Digital deconstruction

whoownsthefutureFrom Who Owns the Future? (2013) by Jaron Lanier:

Consider too the act of scanning a book into digital form. The historian George Dyson has written that a Google engineer once said to him: “We are not scanning all those books to be read by people. We are scanning them to be read by an AI.” While we have yet to see how Google’s book scanning will play out, a machine-centric vision of the project might encourage software that treats book as grist for the mill, decontextualized snippets in one big database, rather than separate expressions from  individual writers. In this approach, the contents of books would be atomized into bits of information to be aggregated, and the authors themselves, the feeling of their voices, their differing perspectives, would be lost.

Lightning doesn’t strike twice

wherethesidewalkends1

Added my notes on Where the Sidewalk Ends (1950) over at Alex on Film. You might come to this movie with high expectations seeing as it reunites a lot of the same talent as the classic noir Laura (director Preminger, stars Andrews and Tierney, screenwriter Hecht). But it’s not in the same league. I mainly blame Hecht, as it’s a really clumsy script.

You know you’re out of touch when . . .

Oxford Dictionaries has declared “vape,” a verb meaning “to inhale and exhale the vapour produced by an electronic cigarette or similar device,” to be the 2014 word of the year.

The Oxford word of the year is usually some neologism that has  become so widespread it can’t be ignored. Last year it was “selfie,” which I was familiar with even though I’ve never taken one and indeed don’t even own a cellphone or any other device that would enable me to take one.

This year, however, I pulled a complete blank. I can honestly say I’ve never heard or seen the word “vape” used before, and had no idea what it meant. What’s worse, I don’t even know what an electronic cigarette or e-cigarette is.

And it gets even worse! I’d never heard of any of the words on this year’s shortlist! Here they are:

bae n. used as a term of endearment for one’s romantic partner. [I pulled a complete blank on this one.]

budtender n. a person whose job is to serve customers in a cannabis dispensary or shop. [I would have guessed this was something like a male friend who also worked a bartender. Sort of like a brotender? I would have been wrong.]

contactless adj. relating to or involving technologies that allow a smart card, mobile phone, etc. to contact wirelessly to an electronic reader, typically in order to make a payment. [This doesn’t seem like a wholly new word to me. I’m not familiar with the technology anyway.]

indyref, n. an abbreviation of ‘independence referendum’, in reference to the referendum on Scottish independence, held in Scotland on 18 September 2014, in which voters were asked to answer yes or no to the question ‘Should Scotland be an independent country?’ [I wouldn’t have thought of this. I would have guessed it had something to do with liking independent music on social media. Or something.]

normcore n. a trend in which ordinary, unfashionable clothing is worn as a deliberate fashion statement. [Vanilla, hetero pornography?]

slacktivism, n., informal actions performed via the Internet in support of a political or social cause but regarded as requiring little time or involvement, e.g. signing an online petition or joining a campaign group on a social media website; a blend of slacker and activism. [I would have come closest to getting this one right, because it’s  pretty much what the name suggests. I don’t think it counts as a word though. It’s too cute.]

Obviously I’m way out of touch.

 

 

 

The real mystery of Thomas Pynchon

bleedingedgeAdded my review of Thomas Pynchon’s Bleeding Edge over at Good Reports. Pynchon is one of those all-too-common older writers who has just been living off past glories for decades now. He’s managed his brand well by cultivating a persona as a media recluse, long past the point where I think anyone would care if he “came out.” But his recent novels just go over the same themes, and they’re not well written at all. I guess some people get a pleasant retro buzz out of them (witness the new movie coming out of Inherent Vice), but I can’t think of any evidence from the past twenty years of him improving.

Why is it that we allow artists, and in particular authors, to get by for so long on reputation alone? Is it a lack of critical confidence? A deference to the cult of “genius”? Pynchon isn’t the most egregious example I can think of. Don DeLillo is probably worse. Haruki Murakami has been embarrassing himself for years. Cormac McCarthy is pretty awful now too. But it seems as if writers are given a lifetime pass if they’ve ever done anything good. In what other profession does that happen?

Mr. Sherlock Holmes Man

sh092

Added my notes on Sherlock Holmes (2009) over at Alex on Film. It’s a beautiful movie to look at, but all these CGI epics seem the same to me. Holmes here is just another Marvel superhero. The comic book aesthetic has taken over to the point where even movies that aren’t based on comic books are being re-imagined this way. I’m not purist about these things, but something is wrong when everything is re-interpreted through the same creative matrix.

