Right now there are, count ’em, three volumes from E.L. James’ vile, puke-stained series Fifty Shades of Grey at the top of the bestseller list.
Let me remind you folks: this “author” honed her chops on Twilight fan fiction and has, apparently, graduated at the head of her class when it comes to derivative, amateurish, abysmally written gutter trash. Reading the first five lines of any offering by Ms. James immediately reveals her paucity of skills, the crudeness of her prose.
I would never have believed it was possible that popular fiction could sink any lower than Stephenie Meyer…but then along came Amanda Hocking (ptui! ptui!) and, now, (God help western civilization) E.L. James.
Am I supposed to draw comfort from the fact that an unheralded talent can still score a lucrative contract from a venerable publisher? Should I holler and celebrate because at least two of these authors come from the independent/DIY/self-publishing world, same as l’il ol’ me?
Sorry, but that’s not the case. I’m embarrassed by the success of authors as horrible and sub-literate as James, Hocking, et al. I’m embarrassed to belong to a society where the printed word has become so devalued and compromised, this kind of crap is not only published but gobbled up by a public whose brains have gone soft and fatty from all the junk food we take in through our eyes, mouths and ears. We immerse ourselves in trash, refuse to task our minds with challenging artists and works, seek escapism the way a junkie craves the needle. The mind is a muscle and ours’ have gone flabby, resisting even the lightest exercise.
Video games, comic book movies, books written for an intended audience with a mental age of fourteen…all part of a decline, the barbarians at the gates garbed in corporate robes, enticing us with baubles, buying our delinquent souls with the equivalent of beads and flim-flam.
I shudder to think what the next step down the evolutionary ladder might be, how much lower literature can sink.
What comes after E.L. James?
That’s something too terrible to ponder…
It’s Thanksgiving for our American cousins—it strikes me that late November is a weird time to be giving thanks, especially if you happen to live above the Mason-Dixon Line and your kids have already built a congregation of snowmen in your front yard.
And, frankly, I don’t need the excuse of a national holiday to carve up a turkey and then subsist for the next week on turkey leftovers, turkey sandwiches and, finally, turkey soup (sorry, I just drooled all over my keyboard). Turkey, mashed potatoes and corn on the cob, with pumpkin pie for dessert. If I somehow manage to gain admission through the Pearly Gates I fully expect that to be the first meal St. Peter and his horde of super-efficient seraphim waiters place in front of me.
* * * * *
Yes, indeed, busy times here at Burns Central: Sherron seems to have been on the road since her first day back at work in September. Driving hither and yon throughout her massive, far-flung school division, giving workshops and presentations. She’s seen more of this area of the province than this homebody ever will.
Both my sons are deeply involved in their individual obsessions, namely, submission wrestling and film-making. Sam and his creative partner Sean hope to have a short movie ready to enter in the “Youth” component of the Yorkton Film Festival and are collaborating on a script. I accompanied Liam to his twice-a-week wrestling session last night and my 48 year old body recoiled and quaked when I saw how those young lads (and one lass) were bending and twisting each other, their bodies impossibly elastic. I was one of those seriously inept, uncoordinated kids who couldn’t even stand on his head so watching my athletic oldest son going through the paces with grace and strength fills me with immeasurable pleasure…and pride.
Meanwhile, I continue to labor away on my western novel, The Last Hunt. Two consecutive weeks of 12 hour days, grinding and polishing, adding in some of the research material I gathered during my Montana sojourn this summer. Still insisting that I will release the novel in late March (2012), come hell or high water. But it ain’t been easy and my body is feeling the effects of the strain.
You’d think after 25+ years I would have learned how to pace myself, manage my time and energy more effectively. Er, no. Instead, I completely immerse myself in a project for prolonged intervals, work myself into a state of exhaustion and then, literally when my body-mind-spirit can take no more, I pronounce the story/novel finished…and collapse. At that point, I usually come down with a nasty virus which lays me out for a week (complete with cold sores, intestinal problems…ah, fun).
How does that gibe with your methods?
