Salvatore Pane

Tag: Tobias Wolff

Here’s Everything I’ve Recommended to Fiction Students So Far This Semester

So, I’m running this advanced fiction workshop and it’s all like woah. One thing I like to do in a classroom setting like this is meet individually with every student after they workshop. I remember very vividly going to see Tom Bailey and Gary Fincke in undergrad and how reassuring and empowering it was to know that writers I really respected were taking my work seriously (not that the students necessarily respect me in the same way I outright worshiped Tom and Gary). In my conferences, I always bring a marked up copy of their manuscript along with a one page note with strengths and prescription. But there’s also, usually, a note at the end with some writers and journals to read, and maybe even a few places to begin submitting to. At AWP, Amy Hempel said one of her favorite parts of running a workshop is putting an emerging writer with a published one, giving a young writer the book they absolutely have to read right this second. It’s one of my favorite parts of the job too, and I’ve kept track of what I’ve recommended so far.

Keep in mind, we read a lot of stuff in class. So I rarely touch on writers we’ve discussed ad nauseam like George Saunders or Lorrie Moore or Gary Shteyngart or Amelia Gray. Also, it’s only halfway through the semester. So there’s still a lot of time. Basically, what I’m trying to convey here, is this isn’t a list of the best writers for undergrads. It’s merely the group that this particular class needed to read at this particular moment. When there’s something lacking in student work that is absolutely nailed in a story collection or novel, students need to see that–in fact, there are a few writers on here I respect without actually enjoying their work. So, without further hand-wringing, here’s what I’ve recommended so far this semester.

Writers

Andre Dubus (5)
Ray Carver (4)
Wells Tower (4)
Alissa Nutting (2)
xTx (2)
Bobbie Ann Mason (2)
Emma Straub (2)
Sean Ennis (2)
Stewart O’ Nan (2)
Adam Levin
Michael Chabon
Trey Ellis
Tobias Wolff
Matt Bell
Don Lee
Ethel Rohan
Tina May Hall
Jayne Anne Phillips
Bret Easton Ellis
Jay McInerney
Douglas Coupland
Martin Amis
Cormac McCarthy
Joshua Ferris
A.M. Homes
Rick Moody
Jonathan Lethem
James Alan McPherson
Joyce Carol Oates
Deborah Eisenberg
Cathy Day
Richard Russo
Blake Butler
Miranda July
Aleksandar Hemon
Shane Jones
Jeanette Winterson
Philip Roth
Deborah Willis
ZZ Packer

Journals

The Fourth River (4)
Flatmancrooked (4)
FRiGG (2)
PANK (2)
Bluestem Magazine (2)
Weave (2)
The Emprise Review (2)
Metazen (2)
Hot Metal Bridge
Annalemma
Barrelhouse
Dark Sky
Fairy Tale Review
The Good Men Project
Wigleaf
elimae

Comics

Fables

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What Are You Teaching In Workshop?: O Captain, My Captain!

I’ve been reading Cathy Day’s blog lately and all her insightful posts about her undergrad fiction workshop as they went through NaNoWriMo, and the whole time I’ve wondered why more fiction teachers don’t share their syllabi or process or what have you. I’m a sucker for community. It’s what drew me to a university known for its creative writing undergrad and eventually to the MFA itself. Now that I’ve graduated, I miss that feeling of being part of something. There are substitutes. HTMLGIANT. The Rumpus. We Who Are About to Die. Uncanny Valley. And so on and so on. But I don’t know many first year teachers who are teaching workshops, composition and community college. So I thought that maybe I would write about my experience here a little bit, include a draft of my new syllabus, and then if anybody wanted to share similar thoughts that would be great.

