Something I’ve been musing about for – checks calendar – YOU’VE GOT TO BE KIDDING ME, IT’S ONLY BEEN A YEAR???
Sorry, anyway, something I’ve been musing about is writing during a pandemic. At the start of lockdowns, I remember hearing the buzz about how there would be a rush of book submissions to agents and publishers with everyone having lots of time to write. All those people who believed they had a novel stuck inside them now had enough time to pull out the scalpel and repeatedly stab themselves until they realised they should have taken their doctor more seriously.
But now we’re coming out the other side of that sunny optimism. Articles are starting to appear discussing how lockdown has equalled blockdown.
Punny terms aside, the article in The Guardian touches on much of what I’ve been thinking about without really understanding the issue. It hints at the problem without really spelling it out.
It all comes down to how the creative space works. You need to be able to let your mind wander off to the plains of [insert metaphor here, something really wankery that fits with us creative types] where your story can take shape. To let your mind wander requires a lack of interruptions, a level and type of noise that isn’t distracting, and you have to not be stressed (see my posts on these topics).
Now, what could possibly be getting in the way of creativity during Covid-19?
This is why the original articles talking about how lockdowns would lead to a splurge of novels always seemed optimistic to me. There were only superficial conditions for creativity, not the actual conditions for it. Just having kids in the house all day would be distracting enough to turn the best of times into the blurst of times. Add in working from home and the noted work creep that has had. Add in not working. Add in working on what is called the front-lines in a great reference to trench warfare – and how far away the generals are holding their tea party. Add in home-schooling. Add in stress, financial or existential. Add in feeling crowded in your workspace and then not leaving that workspace for weeks/months on end.
These aren’t the conditions for writing. These are the conditions for sitting on the couch, huddled under a blanket, mindlessly scrolling through social media in search of that sweet sweet shot of endorphins. Is it any surprise that baking sourdough bread, watching terrible Netflix original movies, and tidying the house became popular in 2020?
I recognised this early on and didn’t put too much pressure on myself to write. Sorry, rather, I didn’t put too much pressure on myself to write quality material. Writing wasn’t the problem. Having it resemble something that wasn’t a desperate cry for help or a tirade that would be combed over by profilers wondering why I’d committed such an unspeakable act was the problem.
I’m sure there are writers out there who haven’t had a problem with lockdowns and creativity. From what I’ve seen, dedicated workspaces for writing and a history of consistent writing habits (and being an empty nester) are helpful. But for the rest of us, creativity has been given all the wrong conditions to thrive, so don’t be too hard on yourself.
Or do be hard on yourself. Maybe we could have learned how to be creative under pressure. Maybe we do suck!
*Puffs on cigar* The Establishment, hey, this sounds like a book for me. *Pulls out monocule to read sub-heading* This book is trash!
Owen Jones’ The Establishment is an attempt to lift the veil on how power and the powerful have seized increasing levels of control and wealth from society at the expense of everyone else. It covers several facets, from the creators of the intellectual frameworks, through the enforcers of control, to the self-entitled people treating the economy like a casino safe in the knowledge the plebs will bail them out.
This was an excellent read and filled in a lot of the details for events and social changes we’ve heard covered numerous times. Instead of hearing these details discussed by the usual apologists of the status quo, Owen makes it clear what is happening and weaves it together as a solid narrative and argument for change.
Needless to say, I’m sure that plenty of the dismissals of this book did so by spotting a misplaced percentage symbol or by the tried and trusted baseless accusations of inaccuracy or confusion.
As an Aussie, I saw a lot of parallels between what Jones discussed for the UK and what the experience has been in Australia. The effective lack of difference between the two major parties (nominally right and left, but realistically described as shit and slightly less shit), the dominance of conservative (Murdoch owned) media, and the close ties of the powerful, all very familiar. This book could have been written about Australia, not the UK.
In some respects, the book, A Game of Mates, tried to cover much of the same ground. That book failed to be convincing as it lacked some of the scholarship and well thought out solutions you’d want. Jones’ The Establishment is the opposite, as it is compelling, and thus I take his arguments and solutions far more seriously.
Some of the solutions are no-brainers, like instead of taxpayer bailouts being socialism for the rich they could instead be the taxpayers buying the banks, utilities, etc. But some ideas, like stopping the revolving door, are more difficult and not fleshed out enough. This was also a solution proposed in A Game of Mates, and as I said in that review, it’s not well thought out. Are we just going to say that people can’t take on a different job in their field of expertise? Are we trapping them? Would it not be better to look at examples of where there isn’t/wasn’t a revolving door, and create those conditions (which I imagine would relate to a robust sense of community and contribution rather than thinking about how to game the system).
The Establishment is worth reading and then discussing widely.
Edit: Listening to an interview with Stacey Abrams reminded me of something that Jones said throughout the book that was quite important. There is this idea that the “two sides” of politics differ greatly and are hugely divided. Abrams stated that “conservatives want to conserve, which means protecting inequalities and suffering that occurs now from getting better” (approximate quote).
But something that I’ve noticed, and a point that Jones made throughout with reference to polling and surveys, is that there is a lot more common ground than people think. Jones argued that in many respects, the people who want the most progressive measures taken also happen to be voting for the most regressive and conservative parties and politicians. This is generally because supposed left or progressive politics doesn’t capture the attention, while those ultra-conservative voices are able to rally populism and easy messages to address complex issues (the classic being to blame the job stealing, dole bludging Schrodinger’s immigrant for whatever real issue).
So it is a trap people are falling into when assuming that the populous are somehow not looking to make society better. The real problem is actually selling the message of being able to make society better rather than just putting a fresh coat of paint on the status quo.
Comments while reading: The main thrust, as outlined in the Introduction and part of the first chapter, reminds me of A Game of Mates and the TV mini series (based on a book) A Very British Coup. The former was a somewhat disappointing book that I felt lacked some evidence and cohesive thought to the arguments, which I get the early impression Jones isn’t replicating (i.e. he’s making a solid case).
The argument is similar to what we see in A Very British Coup where the power sphere is inherently conservative and the general populous is complicit in that continuing because the system was designed to keep democracy from eroding the power of the powerful. In that series (and the book), the powerful literally seek to undermine the democracy of their nation using any and all means. Obviously, completely fiction and no parallels to real life events can be drawn… (See: https://en.wikipedia.org/wiki/A_Very_…)
The “good old days” that many people talk about were also the times of social democracy (at least partly). That annoyed the neo-liberals and free marketeers. Yet many of the reactionaries today would still point a hazy finger to those years as “great” (less for the economic social democracy and more for the bigotry). So it could be argued that many of the economic policies post-WW2 are what we need. It had more equal economic policies and it was a stark contrast to the pre-war policies that produced significant inequality in society.
Found myself nodding so much, but none more so than with the conclusion. I’d pull out some quotes, but the entire thing is a great summary of what needs to be done and why.