I hadn’t thought of it before in quite those terms

In a recent opinion piece appearing in the Washington Post, Andrew J. Bacevich points out that Syria is the fourteenth country in the Greater Middle East that the United States has “invaded or occupied or bombed, and in which American soldiers have killed or been killed” just since 1980.

Bacevich thinks this latest intervention is only likely to bring about more of the kind of political instability that has led to so much Islamic militancy in the first place. Once these things get started it’s very hard to get out without leaving a mess behind. As General Sir Philip Chetwode remarked in 1921, referring to British imperial policy in what was then Persia, “the habit of interfering with other people’s business and making what is euphoniously called ‘peace’ is like buggery; once you take to it, you cannot stop.”

Seeen it

From Nature (1836) by Ralph Waldo Emerson:

Our age is retrospective. It builds the sepulchres of the fathers. It writes biographies, histories, and criticism. The foregoing generations beheld God and nature face to face; we, through their eyes. Why should not we also enjoy an original relation to the universe? Why should not we have a poetry and philosophy of insight and not of tradition, and a religion by revelation to us, and not the history of theirs? Embosomed for a season in nature, whose floods of life stream around and through us, and invite us by the powers they supply, to action proportioned to nature, why should we grope among the dry bones of the past, or put the living generation into masquerade out of its faded wardrobe? The sun shines to-day also. There is more wool and flax in the fields. There are new lands, new men, new thoughts. Let us demand our own works and laws and worship.

gonegirlFrom Gone Girl (2012) by Gillian Flynn:

It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can’t recall a single amazing thing I have seen firsthand that I didn’t immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeen it. I’ve literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can’t anymore. I don’t know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet.

 

 

After the party

Perhaps not the Sean Michaels you were thinking of? (CBC -- David Donnelly)

Perhaps not the Sean Michaels you were thinking of? (CBC — David Donnelly)

Did you watch the Gillers last night? Me neither.

It’s a bit discouraging. Last year I wrote a 20,000-word essay on the Gillers that required me to read the entire long list (thirteen books). This year I was just a spectator, and without that incentive I read only one of the twelve books on the long list, and that because I had been paid to review it. (The book was Rivka Galchen’s American Innovations, by the way. It was pretty good, but didn’t make the shortlist.)

The biggest news, really the only “news” surrounding this year’s award, was extra-literary. The scheduled host, Jian Ghomeshi, had been relieved of duty (more on his downfall here), to be replaced by Rick Mercer. In addition, the prize purse had been doubled to $100,000.

I’m not impressed by the big pile of cash. It strikes me as desperation. The only thing the Giller people can do to attract attention to their award is to throw more money at it. But how many eyeballs did it buy? This has to have been one of the most under-the-radar Gillers ever. Clearly it is now a fading brand. I didn’t even recognize the names of any of the “celebrity presenters.”

Of course, Scotiabank has no end of money to put into events like this. Banks, as we all know after 2008, are the masters of our universe. Whether today’s banks are effective cultural custodians, however, is another matter. The prize money here is more than most of these authors can ever expect to make from selling their books. Is that a good thing? Meanwhile, Scotiabank announced 1,000 Canadian job cuts just last week, despite making billions in profits. The few-big-winners/lots-of-losers economy continues apace.

Congratulations to Sean Michaels, author of Us Conductors, who walked away with the prize. He was given the longest odds, and in a poll conducted by the Globe and Mail not one of the “experts” picked him to win (the only author on the shortlist so undistinguished). In the lead-up to last night’s gala All My Puny Sorrows by Miriam Toews was reported to be the clear bestseller on the shortlist, with David Bezmogis’s The Betrayers in second place. I confess that before the announcement of the long list I hadn’t heard of Us Conductors, despite it being published by a major press. Indeed, the only “Sean Michaels” I knew of was a porn actor from the 1990s.

Michaels is the third debut novelist to win the award, following Vincent Lam (OK, his debut was a linked short story collection) and Johanna Skibsrud, a pair of authors who did not set the world on fire as sophomores (bonus points if you can name their follow-up efforts). This makes one wonder how accurate a predictor the Giller is of future success, or whether winning Canada’s most prestigious and richest literary prize, which began as something of a lifetime achievement award, is good for younger authors.

We’ll find out after the party.