This is my fall semester intermediate workshop class. I showed up the last day and they were not only dressed like me, but they’d brought in a Spider-Man cake and noisemakers. To be sure, it was one of  the most touching and humbling moments of my life. I’m not exactly sure why the students responded so positively to the class and to me (I think a lot of it comes down to the fact that they all really got along and the level of criticism was really advanced), but I hope that it has something to do with how I tried to take them seriously as writers, that when they came into my class they weren’t student writers, they were just writers. (Much of my pedagogy comes from this video of Tom Bailey minus all the crying) A lot of them came into the class complaining about how previous workshops focused on inane guidelines (one student said he’d come from a workshop where students had to fit so many imperative, declarative and exclamatory sentences into stories), and I think they responded to how difficult I made the class. I ran it more like a graduate workshop and tried to focus on publishing and literary journals. We looked at PANK, The Collagist, Flatmancrooked, just an absolute ton, and the first student publication (of what I really think will be a lot) will go live on Metazen late this month.

Despite the difficulty (I’d go on about why I think this class is a lot of work, but I’ve included the syllabus below), 15 of 19 students signed up for my advanced fiction workshop in the spring which is the next step up in the program. I honestly couldn’t be happier (although, it poses some syllabus problems because I can’t use any of the same stories from this semester), and have taken this as a mandate to push them further, to expect more from them, to transform them into writing workhorses who believe in perspiration over inspiration and the daily writing schedule. So, with all that in mind, below is the first draft of my new syallbus. Please let me know what you think and feel free to share your own. Have you ever taught a workshop? What have your experiences been like if so? If not, do you want to, do you plan to? Why?

Required Materials

3X33: Short Fiction by 33 Writers edited by Mark Winegardner

Super Sad True Love Story by Gary Shteyngart

A Gate at the Stairs by Lorrie Moore


Welcome to Advanced Fiction Workshop

In this course, you’re going to write and read a lot. This is not going to be easy because becoming a writer isn’t easy. There will be no easy A’s, and no easy weeks. Writing is a constant struggle, and this course will reflect that truth. However, and I can guarantee you this, if you’re serious about the craft of fiction, if you’re willing to put in the work, you will be a better writer at the end of the course compared to the first day.

Each student will put up 15-20 pages of literary fiction for workshop twice during the semester. You can write a traditional short story, multiple flash fiction pieces, or a novel chapter, but remember, you have to demonstrate the fundamental principles of literary fiction in all of your workshop pieces. That means you shouldn’t hand in a novel chapter that is less than a page. I want to see structure, character, development. I want nuance and complexity. I don’t want filler pieces meant to get you closer to the page requirement.

Substantial revisions will be required. Substantial revision does not mean fixing grammar. Substantial revision usually means a complete rewrite and perhaps multiple rewrites. Students must also post 500-100 word critiques for every student story we workshop. Similarly, you will read a large amount of stories from 3X33 and a few handouts. Students will post 500-1000 word critiques for every assigned story we read. In addition to those critiques, you will write two 1200 word papers in which you do a craft analysis of the novels Super Sad True Love Story and A Gate at the Stairs.

Reading so much literary fiction will allow you to build a library of published stories in your heads. Students are expected to use their knowledge of writers like ZZ Packer, Richard Yates or Lorrie Moore to comment about peer work up for discussion. Students will make parallels and use the published work to inform their critiques of peer work. The majority of the course will be spent workshopping. The goal of the course is for you to not only become a better writer, but to become an active literary citizen who can participate in the ongoing dialogue concerning fiction.

Workshop

You will be prepared for every workshop class by doing the following:

1.)    Write comments in the margins of stories up for discussion. You MUST use the comments feature in Microsoft Word. All comments will be transparent to the entire class. I want you to upload your marked up versions of workshopped stories to Blackboard. Failure to do so will negatively impact your grade.

2.)    Write a 500-1000 word critique for each peer written story we read this semester. You must critique the story based on its own intentions. For example, if the writer is attempting to write in the realist mode of Ray Carver, do not suggest a woman who gives birth to a newborn baby every night ala Amelia Gray just because you don’t like realism. On the flip side, do not knock a postmodern story because you prefer realism. Judge the story the writer wrote, not the one you want to write. Try and help them see how they could better serve their material and unique world vision. In your responses, first describe what you think the writer is attempting to do and what the story is about. Then discuss the piece’s strengths. Finish with prescription, a section where you point out very specific things that still need work within the story. Go beyond grammar. Character, plot, prose, all the building blocks of fiction are on the table. You must use the description, strength, prescription model.