The status quo may be treated as common sense now, but future generations will surely look back with a mixture of astonishment and contempt at how British society is currently organized: the richest 1,000 individuals worth £520 billion,1 while hundreds of thousands of people have to queue to eat in food banks; a thriving financial elite that helped plunge Britain into a vortex of economic collapse, which was rescued by over £1 trillion of public money but continues to operate much as before; a reigning dogma that treats the state as an obstacle to be eradicated and shunned, even as the state serves as the backbone for private interests; a corporate elite, dependent as it is on state largesse, that refuses to contribute money to the state; a media that does not exist to inform, educate, as well as challenge all those with power, but which serves as a platform for the ambitions, prejudices and naked self-interest of a small number of wealthy moguls. More startling to our descendants will be how this was passed off as normal, as entirely rational and defensible, and how institutions run by the elite attempted, with considerable success, to redirect people’s anger to those at the very bottom of society.
A bit of a change of pace for this What’s the Difference? with Wisecrack diving into the key difference between the Netflix version of Death Note and the Manga and Anime.
I was first exposed to Death Note via the Japanese live-action film adaptation. It was an intriguing and decent film (with some pretty dodgy CGI for Ryuk). That lead me to watch the Anime TV adaptation, which is excellent, if just a bit heavy handed. I have to admit to reading very little of the Manga because I kinda felt like the Anime had covered it really well.
When I saw they were releasing an American version of Death Note on Netflix, I was all over it. I didn’t expect the dense and loquacious Anime, but was thinking they’d remake the film adaptation with better CGI, no subtitles (because Americans don’t read), and star some former Disney child actors looking to do something gritty but lucrative to make sure the mouse didn’t throw their souls into the volcano under Disney Land. What we got was 90 minutes of garbage.
On the Wikipedia page for the American Death Note film, it is described as “loosely adapted from the Japanese Manga”. The word loosely is doing a lot of heavy lifting in that description.
The above video does a pretty good job of covering what the film does wrong. Not different, wrong. The film really does feel like someone saw that Death Note was successful, so they bought the rights, got a director to read the elevator pitch for the series (kid gets the power to kill people by writing in a demon’s book), and thought that was all they needed to do. Everything about it is a failure to understand what Death Note was about. The characters are shallow and lack any value to the story. The story lacks any substance. And they managed to turn one of the most compelling sequences from the Anime into a chase scene involving the wrong characters.* Because every American film needs a chase scene… In short, they made a bad film and an even worse adaptation.
The main thing to remember about Death Note is that they’ve already made a very good adaptation with the Anime.
* See this video that discusses the scene from the Anime I’m referring to.
How does Netflix’s Death Note adaptation hold up to the original?
The anime version of Death Note, which is a faithful adaptation of the original manga, is one of our all-time favorites. So how does it compare to the not-so-beloved 2017 Netflix version? Let’s find out in this “Book” (aka Anime) vs. Film: Death Note
MR: This happens every few thousand years and only the greatest can save the universe.
Me: So blowing up all the artefacts is going to make it hard for future generations to save the universe.
MR: Try not to think about that.
Jack West Jr is back in the third and final… almost final instalment in the trilogy which started with The Four Legendary Kingdoms. When we last saw him he’d lost family, friends, and was battling to keep ahead of the royal families while saving the universe. And nothing has changed. Sphinx has powerful new weapons that can put a city to sleep and has all the clues to help him gain access to the final challenge. Meanwhile, Jack is trying to save his family and friends and figure out what everyone else already knows.
As I’ve already indicated, I was expecting this to be the third book in the adventure trilogy. If I had remembered any of Matthew’s social media posts about the book I’d have realised he’d had so much fun writing that the trilogy has gone all Hitchikers Guide. This was both a good thing, as who doesn’t enjoy more of the books they are reading, and a bad thing, because the next book isn’t out yet!!!
Much like the previous The Three Secret Cities, I really enjoyed the book but upon reflection, wasn’t as excited by it as some of Matthew’s novels. I’m starting to suspect that this is a “more of the same” issue. The thrill of a Matthew Reilly novel is somewhat dampened by the fact I’ve read all of his stuff (multiple times in some instances) and am now a jaded husk of a reader, doomed to seek thrills from other authors who will fail to live up to my ever loftier standards. Other authors have reached this point much earlier for me (looking at you James Rollins and Steve Berry). Hopefully, Reilly will pull out all the stops – that is to say, no stops, just all sprinting – in the final in this Jack West Jr series.
After successfully taking the imperial throne, Paul “Muad’Dib” Atreides now rules as Emperor. The Fremen have been busy waging a religious war across the empire in Paul’s name, racking up a body count that would make all other past atrocities look like a rounding error. Paul is trapped in his destiny and is trying to nudge (future) history toward peace while negating conspiracies, fulfilling his role as Emperor, and keeping Chani safe.
Dune Messiah is an interesting follow-up to Dune. I had been expecting something of a look into the universe outside of Arrakis. Instead, the story is focused on (to use Herbert’s own term) inverting the tale of the chosen one’s rise to emperor. So much of the novel is about Paul feeling trapped, his failures as a leader, and the usual problems associated with retaining power as a dictator.
In many ways, this is a smaller novel than Dune. Much of the universe has been established, particularly on the political side of things, which means Herbert is able to discuss the foibles of his hero. This is both a good and bad thing. Most sequels would go bigger (or at least more explodey), so turning inward on the tale makes Dune Messiah interesting. But it also means you feel like this instalment is somewhat lesser.
I’m quite intrigued to see where Herbert took this series next [insert joke about Brian Herbert ruining the franchise after that].
So… Elves like to watch you dance naked… And don’t even tip. Creepy.
The kingdom of Lancre is about to host the royal wedding of former fool, King Verance II, to current witch, Magrat Garlik. The locals are preparing for the wedding and the arrival of foreign dignitaries. With the wedding scheduled for Midsummer, when the skin between realities becomes thinnest, elves are trying to return to the Disc. But not if Granny Weatherwax has anything to say about it.
I have to preface this review by saying it has been so long since I’ve read A Midsummer Night’s Dream that there is virtually nothing I remember of it. Maybe a thou or two, but that’s it. As such, a novel that mocks it is not going to be fully appreciated by me.
As I was reading Lords and Ladies I was thoroughly entertained. There were some fantastic moments, not least of which was the inclusion of the Many Worlds Theory. It’s easy to pick out quotes:
“In fact, the mere act of opening the box will determine the state of the cat, although in this case there were three determinate states the cat could be in: these being Alive, Dead, and Bloody Furious.”
“If cats looked like frogs we’d realize what nasty, cruel little bastards they are. Style. That’s what people remember.”
But several days on from finishing the novel and I’m hard-pressed to think of anything much to say or highlight about Lords and Ladies. It’s an entertaining read, a solid entry in the Discworld series (particularly the bees), but otherwise somewhat unremarkable. That feels somewhat sacrilegious to say about a novel that is head and shoulders above most anything else. I guess there is a universe in which I have read A Midsummer Night’s Dream more recently and regarded this Discworld instalment more highly, just not in this one.
This month’s It’s Lit! covers the woman who made vampires sexy.