And then I read a comment by self-publishing’s latest superstar, Amanda Hocking. Yes, she of a million Kindle sales. She states, without an ounce of self-consciousness, that she writes her juvenile vampire novels in about 2-4 weeks. That’s right, all you fuckheads who were stupid enough to download her awful tripe, a month (usually less) to write a novel. And some of you “writers” out there actually hold her up as an example of a successful author, someone you’d like to emulate. Message to you wannabe assholes: I spit in your face. You disgust me. May your fingers rot off your hands and your putrid brains liquify in your paper-thin skulls. Leprosy and ALS are too good for you. I loathe you and what you and your ilk are doing to literature. You are nothing more than ambulatory turds.
But I won’t cede the field to you, do you hear me? I refuse to allow your excremental scribbling to carry the day. To my last, dying breath I will be composing literate, intelligent, innovative fiction, even if only six people on the planet read it. I will follow the lead of the Masters, write in defiance of all the trends and market niches, write despite the Amanda Hockings of the world and the offal they disgorge. Hocking will be nonexistent in a very short time, her moment in the sun is almost up—let her have her money, it will keep her warm as she wallows on literature’s scrap heap, where all the non-talented hacks end up.
I’ll trust posterity and put my faith in the notion that as long as humankind exists, there will be discerning readers and that, eventually, my work will find the audience it deserves (even if I’m long gone).
I’d rather work for nothing than be stinkin’ rich and unable to look at myself in the mirror.
Which begs the question: what price do you put on your soul?
“B.C.” comic strip by Johnny Hart
“Here where others offer up their works I pretend to nothing more than showing my mind.”
“What’s important, finally, is that you create, and that those creations define for you what matters most, that which cannot be extinguished even in the face of silence, solitude and rejection.”
I’ll be turning forty-four later this month and, naturally, with the passing of another year I can’t help taking stock, appraising the state of my life and work. That can be a tricky proposition, especially when you have, ahem, depressive tendencies.
The first thing that comes to mind whenever my birthday rolls around is the line from that old Pink Floyd song that goes “another day older, another day closer to death”. Some people actually celebrate their birthdays but not me—I have to dwell on mortality, my mind taking a sharp, left turn toward morbidity. Typical.
But the point of this post is not the inevitability of death (thank God), it’s about change, rites of passage, the sense of moving into another phase of my life and, especially, my writing life.
I’ve written a number of journal entries (don’t worry, I won’t reproduce them here, I have more respect for you than that) in which I state that I feel my literary apprenticeship is over and I now have a strong sense I can take all that I’ve learned and can finally start establishing my own unique voice.
Does twenty-two years seem like a rather extended apprenticeship? Not to me. Over the course of that time I have immersed myself in the best writers I could find, reading them, studying them with the rapt attention of a monk scrutinizing ancient holy texts.
Applying all I’ve learned and assimilated from the Masters has taught me technical craftsmanship but it has also reminded me of the importance of discipline, self-sacrifice and perseverance. They’ve given me crucial insights into the level of commitment and devotion required to create something of lasting worth. I’ve always admired authors who are original and innovative and now, more and more, I want to see those virtues reflected in my work.
And I don’t mean literary experiments, self-referential, modernist (or post-modernist) tripe composed for my eyes only and readers be damned. I’ve gone down that road before and while it produced some interesting prose, I found, after awhile, that it didn’t speak to my heart and spirit and resulted in closed, claustrophobic bits and pieces that seemed to obscure rather than illuminate. In the end, I abandoned that approach as a creative cul de sac, a road that went nowhere.
What I’m talking about are new approaches to characterization and, also, incorporating more cinematic elements to structure and story, employing multiple viewpoints, juxtapositions, flashbacks, superimpositions, fadeouts, cutaways…all in an effort to deny that old canard that “there’s nothing new under the sun”.
Nothing new…what a bunch of horseshit.
The first time I read Colson Whitehead’s The Intuitionist I knew I had found a writer with fresh ideas, thematically and stylistically. Every Cormac McCarthy novel I read is an epiphany. Project X by Jim Shepard body-slammed me with its remarkable authenticity.
The best authors have their own distinct perspective they bring into play…and after twenty-some years I can finally say that I’m ready to tell my stories my way. The history of the world from the standpoint of an agoraphobic neurotic obsessive-compulsive perfectionist with delusions of grandeur.
Or, looking at it another way, I can grace my stories with the hard-won insights of a man who has now lived more than half his life, who’s gotten married, has two sons, lost friends, gained friends, fought, fucked up, suffered, laughed, seen and done things I couldn’t have imagined even a decade ago. Thanks to a host of life experiences my work is informed by a richness and maturity that wasn’t there previously, deeper shades and tones I couldn’t have managed as a younger author.