3.) Post your critique and margin comments to Blackboard by 8PM the night before workshop. All critiques will be visible to all members of the class, and I encourage you to read what your peers are saying about every story. Name your thread on Blackboard after your favorite line of the story in question. If you don’t turn in these materials BY 8PM, you will lose points.

Example of a good critique:

[There’s a critique I wrote here in graduate school, but I’m removing it from the blog because I never told the person whose story I culled from. If interested, look in the Crow Room.]

Notes About Workshop

When you are being workshopped, it is very important that you are quiet, take notes, and do not respond to anything verbally. To reiterate, you are not allowed to talk when being workshopped unless I specifically ask you something, and that will be very rare. You are not there to defend your story. Your story must stand on its own.

Please proofread your work. If a story is excessively sloppy, I will not workshop it. Do not depend on your classmates to fix your grammar.

Distribution of Manuscripts

Stories are due from every student at specific points in the semester. Upload them to Blackboard on the due date by 9AM. If your story is late, your grade for that story will drop by an entire letter. If you are more than a day late, you will get an F, no exceptions. You are responsible for printing out your peers’ stories for discussion on workshop days.

Blackboard Reading Posts

On most weeks, you will be required to read at least one outside short story. On these weeks, you must post a 500-1000 word critical response to said story on Blackboard under the appropriately titled forum. Posts must be uploaded by 8PM the day before we discuss the story. If your post is late, you will take an F on the critical response in question. During the first two weeks in which we will be discussing two professional short stories a classroom session, you are required to write three 250-500 word responses each class session, one for each story we read (the exception being Super Sad True Love Story when Paper 1 will be due). Post your responses on the appropriate Discussion Board forum. There’s a forum designated by name for every professional story.

Let me be very clear on this. This is not a forum for you to explain whether or not you like the piece in question. I don’t care. What I’m looking for is a craft analysis. These stories are published. They’re not up for workshop. What can you learn from them? If you simply talk about why you love or hate a specific story, you will take an F on the critical response in question.

Papers

Two papers will be due in this course, one for Super Sad True Love Story by Gary Shytengart and one for A Gate at the Stairs by Lorrie Moore. They will be due on Blackboard the night before class at 8PM like our reading critiques. The goal in these papers will be to do a craft analysis and pick out a few pieces in the work in question that specifically helpful to your development as a writer. Do not analyze these novels in a vacuum. Feel free to tie in your own work or other books you have read.

Fiction Pods

After everyone has been workshopped once, I will break you up into Fiction Pods of four and five in which you will read each other’s revisions and then run mini-workshops. I will explain more about Fiction Pods when we reach that point in the semester. Keep in mind, you will be required to meet with your Fiction Pods for 90 minutes outside of class on two separate occasions during the semester. You will also have to e-mail me where and when you met and a very brief summary of the meeting.

Attendance

I want to be as clear as I can on this. If you miss class four times, you will fail. There will be no make up assignments. Don’t come back to class. The ONLY excuse I will accept is a doctor’s excuse. I am not going to make any exceptions on this front.

If you are unprepared for discussion or workshop, I cannot give you credit for attendance that day.

Grading

This is what you have to do if you want an A in this course. You have to put up two thoughtful workshop pieces. Then you have to take the time to substantially revise them. You have to be engaged in classroom discussions and add something relevant every class. You must do all the Blackboard posts and turn them in on time. You do all these things, you get an A. You slack off, turn stuff in late or short, doze off in class, and you’re not getting an A.