I was a young and impressionable university student when I bought The Vampire Lestat. It was not the first reimagining of vampires as more human creatures I’d read, but it managed to feel more substantial than other efforts. As a result, I went out and gradually made my way through the first half-a-dozen Vampire Chronicles. They still sit proudly on my shelf next to my wife’s collection of Twilight books.
There were obviously a lot of people who felt the same way as myself. We enjoyed the tales of immortals walking through history. We even liked that pensive sadness all the characters dripped. It certainly made the indulgent detailed descriptions of ancient art mildly tolerable.
And I think that is why I parted way with the Vampire Chronicles and Rice’s works in general. There was a moment in reading one of her novels, either Blood and Gold or perhaps a Mayfair Witches books, when I remember commenting upon the poem at the beginning of a chapter. Here was yet another very arty poem by Rice’s husband to skip over, what a waste of good paper.
Now, I generally dislike non-novel additions to novels. Chapter titles are fine, but sub-headings, dates, locations, quotes, poems, and other indulgences are just stuff in the way of my book reading. They often feel like attempts to make the work more arty or important than it really is. In the case of dates and locations, common in thrillers, they feel like lazy writing. And Rice was the author who made me dislike these things.
Once you start pulling at the thread, things start to unravel. I started to realise just how indulgent and boring much of Rice’s novels were. These were books I thoroughly enjoyed, yet I’ve not felt compelled to reread them since making this observation (I’d read several of the Vampire Chronicles at least twice at that point). Maybe I’m being too hard on Rice, I mean, she did pretty much reshape genre fiction (as discussed in the video). Maybe I need to revisit The Body Snatcher or The Vampire Lestat (again, as they were my favourites I’ve read multiple times).
Or maybe I should pickup some Lestat fanfic. Rice would love that.
Forbes once called her “The Warren Buffett of vampires,” but American author, Anne Rice has established herself as the literary queen of monsters of ALL kinds over her four-and-a-half decade career. Besides her 15 novels of the world-famous Vampire Chronicles series, she’s also written 21 other books featuring all your favorite dark, supernatural, and undead beings: witches, ghosts, mummies, werewolves, aliens, demons, angels, Jesus.
But the works of Anne Rice aren’t just light, pulpy fun monster books–her vampires changed the landscape of genre fiction as we know it?
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
Going into the back paddock isn’t normally this bad.
Jame “Heater” Healey has only one dream. Buying a new bike. With an abusive father, no money, and a handful of friends with similar small-town struggles, the only thing that makes him feel good is riding. After the latest in a series of beatings, Heater starts to notice strange things happening in his little country town. He and his friend Ember attend the local harvest festival where things take a turn for the weird. From here on in it is all downhill. Can Heater survive the return of the Wulf?
A couple of years ago I decided to revisit the novel The Hoodoo Man, which I read when I was young. It was just as good as I remembered and felt the need to hunt down the rest of Steve Harris’ books. This was no easy task as the late Steve Harris (born 29 September 1954 in Basingstoke, died 4th October 2016) was one of those talented authors who was just becoming established when his career suddenly ended in the late 90s. Between his publishing house being bought out and the rejection of one of his novels for being too horrifying, his books went out of print and are largely forgotten.
The Wulf was Harris’ second novel and has a similar narrative style to many horror novels. We get introduced to the small rural village of West Waltham and its inhabitants. There are abusive parents, cheating partners, semi-famous philanderers, tree-changers, impoverished jerks, and small-town folk. And in true horror novel form, the supernatural elements that seek to destroy this little corner of the world are only really as bad as the easily corrupted inhabitants living normal lives up until now.
Which is why I’m only giving this novel 3 stars. It is fairly good, if too drawn out, horror novel that doesn’t have quite the impact that I’d been expecting. Of course, reading a horror novel in 2020 is like accidentally hitting your thumb with a hammer and then putting your thumb down on an anvil to make sure the hammer really connects cleanly this time.* So horror fans will probably enjoy this earlier Harris novel.
*My wife called this a heavy-handed metaphor. We’re both very punny.
Lovecraft Country: where the monsters play second fiddle to the racism.
Atticus Turner’s family has a secret link to the powerful Braithwhite family. The Braithwhites are part of a sect of natural philosophers, and they have designs on Atticus, his family, and his friends. Each of them are playing a part in Caleb Braithwhite’s plan [spoilers]which is, shock-horror, to take over the world… that is to say the USA[/spoilers]. Can Atticus and his kin triumph, even in Jim Crow America’s Lovecraft Country?
I think I was about two chapters in when I remarked how good this book was. Ruff’s weaving together of (US) black history and Lovecraftian themes made for compelling reading. Reading it in 2020 after Black Lives Matter has swept across much of the global north was a timely reminder of how there is still a lot to be done.
It was odd having to remind myself that many of the things in this book actually happened. Okay, I’m not entirely convinced that someone has figured out how to create a portal between worlds, but white people deciding to kill their new black neighbours because they are afraid of the impact on their house value, that was (is??) a thing.
The only real flaws for me was that there were a few sections that felt unnecessary (e.g. Rose’s new job) and that the racism could feel a bit off. This latter point is about how Ruff is telling us all what it was like to be black in America. It is hard for me to judge how accurate the handling of this was, as I’m not old or black enough to really understand, and the same could be said of Ruff. I wonder how historically accurate this story is – the racism, not the secret society of rich white guys using their power and influence to control the world, which is obviously bang on.
I think any flaws can be forgiven thanks to the payoff of the climactic scene. Weaving all of the narrative and thematic elements together for a single dialogue exchange was damned near as good an ending as you could hope for.
This month’s It’s Lit! discusses the series that should have landed in cinemas this year. But 2020 had other ideas, being the giant indestructible spanner thrown into the works of regular functioning society. So let’s just talk about the books instead.
A couple of years ago, I finally got around to reading Dune. I had previously gotten my hands on three of the expanded universe books written by Keven J Anderson and Herbert’s son. Let’s just say that those novels made me question the sanity of my friends who kept recommending the Dune novels.
Fortunately, I got past the ability of publishers to milk a premise long past the death of the cow. Dune was an excellent story.
In my review I made allusions to the point made in the It’s Lit! video about how the first novel has the feel of the rise of a demagogue. Having not gotten to the sequels as yet, the deconstruction of that sound particularly interesting. Dune only hints at the idea of how getting rid of the awful the ruling structures and leaders would be great. Destiny is tied into things a bit too much, while it appears the sequels unravels this idea.
Does this make the original novel and larger series the most important sci-fi ever? I’m not entirely convinced. Some books have inspired real life advances in technology or society (although less of the latter). I’m not sure Dune has had that impact, unless there is a spice I should be using in my cooking I’m unaware of. That isn’t to say Dune isn’t a great book (I’ll hopefully have some insight on the series in coming months) nor that it wasn’t influential in sci-fi. The lone fact that it managed to show that sci-fi could be a bestseller, particularly in hardcover, was a wake-up for the publishers who rejected the first novel such that an auto-repair manual publisher picked it up.
The main issue will be whether the new movie will arrive and not be the disappointment the other adaptations have been.
