It's an outstanding piece of writing, and it's no accident he is considered one of the great contemporary authors -- and he is explicit about his intentions.
But all this is so self-evident, it’s hardly worth stating. If there’s anything a little new in what I’m saying, it’s this. In the more “ideological” past, if one tried to write with the object of selling copies, one would not likely write a great book. But, in the near future most of the great books will be written with the object of selling the most copies.
I'm reluctant to address my own interests in this matter, but perhaps I should take the time to rebut assertions that I am disguisedly "lamenting" the rise of market forces in the creation of literature.
I am lamenting nothing. I am not a writer, I am a financial professional. When I read, I read for pleasure. When I write, I write for pleasure.
If I retire, and I attempt to become a writer, I will try to write best-sellers.
I suppose it is the job of a serious writer to be taken seriously, and to contribute something like 'meaning' to the culture. But 'meaning' is for readers to create, and is mostly mass apophenia. People have to consider your book to make their meanings. By writing a best-seller, an author ensures the book will be so considered.
If the Bible were written today, for the first time, it would be meaningless. It was written in a very ideological age, and its richness derives not from the text, but from the exegesis. contemporary 'exegesis' depends on contemporary values. The best seller is the bible.
I for one have no problem with that.
"The quantity of analytical writing about writing, from poetics to criticism to classroom lectures, attests that most writers approach the craft objectively."
No, no, no: The discussion was not about what goes on in Clemans Hall. Now that I've made it out into the big world, I've realized that that ingrown way of thinking is rather unique to Getzville, NY--it successfully spread to Allen St. in Buffalo but its trajectory stops there. We were talking about best sellers/canon; in particular, I was thinking of fiction.
"However, the unintentional, inspired, Logos-driven writing they perform will fall subject to the market forces which should increasingly enter into an intentional writer’s calculations."
You're misunderstanding the distinction I made about Logos/intentionality. It is my suspicion that most professional writers write with a mind to selling copies (I don't think that this necessarily affects the quality of writing or the content of the writing negatively or positively). This incentive accompanies them while they write. That's fine. You can replace thoughts of posterity with thoughts of Dom P.--they're both irrational delusions. But it doesn't affect the relationship a writer has with what he writes. Most writers of fiction these days don't go in for artiface--American Fiction has become a sort of degenerate realism, an excercise in credulity, whatever you want to call it. To me, that's an indication that writers don't think about their craft objectively; it's an indication that, ideologically, contemporary writers (whether they espouse it or not) have a more or less reflexive relationship with reality and their expositions thereof.
Therefore, the trends that you outline are meaningless in a larger literary context which will retroactively categorize works differently then they are categorized by marketing people and authors.
"In the more “ideological” past, if one tried to write with the object of selling copies, one would not likely write a great book."
I disagree. Euripides certainly wrote with an eye to winning first at every Great Dionysia and he won maybe 4 or 5 out 40 or so. He was misjudged, but posterity has been good to him. Selling copies is the American version of recognition and respect but it has nothing to do with quality and content and for that reason is an unreliable indicator of trends.
"Now that I've made it out into the big world"
--every New Yorker just laughed so hard they farted all the way to Philadelphia.
But geopolitical realities aside, your example of Euripides is examplar of my point. He wrote for recognition in an age where recognition was laudable. An age where athletic prowess, physical beauty, financial success, and politial power were esteemed, nearly deified. It was an age not unlike our own. The more ideological past I refer to is more recent. When medieval christian values were still much in force, and material desires were repressed so that one had to resort to symbols to express desire and avoid being stoned -- where fame, riches, and hot girls were cloaked as salvation, learning, and grace. No, you're absolutely right to cite Euripides.
As for the extent to which contemporary writers do what I'm saying they will do -- remember, it's what they will do, to a greater and greater extent. The best ones are doing it already.
And yes, of course, things will change eventually. I'm not predicting the end of literature, only the next major cycle. No, even that's too grand a statement. I'm merely clarifying what is already happening.
'"Now that I've made it out into the big world"
--every New Yorker just laughed so hard they farted all the way to Philadelphia.'
Right. By "big world" I meant "not discussing literature with graduate students from comp lit. programs anymore". I'm sure you might have guessed that if you hadn't been preoccupied with that truly hilarious riposte.
Anyway, I think we're talking about different things; maybe you could go back predicting the results of NBA games--that way we don't have to wait "35-40 years" to find out that you were wrong.
Brass tacks: we should all try to write best-sellers instead of all this willy nilly nonsense.
I mean, nonsense on the side is all well and good, but you don't have a buffalo sunday by eating hot sauce alone.
Forget that: it would be just my luck to write the first best seller that nobody buys.
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