Here’s the grading breakdown. 70% of your final grade will come down to your final portfolio, i.e. all of your revised work at the end of the semester. The other 30% comes from Blackboard posts and participation. Please note: participation is mandatory. If you are not contributing to every single workshop, you are not going to get a good grade. This is a workshop course. The same goes for Blackboard. If you consistently fail to turn in work on time, you’re not going to get a good grade.

Final Portfolios

On the final day of class, you will be expected to turn in two revisions of your workshop pieces. Late portfolios WILL NOT be accepted.

Conferences

After your workshop, please schedule a conference with me during my office hours. Revisions will be due at the end of the semester, but you can turn them in at any point. Conferences are mandatory!

Outside Events

Students are only required to attend one event outside of class. On April 7th, writer Lydia Davis will read in the Frick Fine Arts Building at 8PM. You are required to attend and write a short, 500 word craft analysis of her reading. ATTENDANCE IS MANDATORY. If you cannot attend, you must go to a make up reading that I will assign.

Academic Integrity

Cheating/plagiarism will not be tolerated. Students suspected of violating the University of Pittsburgh Policy on Academic Integrity, noted below from the February 1974, Senate Committee on Tenure and Academic Freedom reported to the Senate Council, will be required to participate in the outlined procedural process as initiated by the instructor. A minimum sanction of a zero score for the quiz or exam will be imposed.

Plagiarism, as defined by the University of Pittsburgh’s Academic Integrity code, is when a student:

Presents as one’s own, for academic evaluation, the ideas, representations, or words of another person or persons without customary and proper acknowledgment of sources.

Submits the work of another person in a manner which represents the work to be one’s own.

Knowingly permits one’s work to be submitted by another person without the faculty member’s authorization.

Special Assistance

If you have a disability for which you are or may be requesting an accommodation, you are encouraged to contact both your instructor and Disability Resources and Services, 140 William Pitt Union, (412) 648-7890 or (412) 383-7355(TTY), as early as possible in the term.  DRS will verify your disability and determine reasonable accommodations for this course.

Course Sequence

Week One

Thurs January 6

Syllabus

Introductions

Amelia Gray “Babies” and “Dinner”

Week Two

Tues January 11

Raymond Carver “What We Talk About When We Talk About Love” 3X33

Tobias Wolff “The Liar” Blackboard

Dave Eggers “After I Was Thrown in the River but Before I Drowned” Blackboard

Thurs January 13

Antonya Nelson “Naked Ladies” 3X33

James Alan McPherson “Why I Like Country Music” Blackboard

Donald Barthelme “Robert Kennedy Saved From Drowning” 3X33


Week Three

Tues January 18

Gary Shytengart Super Sad True Love Story

STORIES DUE


Thurs January 20

Workshop 1

Workshop 2

Week Four

Tues January 25

Workshop 3

Workshop 4

Thurs January 27

Workshop 5

Jonathan Lethem “Super Goat Man” Blackboard

Week Five

Tues February 1

Workshop 6

Workshop 7

Thurs February 3 – Guest Workshop w/Travis Straub

Workshop 8

Workshop 9

Week Six

Tues February 8

Workshop 10

Workshop 11

Thurs February 10

Workshop 12

Andre Dubus “The Fat Girl” Blackboard

Week Seven

Tues February 15

Workshop 13

Workshop 14

Thurs February 17

Workshop 15

Matt Bell “His Last Great Gift” Blackboard

Week Eight

Tues February 22

Workshop 16

Workshop 17

Thurs February 24

Workshop 18

Richard Yates “The Best of Everything” 3X33


Week Nine

Tues March 1

Workshop 19

Workshop 20

Thurs March 3

Workshop 21

Workshop 22 (IF NEEDED)

A.M. Homes “The Former First Lady and the Football Hero” Blackboard

SUNDAY REVISIONS DUE

Week Ten

Spring Break

Week Eleven

Tues March 15

Lorrie Moore A Gate at the Stairs

New Stories Due

Thurs March 17

Workshop 1

Workshop 2

Week Twelve

Tues March 22

Workshop 3

Workshop 4

Thurs March 24

Workshop 5

Workshop 6

Week Thirteen

Tues March 29

Workshop 7

Workshop 8

Thurs March 31

Workshop 9

Workshop 10 (IF NEEDED)