The planet is Arrakis. Also known as Dune. And y’all, it’s a mess. December of this year, we were supposed to see the arrival of director Denis Villeneuve’s interpretation of the 1965 novel Dune, which had been previously (and rather infamously) brought to life by David Lynch in 1984, and again in a three-part miniseries on the SyFy channel in the early 2000s. Now many sci-fi nerds were both excited and nervous about the new adaptation directed by Villeneuve, but owing to the ongoing plague of eternity, the release has been pushed back to next year. So in lieu of that, y’all have to use this video to tide you over.
What is Dune? Why must the spice flow? And what is with all the sand?
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
This month’s What’s the Difference looks at Doom Patrol.
I have to admit, I’ve only heard about Doom Patrol. Reading the comic or watching the show has not been on my to-do list at all.
I’m sorry Alan ‘Wash’ Tudyk, I’ll try to keep up with your projects in future.
The video really does make the show look interesting. Bonkers, but interesting.
Listen, there’ve been A LOT of superhero tv shows over the past few years and it’s taken a second for us to catch up. But few of them have tickled our fancy quite like Doom Patrol. The comic book adaptation that opts for fighting personal demons over fighting super villains borrows from comics storylines across the decades. So how did the shows creators pick the best storylines for from a long running DC b-team to make a truly unique series? It’s tie to ask What’s the Difference?
People: Look at this nice thing we did. Media: Boring! Sociopath: Look at this terrible thing I did. Media: Can you do that more? Maybe with a chainsaw this time? See how nasty people are!
With Human Kind, Rutger Bregman attempts to debunk an idea that underpins our social and economic systems. At the core of our society is this assumption that everyone is selfish, nasty, and would quite happily murder you, drink your flesh in a protein smoothie, and play with your entrails if it wasn’t for threats of state violence or eternal torment. Bregman addresses what he calls the Rousseau vs Hobbs debate over human nature with the intention of showing Russo was correct and we’re not so bad after all. And since we’re not so bad, maybe we need to rethink all the things we do based on this assumption.
Since I started reading philosophy I’ve slowly been coming to the realisation that society has been built upon what was good for the powerful. These ideas are often in opposition to evidence, morals, and the principle of not being a dick to others.* How can the Hobbsian view of human nature have won? People generally get along just fine. Most of the bad things we experience are from the outliers (sociopaths) or Hanlon’s Razor. Well, the simple answer is that the powerful can use the Hobbsian view to justify their position in society and to perpetuate it.**
Bregman does a pretty good job of tackling some of the common examples and studies used to “prove” how bad people are. One by one, they fall apart as scrutiny is applied to them. While the real-life Lord of the Flies story was the sort of thing that should be the stuff of legend, I found the debunking of the Kitty Genovese murder the most satisfying. They both illustrate how good news and bad news will be highlighted completely differently. This influences our view of the world. We should be careful in that regard.
As an argument, I think Bregman proves his point.
But… There is a bit too much glossing over important points. There are also some contentious assertions, like the idea that Homo-puppy (humans) domesticated itself by selecting for kindness. That isn’t to say these points are wrong, but they are taking quite a few short cuts and artistic flourishes (and Homo-puppy is a pretty cool flourish). One example, the selection for hairless apes as part of domestication is probably not true, or at least more complicated than implied.
Overall, this was an excellent book. I think if we all took these arguments seriously (and did the lateral reading to see how much support it has) then we could make a better world for everyone.
Or we could let the handful of nasty people continue to ruin it for everyone.
* That’s a direct quote from Jesus. ** Or as I put it in my review of Rousseau’s Origins of Inequality: inequality is a way for the rich and powerful to build a moat and castle.
Comments while reading: Love the bit about the Easter Island insult roughly translating to: the flesh of your mother sticks between my teeth.
There are some interesting points made in pursuit of the argument but they do gloss over a large amount of research. It would be very easy to dismiss the argument if you were so inclined. One example is in his criticisms of Steven Pinker. If I hadn’t already read several papers and articles that dive into how wrong Pinker’s claims have been, then it would be easy to see Bregman as cherry-picking. But then again, you could spend a long time just discussing prehistoric violence studies, which isn’t that exciting for the average reader.
How do you get people to bad things? Well, you need to bully and coerce. But you can’t just give people an order or force them, as they tend to resist. You have to appeal to their good side. They have to believe they are helping, that they are doing it for “the greater good” or because they trust the person asking for their help. “In fact, people go to great lengths, will suffer great distress, to be good. People got caught up in trying to be good.” (Don Mixon, psychologist who replicated the Milgram experiment.) “In other words, if you push people hard enough, if you poke and prod, bait and manipulate, many of us are indeed, capable of doing evil. The road to hell is paved with good intentions. But evil doesn’t’ live just beneath the surface; it takes immense effort do draw it out. And most importantly, evil has to be disguised as doing good.”
The Bystander Effect isn’t what we think. “…you can see that in 90 per cent of cases, people help each other out.” But of course, that doesn’t sell papers or drive outrage media. Good news stories blip, bad news you can fill entire days of coverage with. So they’ll spin a story, or they’ll focus on the exceptions, or they’ll do both.
The comments about education and bullying are interesting. Institutions that utilise hierarchical structures and introduce competitiveness essentially manufacture nastiness and bullying as a result. The book also skipped over something very briefly that is going to start being more important in education circles, and that is how bad testing is (particularly standardised testing). Teaching people to be able to pass a test is not the same thing as education.
The rich and powerful don’t blush. Rising to power essentially turns off your shame (thus you don’t blush) or you rise to power because you’re more likely to be shameless (sociopaths, narcissist, etc). This is why one of the tactics of keeping the powerful inline doesn’t really work. Shaming people with satire, mockery, humour, etc, would work on the average person, but that isn’t the case with the sort of people who feel they are better than us plebs.
Quibble: there is a lot of talk in this book about humans being 99% the same as whatever chimp. I’m a little sick of seeing this misunderstanding. We aren’t really X% similar in the way that implies. A lot of genetic code isn’t for making humans or chimps, it is for making cells, or biological functions, or transcribing proteins. So it fails to understand what DNA does.
Enlightenment I have issues with. There’s this assertion that the enlightenment was awesome because it gave us science, capitalism, modern democracy, etc. While Bregman does a good job of highlighting that it also gave us modern racism, it underplays just about every other criticism of enlightenment. You have to remember that it didn’t give us democracy, that had to be fought for by everyone other than the landed gentry. You have to remember that the invisible hand and selfishness weren’t good ideas, they were ideas that allowed the rich merchants to be in charge. You have to remember that Reason™ has been used to justify the status quo, hold down social progress, further marginalise the disadvantaged, create massive inequality. You have to remember that the enlightenment happened just after and during the scientific revolution.
In other words, there is a lot of cheerleading around Enlightenment without adequate acknowledgement of the problems and consequences, and discussion of how many things were converging at the same time (there is an argument to be made that a certain level of population density and people with spare time occurred, thus driving forward a large number of things, rather than it being down to a couple of big-name thinky people with invisible hands and justifications for landed gentry merchants being in charge). I mean, most of these ideas were come up with by Ethiopian philosopher Zera Yacob 50-100 years earlier, so there’s that too.