I’m not as afraid as I used to be, not as prone to ungovernable fits of rage and frustration. That doesn’t deny my work passion, it means I can better channel, direct and control those passions that used to send me shooting off in all directions, dissipating my creative energies.
I’ve written extensively of futility on this blog, the despair that sometimes overwhelms me because of my brain chemistry and bad genetics. Some people have then turned around and used these confessions in other forums to attack my credibility on subjects relating to literature. I’m a “failed writer”, don’t I even admit it myself?
Yes, according to my high standards, my literary output seems pretty insubstantial. But look at who I’m holding myself up against, geniuses like Louis Ferdinand Celine and Joyce and Beckett and Bobby Stone. Who wouldn’t come off as second-rate compared to those lads?
But when I look at the wannabes out there, the ones who insist on calling themselves writers because they published a romantic fantasy novel in e-book form, I come off pretty well, don’t you think? These twats actually have the nerve to announce to the world they’ve written 80 or 100 (or more) novels in the course of their illustrious careers…and yet when you “Google” their names, none of their work seems to be kicking about. Funny. And they’re the first ones to get biscuit-ersed (Irvine Welsh’s hilarious phrase) when I talk about “aesthetics” and “critical reading”.
“I write to entertain,” they sniff daintily, demurely paging through a fat forest-killer with a dragon or unicorn on the cover. And when I call them on their silly pretensions, their transparent lies, I’m dubbed “elitist” or a “pompous ass”.
Go back to your fucking knitting, you hobbyists. How do you manage to see your keyboards with your heads so far up your own arseholes?
Worse yet are the horror hacks I’ve come across with their brain-sucking zombies and superannuated vampires and misogynistic rape fantasies. They go ballistic when I remind them of the subtle, cerebral horror of Roman Polanski. Their tastes run more toward the latest Rob Zombie abomination, great gouts of blood spraying everywhere to the accompaniment of a throbbing, crunching soundtrack. Subtlety to them is a body count under a hundred.
Horror fiction has been in the doldrums for a long time and I blame the splatterpunks, who unzipped their flies and pissed all over the genre in the late ’80’s and early 90’s. It’s never been a field that features good writing but, Christ, the stuff that’s been proliferating in the past ten to fifteen years is scraping the muck and slime off the bottom of the barrel. It’s time to take the genre back from these fuckheads—where is our generation’s Ira Levin or Clive Barker or Richard Matheson? Who will save us from these purveyors of shit?
Well, it won’t be me. I want nothing to do with horror until it cleans up its act. And that means smarter editors and more talented writers—and the chances of those things coming to pass are roughly the same as the Rapture sweeping up all the worthy Christians next Thursday (and good riddance to them).
In any event, I’ll still be here, in this 10 X 12 office, composing my strange, little stories, dreaming of a readership in the tens of millions. And I’m content with that.
An unjaundiced look at my career tells me things might be looking up. My novella “Kept” may or may not be made into a movie that may or may not be pretty good. I’m working on a new project, feeling more engaged than I’ve felt in a long while. My marriage is solid, my family the greatest support system a guy could ever want or have.
Success and riches may never come…but I made a conscious choice a long time ago that regardless of what happened I would never compromise, never sell out, that I would aggressively defend my offerings from the predations of those who are not worthy to pass judgment on any title more sophisticated than a Dick & Jane reader. That stance has probably cost me a shot at fame and fortune…but, conversely, my work can’t be accused of being derivative or formulaic and I’ve composed some truly original fiction that I believe will stand the test of time.
“Tell a good story and the readers will come…eventually,” I wrote on another blogger’s site and I believe that.
You found me here, didn’t you? And now you might just scroll down and read more screeds by this crazy fucking Canuck…or click on Stories and tackle the excerpt from my smashing great novel So Dark the Night (it’s worth it, believe me).
Thanks for taking the time to pop by—and I’m grateful, as well, to my regular readers, the repeat visitors to Beautiful Desolation, folks I’ve come to know through their comments and personal communications.
Let’s give it another forty-four years, shall we? See what happens. I’ll keep putting one word ahead of the next, telling my stories in my own inimitable style.
Yes, the apprenticeship is officially over. From here on, whenever you read one of my tales, the only voice you’ll hear is mine.
Listen to my song…