ZZ Packer “Dayward” Blackboard

Week Fourteen

Tues April 4

Workshop 11

Workshop 12

Thurs April 7

Workshop 13

Workshop 14 (IF NEEDED)

George Saunders “Sea Oak” 3X33


Week Fifteen

Tues April 12

Workshop 15

Workshop 16

Thurs April 14

Workshop 17

Workshop 18

Week Sixteen

Tues April 19

Workshop 19

Workshop 20

Thurs April 21

Workshop 21

Workshop 22

 

Wolf Writers Talk Contra III: The Alien Wars

“The grisly parade of the spectre years trooped through his brain. Suddenly,
he saw that his life had been channelled by a series of accidents: a mad
Rebel singing of Armageddon, the sound of a bugle on the road, the
mule-hoofs of the army, the silly white face of an angel in a dusty shop, a slut’s pert wiggle of her hams as she passed by.”

-Thomas Wolfe

“You cannot find peace by avoiding life.”

-Virginia Woolf

“In military flight training the idea here seemed to be that a man should have the ability to go up in a hurtling piece of machinery and put his hide on the line and then have the moxie, the reflexes, the experience, the coolness, to pull it back in the last yawning moment–and then go up again the next day, and the next day, and every next day, even if the series should prove infinite–and, ultimately, in its best expression, do so in a cause that means something to thousands, to a people, a nation, to humanity, to God.”

-Tom Wolfe

“Knowing that everything comes to an end is a gift of experience, a consolation gift for knowing that we ourselves are coming to an end. Before we get it we live in a continuous present, and imagine the future as more of that present. Happiness is endless happiness, innocent of its own sure passing. Pain is endless pain.”

-Tobias Wolff

Thoughts on the Short Story Survey

“Do people still care about short fiction?” That’s a redundant, pointless question for the most part, but I find it interesting that the dominant form of literary fiction consumed in this country is the novel, yet so many undergraduate institutions focus primarily on the short story in writing workshops and even in general surveys for non-English majors. I’m taking an Independent Study at Pitt with Nick Coles called Seminar in Course Design. The goal of the course is for me to generate five syllabi for a wide variety of classes: Workshop in Composition, Short Stories in Context, The Graphic Novel, Intro to Creative Writing and Intro to Fiction. I’ve been reading a lot of pedagogical theory on these subjects by writers like Mike Rose, Richard Rodriguez, Madison Smart Bell and Peter Turchi. It’s been really great experience so far, but the one I keep getting stuck on is the short story course.

I’ve been thinking a lot about the survey courses I took in undergrad. My professor was a particularly cool guy we all wanted to emulate. Dr. Laurence Roth had a book out about Jewish detective fiction and wrote scholarly articles about comic book luminary Will Eisner. He also played in a kickass band made up of other faculty members. This is all to say that he had a posse of students who signed up for practically every class he taught. When I took his survey,  I was still a very naive, innocent undergrad reading Carver, Dubus, Wolff and Ford pretty much exclusively. Roth bombarded us with Pynchon, Eggers, Safran-Foer, DeLillo, Kincaid and even the aforementioned Jimmy Corrigan by Chris Ware. I was alternatively frightened by Roth’s selection and intrigued. But what I didn’t realize at the time was that Roth’s survey class proved a valuable counterpoint to the realism heavy focus of all my workshop classes. Roth showed the alternative; he showed us what else was possible.

So the question I’ve been facing is whether or not one class can balance both sides. Can a single survey course manage to promote neither realism, postmodernism or any other school of thought, and instead, simply show students the possibilities and let them decide on their own? Or will professors’ biases always come to the forefront no matter how democratic a syllabus? I’m not sold either way. But I’ve made an attempt. Below, you will find a draft of my short story survey syllabus. I’m looking to improve it, so if you have any suggestions, please throw them out. Keep in mind, it’s aimed at undergraduates.