There are a couple of points made about punching Nazis and extremism that showed a want to either distance Bregman’s comments from those “radical lefties” or an attempt to appeal to the “enlightened centrists”. I’m not sure what the thinking was here, but it did show through a few blind spots. For example, Mark Bray’s book on Antifa outlines how punching Nazis is hardly the only thing Antifa do and there is solid reasoning used when it is done (and the march Bregman talked about being used to fundraise efforts at getting people out of the Nazis groups would classify as anti-fascist action, and I wouldn’t be surprised if it were under the banner of Antifa). It also showed a lack of understanding of political and social change. Yes, that much cited study on violence concluded that non-violent movements were more successful… Except that would have to ignore all the violent efforts that made the non-violent efforts possible (because everyone knows that ending Apartheid was all non-violent protest – e.g. rebuttal here).
The incoming tide of new books makes me reflect and wonder whether writing still more books about climate change is a waste of precious time. When the UN is calling for governments to act to achieve carbon neutrality by 2050, are books just preaching to the converted? My answer is no, but that doesn’t mean publishing, buying or reading more books is the answer to our climate emergency right now.
In April, on the 50th anniversary of Earth Day, the New York Times told readers this might be the year they finally read about climate change. But many already have.
The science was still developing then. We knew human activity was increasing the atmospheric concentration of greenhouse gases like carbon dioxide and methane. Measurable changes to the climate were also clear: more very hot days, fewer very cold nights, changes to rainfall patterns.
The 1985 Villach conference had culminated in an agreed statement warning there could be a link, but cautious scientists were saying more research was needed before we could be confident the changes had a human cause. There were credible alternative theories: the energy from the Sun could be changing, there could be changes in the Earth’s orbit, there might be natural factors we had not recognised.
By the mid-1990s, the debate was essentially over in the scientific community. Today there is barely a handful of credible climate scientists who don’t accept the evidence that human activity has caused the changes we are seeing. The agreed statements by the Intergovernmental Panel on Climate Change, the IPCC, led to the Kyoto Protocol being adopted in 1997.
And so — as the urgency being felt by the scientists increased — more books were published.
Former US vice president and 2007 Nobel Prize winner Al Gore’s book Our Choice: A Plan to Solve the Climate Crisis was first published in 2008 and has since been issued in 20 editions. There have been more than enough books to furnish a list of the top 100 bestselling titles on the topic, recommended by the likes of Elon Musk and esteemed climate scientists and commentators. The ones I have acquired fill an entire bookcase shelf — dozens of titles describing the problem, making dire predictions, calling for action.
Does the new batch of books risk spreading more despair? If the previous books didn’t change our climate trajectory then what is the point in making readers feel the cause is hopeless and a bleak future is inevitable?
No. Writing more books isn’t a waste of time, but they also shouldn’t be a high priority at the moment. The point of writing a book is to summarise what we know about the problem and identify credible ways forward.
Those were my goals when I wrote Living in the Greenhouse in 1989 and Living in the Hothouse in 2005. The main purpose of the first book was to draw attention to a problem that was largely unrecognised, trying to inform and persuade readers that we needed to take action. By the release of the second book, the aim was to counter the tsunami of misinformation unleashed by the fossil fuel industry, conservative institutions and the Murdoch press. Rupert Murdoch spoke at News Corp’s AGM this week, maintaining: “We do not deny climate change, we are not deniers”.
But there are two reasons why I’m not working on a third book right now.
The first is time. If I started writing today, it would be late next year before the book would be in the shops. We can’t afford another year of inaction. More importantly, the inaction of our national government is not a result of a lack of knowledge.
On November 9, United Nations chief António Guterres said the world was still falling well short of the leadership required to achieve net-zero carbon emissions by 2050:
Our goal is to limit temperature rise to 1.5 degrees Celsius above pre-industrial levels. Today, we are still headed towards three degrees at least.
Some believe the inaction is explained by the corruption of our politics by fossil fuel industry donations. Others see is a fundamental conflict between the concerted action needed and the dominant ideologies of governing parties. Making decision-makers better informed about the science won’t solve either of these problems.
They might be solved, however, by the evidence that a growing majority of voters want to see action to slow climate change.
And the COVID-19 pandemic has focused, rather than distracted, the community on the risks of climate change. A recent survey by the Boston Consulting Group of 3,000 people across eight countries found about 70% of respondents are now more aware of the risks of climate change than they were before the pandemic. Three-quarters say slowing climate change is as important as protecting the community from COVID-19.
The growing awareness and sense of urgency are backed by another recent study looking at internet search behaviour across 20 European countries. Researchers found signs of growing support for a post-COVID recovery program that emphasises sustainability.
Books have also educated young readers on the climate emergency. Shutterstock
Still, preaching to the converted is not necessarily a bad thing. They might need to be reminded why they were persuaded that action is needed, or need help countering the half-truths and barefaced lies being peddled in the public debate. Books can fulfil that mission. So can speaking to community groups, which I do regularly.
I tell audiences the urgent priority now is to turn into action the knowledge we have about the accelerating impacts of climate change and economically viable responses. Our states and territories now have the goal of zero-carbon by 2050, so I am giving presentations spelling out how this can be achieved. We urgently need the Commonwealth government to catch up to the community.
Change is happening rapidly. More than 2 million Australian households now have solar panels. Solar and wind provided more than half of the electricity used by South Australia last year and that state achieved a world-first on the morning of October 11: for a brief period, its entire electricity demand was met by solar panels.
The urgent task is not to publish more books on the crisis, but to change the political discourse and force our national government to play a positive role.
My Comment: I think an important point to be made about books on a topic is about influencing the zeitgeist and creating the groundswell for change. While books are only a small part of that, they do tend to lend credibility to any argument and push for change (hence why there is such a large amount of science denial, political revisionism, and blatant propaganda books published by various think tanks, pundits, and reactionaries trying to legitimise nonsense).
But we also have to acknowledge that at some point books are less about communicating ideas and influencing the zeitgeist and more about grift. There is money to be made by writing books. Publishers certainly make money with those books (and by publishing contrarian books… you know, for balance… and cash). And no small part of this grift is selling those books to well meaning people who will feel like reading the books counts as doing something about the issues raised.
So we have to remember, both as readers and writers, that the knowledge step of the book is only as valuable and meaningful as what we do with that knowledge.
Many culturally important books by Australian authors are out of print, hard to find as secondhand copies, and confined to the physical shelves of a limited number of libraries. Effectively, they have become inaccessible and invisible — even including some Miles Franklin award winners by authors such as Thea Astley and Rodney Hall.
By digitising out of print books and making them available for e-lending, the project will create a royalty stream for the authors involved, as well as income for the arts workers we are employing as proofreaders.
Commercial publishing lists, such as Text Classics and Allen & Unwin’s House of Books, do a great job of breathing new life into some of Australia’s lost books. But they often focus on literary fiction, to the exclusion of genre fiction, children’s books and non-fiction, which also need to be preserved.