Course Description

This course is a survey of the various facets of the contemporary short story from 1950 to present. The class will be broken down into four major units in which we will examine the work of authors from different literary movements and see how they are affected by history and culture. The first unit will involve a thorough analysis of the so-called post war writers who often focused on the widespread conformity of 1950s and early 1960s America. Unit two will move on to the more experimental writers of the ‘60s and beyond and focus on how these writers constructed their stories and why they were so deeply impacted by their place in literary history. Then we will cover the dirty realists of the ‘80s and their shift back to basics during an age of utter excess. Toward the end of the course, we will study the growing world of globalized writers and the plight of those who deal with the aftermath of colonial imperialism. Finally, the class will investigate the new frontier of canonized short story writers and attempt to understand and categorize what their place in history is.

Required Coursework

The class is designed as an ongoing discussion about the contemporary short story and how the form affects and is affected by broader stratifications in history and culture. We will conduct close readings on the assigned material every class. After the second week, group presentations will begin in which teams of four students are given time to present on directed topics. Aside from class participation and group presentations, grades will be based on three separate papers in which students will be asked to discuss the various texts at length along with supplemental material and other theoretical/cultural concerns.

Sequence

Unit I: Post War Conformity in the USA: The Rise of Traditional Realism

John Updike
John Cheever
J.D Salinger
James Baldwin
Richard Yates
Group Presentations Begin

Unit II: The Counter Culture and Avant-Garde

Donald Barthelme
Joyce Carol Oates
James Alan McPherson
Barry Hannah
Toni Cade Bambara
Charles Baxter
Jamaica Kincaid
Roberto Bolano
Paper #1 Due

Unit III: Dirty Realism in the Age of Reagan

Tim O’Brien
Raymond Carver
Andre Dubus
Tobias Wolff
Richard Ford
Bobbie Ann Mason
Alice Munro
Breece D’J Pancake
Lorrie Moore
Paper #2 Due

Unit IV: New Frontiers

David Foster Wallace
Rick Moody
Rick Bass
Etgar Keret
Junot Diaz
Dan Chaon
Robert Boswell
Dave Eggers
Antonya Nelson
Miranda July
Stewart O’ Nan
A.M Homes
Don Lee
Jhumpa Lahir
George Saunders

Final Paper Due

Assignments

Paper #1) Using the work of two writers from Unit I and two writers from Unit II, compare and contrast the style and techniques of the Post War Realists and the Experimentalists. What is at stake for these groups of writers and is there any overlap? Focus your argument on whether or not one side or the other has more emotional resonance. You may want to take into consideration that the answer may be more complex than “the experimentalists have more emotional resonance because…” What concerns bind these seemingly disparate groups of writers together? What threatens to tear them apart? 5 pages.

Paper #2) What does it mean to be a dirty realist in the age of Reagan? Using the work of at least three of the writers covered in Unit III, come up with a mantra for this generation of writers and spend your paper arguing their merits and drawbacks. What have these writers taken from those in Unit I? What about Unit II? On the flip side, what have they jettisoned? What is gained from their techniques? What is lost? Feel free to make use of the historical milieu of the time period. 5 pages.

Paper #3) We have now examined some of the most major writers of the short story from 1950 to the present day. Since you now have a vast resource of stories and writers to draw from, I would like you to select three writers from Unit IV that you think are similar stylistically. Then go back through the previous units and attempt to create a genealogy for this group of writers. You should argue which writers and stories influenced your writers and how. Do you see the macabre flourishes of Joyce Carol Oates in the work of Dan Chaon? Is there a connection between the down and out protagonists of Raymond Carver and the Pittsburgh milieu of Stewart O’ Nan? Is Jhumpa Lahir’s interest in the post-colonial world influenced by Jamaica Kincaid in any tangible way? Make connections. See the through lines that are at play in literary history. 10 pages.

Why Super Mario Bros. Will Affect the New Generation of Writers

A few years ago I came across a story of Tom Bissell’s in Best American Short Stories 2005. I can’t remember everything about “Death Defiers”, but I’m pretty sure it involved an American photojournalist in the Middle East who gets swept up in some sort of bizarre, familial poison plot. The details are fuzzy, but what I recall quite clearly is the final paragraph: a beautiful piece of prose describing the protagonist stepping on a mine and flipping through the air. I’m not doing this story any justice whatsoever, but I liked the piece enough at the time to add Bissell’s name to my “To Read” list.

I’m sure all writers/readers have similar lists. Mine’s in the back of whatever moleskin notepad I’m keeping my writing notes in at the time. The list comprises every book or writer that I need to read. Sometimes I make it through these lists in their entirety, but most of the time I do not. In the intervening years between first reading Bissell’s short story and now, I’ve seen essays of his from time to time but little else. Then yesterday, over on HTML Giant, I read that he was publishing a collection of essays about his addiction to video games (and flirtations with cocaine) called Extra Lives. They linked to an excerpt at The Guardian.

HOLY SHIT!

Finally, someone is looking at gamer culture with a literary (and serious) sensibility. Interestingly enough, the same Best American with Bissell’s piece also contained a short story about a World of Warcraft-esque human slave labor camp. But outside of that and Justin Taylor’s fantastic flash fiction Tetris/End of the World mash-up, I haven’t really read much that looks at gaming with a seriousness of intent. I was particularly drawn to this section in The Guardian excerpt:

What have games given me? Experiences. Not surrogate experiences, but actual experiences, many of which are as important to me as any real memories. Once I wanted games to show me things I could not see in any other medium. Then I wanted games to tell me a story in a way no other medium can. Then I wanted games to redeem something absent in myself. Then I wanted a game experience that pointed not toward but at something. Playing GTA IV on coke for weeks and then months at a time, I learned that maybe all a game can do is point at the person who is playing it, and maybe this has to be enough….

It turns narrative into an active experience, which film is simply unable to do in the same way. And it is moments like this that remind me why I love video games and what they give me that nothing else can…

Niko [the protagonist of Grand Theft Auto IV] was not my friend, but I felt for him, deeply. He was clearly having a hard go of it and did not always understand why. He was in a new place that did not make a lot of sense. He was trying, he was doing his best, but he was falling into habits and ways of being that did not reflect his best self. By the end of his long journey, Niko and I had been through a lot together. (Bissell)

What I love about this essay is that it recognizes that video games offer a textual experience wholly unique. Literature and film require active participation to a certain extent, but no matter how much you contextualize movies or visualize the scenes in books, you can never have a  literal direct effect on the chain of narrative events in the way you can with video games. Even comic books, which require more active participation than film or books by having white space segmenting the action which forces readers to play out the missing moments of time in their minds, cannot match the interactivity of a video game.

I’m not sure where this line of thinking will carry me, but it’s something I’ve been dwelling on a lot recently as video games factor into the novel I’m very close to completing, The Collected Works of the Digital Narcissist. The protagonist is a gamer nostalgic for the 8-bit games of yore and often embeds images from those games into the text. During a trilogy of scenes which take place during the early nineties, he describes his devotion to all things Nintendo via the following:

If you’ve only casually played video games, then you can not comprehend the inner depths of their joys. You don’t know what it feels like to give yourself up so completely to an alien world of colors and sprites, of repetition and absolute safety. You are no longer yourself. You are an avatar. Super Mario, an Italian plumber tumbled through the looking-glass. Link, the boy knight on a magical crusade to rescue Princess Zelda from the terrible Ganon. Samus Aran, the intergalactic bounty hunter tracking down alien eggs on a world controlled by space pirates. This becomes more “real” than the “real” world…

And so I began my descent into the world of microchips and immateriality. And so I began to fear the natural world. Because when you are represented by an avatar, you are no longer Michael Bishop, a skinny child with a broken arm and sharp ribs that push against your polar bear t-shirt. You are not weak and loathsome and oh so frightened that some threat lurks around every corner existing only to dismember you. I lost myself in those games for hours at a time, refused to leave the safety of my house and that monolithic Nintendo. I feared forests and lakes and birds and wind and most of all people.