Here are 10 of our favourites we’re excited to digitise so you can borrow from your local library straight to your e-device. We expect these and other books in the project to be available in the first half of 2021 – and you too can nominate a book for inclusion in the collection here.
Working Bullocks (1926) by Katharine Susannah Prichard
The novel describes the trials of Red Burke, a bullock driver in Western Australia, trying to make a living in a post-war Australia.
Just after the novel’s original publication, it was described by John Sleeman of The Bookman in the UK as “the high-water mark of Australian literary achievement in the novel so far”.
Metal Fatigue (1996) by Sean Williams
Sean Williams has written over 50 books, including co-authored titles with authors such as Shane Dix and Garth Nix which have appeared on the New York Times bestseller list.
Metal Fatigue was Williams’ debut. Set in a small American city 40 years after the end of a nuclear war, the residents must decide if they want to join the newly forming Re-United States of America.
Depicting a dystopic future of violence, shortages and a divided USA, it still feels remarkably current today.
I’m Not Racist, But… (2007) by Anita Heiss
This poetry collection from activist, writer and member of the Wiradjuri Nation, Professor Anita Heiss, skewers Australia’s racist underbelly.
I’m Not Racist, But… explores identity, pride and political correctness; proposes alternative words to the national anthem; and reveals how it is to grow up as an Indigenous woman in Australia.
This is a landmark work along Australia’s slow road to racial reckoning.
Space Demons (1986) by Gillian Rubinstein
The multi-award winning Space Demons was Gillian Rubinstein’s first book and began the much-loved trilogy of the same name.
It follows four ordinary kids drawn into a dangerous new computer game – instead of simply watching the game on the screen, they become part of it. And there is no way to know if they will escape.
With its gripping plot and local setting, Space Demons introduced many children to Australian science fiction – and led to many Australians first discovering their love of reading.
Noonkanbah: Whose Land, Whose Law (1989) by Steve Hawke, with photographs by Michael Gallagher
In 1979-80, the Yungngora people protested to stop the American company Amax drilling for oil on a sacred site on Noonkanbah Station, Western Australia.
This book is the detailed first-hand account of what became a high profile, ground-breaking land rights campaign, leading to the formation of the Kimberley Land Council. The Yungngora people wouldn’t have their native title rights recognised until 2007.
Alongside the reporting by Hawke, son of former PM Bob Hawke?, the book includes photographs taken by anthropologist Michael Gallagher.
This is an essential work of Australian history.
The Unlucky Australians (1968) by Frank Hardy
Frank Hardy was known for his political activism around labour rights, and as the author of 16 books. Almost his entire backlist is out of print, with the notable exception of Power Without Glory (1950).
In The Unlucky Australians, Hardy tells the story of the Gurindji people and the opening years of the strike they began in 1966.
Their protest against poor working and living conditions, seeking the return of their traditional lands, lasted nine years.
The Whitlam government returned some of those lands in 1975 with the historic transfer of “a handful of dirt” and the strike led to the passage of the historic Aboriginal Land Rights (Northern Territory) Act in 1976.
A vital piece towards understanding the shameful labour conditions inflicted upon Indigenous Australians, this book should never have gone out of print.
Inspired by three real life charismatic and dangerous individuals, these dark stories of abused trust and misplaced faith are transformed, taking on a gothic quality, with complex narratives, unlikely narrators and fairy-tale elements.
The White Garden is an ambitious novel following the misdeeds of the psychiatrist Dr Goddard (or Dr God, for short) in a hospital in the 1960s. Red Shoes takes us into the world of a religious cult. Cape Grimm looks at a religious order after its members are killed by their charismatic leader.
The Mindless Ferocity of Sharks (2003) by Brett D’Arcy
The Mindless Ferocity of Sharks is coming-of-age story about “Floaty Boy”, an 11-year-old with a love of body-surfing, his family, and what happens when his older brother disappears.
Described by the Australian Book Review as “Tim Winton on speed”, D’Arcy shines his own spotlight on Western Australia, exploring the duality of a life spent between the waves and the shore – and what happens when a family becomes torn apart by loss.
Untapped will launch with a free online celebration on November 24 at 6pm. Register for the launch here, nominate a book for inclusion at untapped.org.au – and let us know what you think we should digitise in the comments.
This month’s It’s Lit! dives into the world of graphic novels.
Obviously, I’m a fan of graphic novels. I think that the format provides an interesting and engaging storytelling method. Sometimes I think of graphic novels as a step between novels and movies (storyboards anyone?). Other times I think of them as a great way to pair down a story to its elements. And then there are the times when I don’t think too hard and just enjoy reading graphic novels.
I’ve previously written about how the snobbery of literature is especially pointed when it comes to graphic novels. And it always seems to come back to holding up a very certain kind of novel as “literature” and everything else as “unworthy”. Something I’ve come to call defending Fort Literature from the invading Lesser Works.
Maybe if people just gave graphic novels a chance to entertain them…
In the past few decades, literature has expanded to not only mean the “novel” but “graphic novels” as well. Today we are gonna break down how the graphic novel went from the comic book store to the classroom. Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
Invent money so you can take it off of people… Ingenious?
Debt: The First 5,000 Years is a comprehensive dive into the history of money, credit, and society/economy. It acts as a direct refutation of the commonly taught economic ideas about money and exchange systems that make up our economies (past and present). In doing so, Graeber draws on countless examples, historical evidence, and anthropological research to outline the major flaws with our current economic system.
This book was a very important read. It doesn’t just overturn many assumptions, it shows how those assumptions are taught as fact to perpetuate our current system. But probably the most important point Debt makes is that our current system doesn’t fully account for the human economy which means it will ultimately fail and we need to replace it with a system that does account for everything.
That said, at about halfway through Debt I found myself starting to wave my hand for Graeber to move it along a bit. At two-thirds, I was signalling for him to wrap it up already. Having read several of Graeber’s books and essays now, I feel Debt was his most important but also most meandering. In some ways, it reminded me of Das Kapital in this respect.
I fully expect this book will be ignored by economists, with fists firmly shoved into ears. You should probably read it though.
Comments while reading:
I’ve heard the barter (myth) explanation so many times. But now that I’ve read some examples of where that isn’t used, or is used quite differently from what we conventionally are told happened in the past, you realise that its pretty much a whole-cloth nonsense. I mean, who’d have thunk that sharing would have been common among our ancestors? It’s still common today when things go pear-shaped. So bloody obvious.
MMT explainer on the creation of money. Having read about MMT (Modern Monetary Theory) in Stephanie Kelton’s book, seeing it used here only reinforces both texts. Someone needs to create a market, hand out credit and demand a proportion be repaid. Goods are exchanged. Eventually, money turns up as an accounting measure.