The digital!

My first true love!

(Pane)

What’s interesting to me about all of this is echoed in Paste Magazine’s review of the aforementioned Justin Taylor’s Everything Here is the Best Thing Ever. Reviewer Charles McNair writes, “Justing Taylor’s first short-story collection artfully captures the view of the 200s from the perspective of a twentysomethingSeveral of his stories bear the unmistakable, bloggy influence of the 2000s. Do we sense some sort of new fictional frontier? Time will tell.” This is the first generation to come of age raised on video games and technology more advanced than the Atari 2600 and the Apple II. Will that have an effect on the writing produced by those writers? How about blogs and Facebook and Twitter and cell phones? I say overwhelmingly yes. Our sense of narrative has been irrevocably shifted by technology and it only makes sense that not only will the platform literature is disseminated through change, but the very writing itself.

Two brief personal examples to illustrate a point:

1) This is my actual Nintendo collection.

Over the past six years, I’ve managed to track down about 150 Nintendo Entertainment System games, 50 Super Nintendo Entertainment games and 20 GameBoy games. I don’t play newer systems very much because I’d usually rather spend my free time reading, but also because I know that like Bissell I have an addictive personality and remember all too well the days in high school when I would play Japanese Role Playing Games on the original Playstation for disgusting stretches (during one horrible summer before ninth grade, I played Chrono Cross every day for three weeks for at least eight hours at a time. I became so addicted that I only stopped to hurriedly eat a sandwich in front of the pause screen). Since college, I have been content to play the games of my childhood. Super Mario Bros. Chip N’ Dale’s Rescue Rangers. Maniac Mansion. Blaster Master. Fun games with marginal narratives that only take about a half-hour to complete.

All that being said, how can I not be affected by video games? Even if I don’t play much now, so much of my life has been spent glued in front of a television screen controlling digital avatars that it wouldn’t be realistic to clam my sense of narrative hasn’t been deeply impacted by these digital worlds. And I’m willing to bet I’m not alone in this.

2) I went to college for creative writing. The program is very serious compared to other undergrad institutions and the teachers treat their pupils more like graduate students. I often bailed on the work in my other classes to work on fiction and cnf, and this was certainly not frowned upon by the real working writers who taught us. The books lifted up for us to worship were all written by the ’80’s dirty realists and their predecessors. Carver. Dubus. Wolff. Ford. Pancake. Munro. Bobbie Ann Mason. Richard Yates. And don’t get me wrong. They all still number among my favorite writers, and my devotion to Yates borders on the religious.

Unfortunately, after many years of writing each and every day, I eventually came to realize that I will never be a master of domestic realism. I don’t have it in me. My instincts naturally strive for the geeky, the nerdy, and it’s hard to hit that aesthetic in the parameters of sparse Carver minimalism. I wrote a very bad, failed novel a few years ago in the style of domestic realism. The characters were all working class, and the subject matter included decaying mines and the folly of local politics.

It was breathtakingly terrible, and after wonderful advice from a mentor of mine, I packed it away in a drawer. Since then, I have written something much more successful, and my work has begun to be published in very small publications. While working on my new novel, I found myself referencing Nintendo, putting up screen shots, using Twitter feeds, implementing blog posts, inserting web comics and even writing an entire scene in script format. People ask why I made these narrative decisions and I can only respond that it’s what felt natural and “right” to me at the time. Like Bissell, I feel incredibly affected by the prevailing technologies of my era. To deny that by reverting to a mode of writing three decades old is akin to denying myself, something Bissell and Taylor are very clearly aware of.

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