Interesting side note about the Hindu philosophy of Nyaya that rivals pre-Socratic philosophy. It has an interesting idea about how logic shouldn’t be doing a content-independent “formal language” but instead incorporating logic with content in the language of the philosophy. They also independently came up with atomism. Funny how we don’t hear Nyaya discussed but we are hammered with “western philosophy”. https://en.wikipedia.org/wiki/Nyaya
Two-thirds through and I’m signalling for Graeber to wrap it up. I understand that when overthrowing orthodoxy you’re going to have to show your work… but I kinda feel like the point could have been made in a few hundred pages less.
Summary: the orthodox view of money and the economy is wrong. It doesn’t correctly understand nor value the entirety of our human economy, which is more correctly a credit system. The credit system is actually how our society works, thus we have to move our economic system to one that utilises this. Essentially, mutual aid and trade. The evidence for this is seen in every community, every time there is a disaster, and throughout history. /end.
This month’s What’s the Difference from Cinefix looks at Rebecca.
I think it was quite interesting to have the director involved in the discussion of doing an adaptation. Many of the points he made about what you can and can’t do are a good take-away.
One of the key points made was around what is cinematic. In books you can make a point or convey an idea without having to bash the reader with it (unless you are Dan Brown, in which case you’ll bash them with it repeatedly just to make sure that the people who take 6 months to read a book don’t forget something important). Movies can’t do that to the same extent without leaving the viewer a little bit dissatisfied. Unless you are being very arty, in which case, imply away and trigger years of debates over whether Cobb was still dreaming.
Unfortunately, I think the thing missing from this video was the discussion of the success of various choices made in adaptation. It is all well and good to say that “we wanted to give her more agency” but was that done effectively? Does that remain faithful to the book, or is it a departure that was unwarranted?
The other thing that was missing was a discussion with the author about the adaptation and their thoughts. Why didn’t they dig up Daphne du Maurier and and reanimate her corpse for a quick interview? Are people even trying these days?
Last night I dreamt director Ben Wheatley joined us for an episode of What’s the Difference! Netflix’s update to the Daphne du Maurier classic Rebecca is here and the filmmaker behind the latest adaptation walked through some of the finer points of the process. How does a 1930’s romantic thriller murdery mystery that’s been in print for 80 years find it’s way to a modern streaming platform with Armie Hammer and Lily James? It’s time ask Ben Wheatley, what’s the difference?
Kate Winslet in the 2015 film The Dressmaker. The film was based on the novel by Australian writer Rosalie Ham. Screen Australia, Film Art Media, White Hot Productions
Literary culture carries profound social value. In general terms it is essential to employment, cultural literacy and understanding of community, as well as to Australia’s post-pandemic recovery and growth. It is also radically underfunded and in urgent need of new support.
I am particularly concerned with the low level of investment in literature through state and federal funding agencies compared with other art forms.
The economic benefits
Literature is a mainstay of the creative and cultural industries, which contributed $63.5 billion to the Australian economy in 2016-17. Creative arts employ 645,000 Australians and those numbers were increasing before the pandemic. Literature operates in the economy in many and complicated ways, since writers are “primary producers” of creative content.
Books form an often invisible bedrock of robust resources for the wider economy. They provide creative content in areas such as film, television, theatre and opera; moreover they contribute fundamentally to the educational sector, to libraries, events and what might be called our forms of cultural conversation.
Julia Ormond and Angourie Rice in Ladies in Black, a 2018 film based on the novel by Australian author Madeleine St John. Lumila Films, Ladies in Black SPV, Screen Australia
The most conspicuous areas of economic benefit and employment are libraries, universities, schools, festivals, bookshops and publishing.
Indirect benefits, such as to tourism and cross-cultural understanding, are often overlooked in reference to the economic benefits of literature. Our books carry implicit, prestigious reference to a national culture and place; they attract interest, visitors and students and arguably establish a presence of ideas above and beyond more direct mechanisms of cultural exchange.
Cross-cultural exchange and understanding are crucial to the literary industries and of inestimable benefit in “recommending” Australia and its stories.
However, writers’ incomes are disastrously low, $12,900 on average; and COVID-19 has eliminated other forms of supplementary income. It has always been difficult to live as a writer in Australia (which is why most of us have “day jobs”) and it is clear writers are disproportionately disadvantaged. Although essential to the economic benefits of a healthy arts sector overall, writers are less supported by our institutions and infrastructure.
We need additional government-directed support such as the funding delivered to visual arts through the Visual Arts and Craft Strategy ($6.6 million in 2018-19), regional touring delivered through Playing Australia ($7.4 million 2018-19) and the Major Festivals Initiative ($1.5 million 2018-19).
Melbourne’s State Library. Valeriu Campan/AAP
Shaping national identity
The literary culture in Australia is chronically underfunded, but its benefits are persistent, precious and immense. “Social well-being” requires social literacy, a sense of connection to one’s history, community and self: these are generated and nourished through narrative, conversation and reflection.
The literary arts create a sense of pride, community and solidarity. A single library in a country town can offer astonishing opportunities of learning and self-knowledge: how do we calculate value like this?
As someone who grew up in remote and regional areas, I’m aware of how crucial libraries and book culture are to a sense of connection with the nation. Moreover, reading is an indicator of mental health, especially among young people.
Brothers Douglas and Dare Strout read a school book together while home schooling in Brisbane in April. Darren England/AAP
“National identity” also requires reflexive literacy: social understanding and agency derive from reading and writing; a nation that neglects its literary culture risks losing the skills that contribute to creative thinking in other areas — including in industry and innovative manufacturing. Local reading and writing initiatives have had remarkable success in areas like Aboriginal literacy and aged care mental support.
More Australians are reading, writing and attending festival events than ever before. Reading is the second most popular way Australians engage with arts and culture.
Writers’ festivals are flourishing and attendances growing. Libraries remain crucial to our urban and regional communities. It is no overstatement to claim that literature has shaped and reflected our complex national identity.
Australian literature at universities
The formulation of a Creative Economy Taskforce by Arts Minister Paul Fletcher is a positive step in establishing better understanding of this crucial economy. I would draw attention, however, to the lack of literary expertise on the taskforce. The appointment of a publisher or a high-profile Indigenous writer, for example, would give more diversity to the collective voice of our literary community.
The additional appointment of an academic concerned with Australian literature, such as the current director of the Association for the Study of Australian Literature, would further enhance the claims of literature.
The education sector will have a role in implementing creative arts initiatives. There has been a deplorable lack of support for Australian literature within the academy.
Under the current wish to renovate the jobs sector through the creative arts there is an opportunity to direct dedicated funds within the education budget to establishing a Chair of Australian Literature in each university (or at least in the Group of Eight).
There is currently one Chair at the University of Western Australia and a privately endowed one at the University of Melbourne. Postgraduate scholarships could also be offered specifically in the area of Australian literary studies.
Alexis Wright, pictured here in 2007 after winning the Miles Franklin award, is the Boisbouvier Chair of Australian Literature at Melbourne University. Dean Lewins/AAP
For a comparatively small outlay in budget terms, such a move would signal direct support for Australian reading, writing and research and would be widely celebrated in the education and library sectors.
‘Embarrassing’
It is embarrassing to discover that some European universities (in my experience Belgium, Germany and Italy, in particular) study more Australian literature than is offered in our own nation.
The case for increased Australia Council funding in the neglected area of literature has already been made. Writers’ incomes are, as attested, direly low and I worry in particular about diminishing funding for new and emerging writers.
An injection of funds into the literature sector of the Australia Council is another efficient and speedy way in which to signal understanding of the fundamental role of literature to our cultural enterprises and economic growth.
Cuts to publishing, festivals, journals, individual writers’ grants and programs generally, have had a disastrous effect on the incomes and opportunities for writers in this nation. Notwithstanding a few highly publicised commercial successes, most writers truly struggle to make ends meet. The “trickle down effects” — from a sustaining grant, say, to a literary journal — have direct economic benefits to writers and therefore to the wider economy.
Most writers’ work is not recognised as a “job”; if it were, if there were a definition of “writer” as a category of honourable labour (such as it is, for example, in Germany and France), writers would be eligible for Jobmaker and Jobseeker benefits.
This may be blue-sky thinking, but I look forward to a future in which forms of precarious labour, like writing, are recognised and honoured as legitimate jobs.
Another area that may work well with literature is foreign aid. The government of Canada, for example, donates entire libraries of Canadian literature as part of its aid program. (I’ve seen one installed on the campus of the University of New Delhi.)
What about gifting libraries of Australian books as part of our aid program? Hamilton Churton/PR Handout
This works as a stimulus to the host economy (benefiting publishers and writers) and also the receiving community, for whom access to books and education may be difficult. It also encourages study of the host culture’s writings and has benevolent “soft power” effects of inestimable worth.
‘Literature houses’
The government has indicated physical infrastructure (buildings and so on) will be necessary to the renovation of the domestic economy post-COVID. This is a wonderful opportunity to consider funding “literature houses”, purpose-built sites for readings, writer accommodation for local and overseas residencies, places for book-launches, discussion and the general support of literature.
The Literaturhaus system in Germany, in which all major cities have funded buildings for writer events, and in which, crucially, writers are paid for readings and appearances, is a wonderful success and helps writers’ incomes enormously.
The Frankfurt Literaturhaus. shutterstock
The inclusion of Indigenous, regional, rural and community organisations in proposals for “literature houses” would stimulate local building economies and generate community recognition of Australian literature.
The Regional Australia Institute considers creative arts as a potentially productive area of regional economies. However its 2016 map of Australia has a tiny space allocated to creative industries (situated around Alice Springs and linked to the Indigenous art industry). This strikes me as a radical imbalance and a missed opportunity.
A priority for this inquiry could be support for initiatives in literature, perhaps through existing library or schools infrastructure, to address creatively matters of both rural innovation and disadvantage.
Encouraging workshops in writing, including visiting writers, addressing reading and writing as a creative enterprise for the community as a whole: these could form the basis for an enlivening cultural participation and skills. Dedicated funds in literature for regional, remote and rural communities are urgently required.
Literature, in all its forms, is crucial to our nation — to the imaginations of our children, to the mental health and development of our adolescents, to the adult multicultural community more generally — in affirming identity, purpose and meaning.
I have a couple of points to add: 1) $12,900 average but $2,800 median. The Median figure is much more relevant and telling. 2) Literature needs to be defined as all of the genres, not just the small section that is held up as “important”. Otherwise you will further erode the writing industry.
This month’s It’s Lit! is looking at the career of Stephen King.
I’m not sure I fully appreciated Stephen King until more recently. When I was younger I didn’t get into his books; IT was particularly popular when I was in primary school. Then when I was a bit older, I tried a few novels with mixed results (Carrie was great, the first Dark Tower didn’t grab me).
My view of King changed when I picked up On Writing. Every writer recommends it as a must read for budding authors. It was while reading this book that I realised just how prolific and successful King has been.
Take a look at the NYT bestseller lists for fiction. From the mid-70s through to today you will battle to find a year where King didn’t have at least one bestseller. That’s without even looking at top 10s for those years either. There aren’t any authors with that sort of staying power and talent. Most would battle to even churn out something half-readable after a decade or two.
So:
Few writers have had the sheer staying power, popularity, and prolific output as Stephen King. From insatiably flesh-hungry clowns and sentient cars to telekinetic teenagers and mystical gunslingers, if there’s one author who has taken up valuable real estate in that part of our imaginations, it’s Stephen King. But it’s not just his monsters that have lasting power—it’s also the very human and very psychological elements in his work that linger.
So come with me, Constant Reader, while I lead you through the dark and twisted world of Uncle Stevie, the King of Horror…
Hosted by Lindsay Ellis and Princess Weekes, It’s Lit! is a show about our favorite books, genres, and why we love to read. It’s Lit has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor.
This installment of What’s the Difference? covers one of the classics of 80s filmmaking. CineFix gives a big middle finger to the man with They Live.
Does anyone else remember video rental stores? No? Just me?
Okay, so imagine there’s a Netflix but instead of a library of movies of questionable quality and some series that will be cancelled after two seasons on your TV, there is a store you visit to borrow these shows and movies.* You can only borrow a few at a time for no longer than a week. And these borrowings are handed to you on a thing called a VHS tape cassette. This is deemed superior to watching broadcast TV, which consists of two channels, one of which is Elvis movie re-runs and sport, the other is designed to appeal to people whose hip isn’t up to making it out on Sunday mornings anymore.
Anyway, VHS rental tapes used to have a lot of junk before the start of the movie. This included anti-piracy warnings, a helpful reminder that this was a VHS tape, warnings about not pirating this tape, and trailers for other available titles. Fast-forwarding didn’t work that well, due in part to the slowness of fast-forwarding at the time, and the ingenuity of some dirtbag at the VHS factory who made sure all anti-piracy warnings took into account fast-forwarding in their design. Honestly, it was just easier to set the tape playing, go and fetch snacks, and come back when you stopped hearing super-serious voice-overs.
It was on one of those rented VHS tapes that I first saw an incredibly cheesy late 80s early 90s voice-over trailer for They Live. To say I desperately wanted to see it was an understatement
Of course, back in those days, we had to walk 50 cubits through freezing deserts up hill wearing a bag filled with bricks to get to the physical not-Netflix store. And while they called themselves a video rental business, there was no guarantee they had any of the films that were advertised on their videos. They Live was certainly one of the films not at our store. It wasn’t until almost a decade later that I saw a censored for TV version of the film.
The reason I tell this tragic story of childhood disappointment is to highlight how long I had to wait to actually see They Live. And despite that anticipation, the movie still met/exceeded my expectations. It is a classic of B-movies and one that has only gained more appreciation with time rather than less. As discussed in the Cinefix video, the themes about unrestrained capitalism are even more relevant today with a reality TV star for US president, billionaires splattered all over our media, and growing inequality.
The original short story and comic (linked below) are used as the premise of the movie. But as discussed in the video, you can do things in a short story that you can’t in a movie. That means we have to show more of the world, establish characters, kick-ass and chew bubblegum. If anything, I was disappointed with the short story after seeing the movie.
If there is any year to read Eight O’Clock in the Morning and watch They Live, it is 2020.
