A New Media Scholar’s Dilemma

For a grad­u­ate stu­dent in an Eng­lish Ph.D. pro­gram, one of the big mile­stones on the road to the dis­ser­ta­tion is the Oral Exam. In my case this involves five pro­fes­sors, a list of 60–80 books, and two hours in a (rhetor­i­cal­ly) smoke-filled room. Since I’m work­ing on con­tem­po­rary lit­er­a­ture and new media, one of the chal­lenges I have to deal with is how to address nov­els, films, tele­vi­sion shows, video games and more as part of the same “list.” How does one put these things togeth­er? How can a video game be read as a text along­side Gravity’s Rain­bow or Brave New World?

One way to approach this ques­tion is to include the work of lit­er­ary and cul­tur­al crit­ics who are already look­ing at new and tra­di­tion­al media side by side. Fol­low­ing that line, I try to keep up with the aca­d­e­m­ic blog Grand Text Auto, which cov­ers “com­put­er nar­ra­tive, games, poet­ry and art.” One of its con­trib­u­tors, Noah Wardrip-Fru­in, is work­ing on a book about dig­i­tal fic­tions and com­put­er games that looks per­fect for my Orals list—and he’s pub­lish­ing it, chap­ter by chap­ter, on Grand Text Auto for blog-based peer review. It will come out next year with MIT Press, but for now, it’s a work in progress.

All fine so far—I could list it as “forth­com­ing” and direct my pro­fes­sors to the link. But what hap­pens when I start com­ment­ing on this book as I read it? What are we to do with the knowl­edge that this “text” will most like­ly change between now and next year? Does this item on my Orals list sig­ni­fy a draft of the book, the blog and its com­ments, or the expe­ri­ence of read­ing and writ­ing into the MS myself (includ­ing, per­haps, respons­es from the author)?

I find the dilem­ma par­tic­u­lar­ly inter­est­ing because it touch­es on a cen­tral con­flict in human­i­ties schol­ar­ship. Are we pas­sive observers of the lit­er­ary scene or active par­tic­i­pants in it? It’s a rare aca­d­e­m­ic crit­ic who thinks of call­ing up a poet to ask her what she meant in a par­tic­u­lar line, but that’s exact­ly the kind of con­nec­tion that our hyper-con­scious, dig­i­tal­ly medi­at­ed world offers up.

P.S. After all of this hand-wring­ing, it’s obvi­ous I’m not going to have time to read Noah’s book before I take my exam, so it’s off the list. But I can’t wait to dig in next month!

Harold Bloom on the Ghastly Decline of the Humanities (and on Obama’s Poetry)

Open Source (iTunes Feed Web Site) is back. The radio show host­ed by Christo­pher Lydon hit some finan­cial snags last sum­mer and went off-air. Now, thanks to the Wat­son Insti­tute at Brown Uni­ver­si­ty, the pro­gram has found new life, and it’s already regain­ing some of its old momen­tum.

Right before the New Year, the show aired a three-part inter­view with Harold Bloom, Amer­i­ca’s most well known lit­er­ary crit­ic. As always, Bloom does­n’t hes­i­tate to share his views here. But he saves his sharpest remarks for when he address­es the state of the human­i­ties in the Amer­i­can acad­e­my (MP3 — iTunes — Feed — Web Site). For Bloom, a long­time pro­fes­sor at Yale, it’s not a pret­ty pic­ture. The human­i­ties, par­tic­u­lar­ly the study of lit­er­a­ture, has “com­mit­ted sui­cide” by “going in for polit­i­cal cor­rect­ness to a sim­ply sick­en­ing degree” and “get­ting away from canon­i­cal stan­dards [and] cog­ni­tive and aes­thet­ic stan­dards.” The human­i­ties, Bloom sum­mar­i­ly says, “are not worth cel­e­brat­ing until they estab­lish them­selves as a dis­ci­pline again,” and, until some res­ur­rec­tion takes place, they won’t have the insti­tu­tion­al stand­ing of the social sci­ences. These are strong words, but frankly they’re among his milder com­ments. Have a lis­ten, and find the com­ments men­tioned above about 13 min­utes in.

For­tu­nate­ly, the con­ver­sa­tion does end on a pos­i­tive note (at least sort of). Bloom gives a kind nod to the poet­ry writ­ten by the young Barack Oba­ma (read it here), liken­ing his poems to the work of Carl Sand­burg and Langston Hugh­es. It’s fair­ly high praise, espe­cial­ly when you con­sid­er that he’s will­ing to call Jim­my Carter the “worst poet in North Amer­i­ca.”

Below find the two oth­er seg­ments of the record­ed inter­view with Harold Bloom.

1) On Walt Whit­man (MP3 — iTunes — Feed — Web Site)

2) The Jazz Bridge (MP3 — iTunes — Feed — Web Site)

And also see our ear­li­er piece: The Art of Read­ing a Poem (Accord­ing to Harold Bloom). Here you get to lis­ten to a class where Bloom gives a crit­i­cal read­ing of a Wal­lace Stevens poem. This one is long on straight­for­ward schol­ar­ship and short on polemics.

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James Joyce’s Dubliners: Four Stories

jamesjoyce2.jpgBack in June, we high­light­ed the release of James Joyce’s Ulysses in free audio­book for­mat. Ulysses stands as Joyce’s most impor­tant work, and for some, it’s most the impor­tant work pub­lished in the Eng­lish lan­guage dur­ing the entire 20th cen­tu­ry. Despite Ulysses’ enor­mous stature, many read­ers still turn to Dublin­ers, a col­lec­tion of 15 short sto­ries that Joyce pub­lished in 1914, part­ly because it’s con­sid­ered his most acces­si­ble writ­ing. Over at Lib­rivox, you can find sev­er­al key sto­ries from this col­lec­tion — name­ly, The Sis­ters (mp3), Ara­by (mp3), Eve­line (mp3), and The Dead (mp3 in zip file). The Dead is the longest and last sto­ry in the col­lec­tion, and it’s a Christ­mas sto­ry, some say the “great­est of all Christ­mas sto­ries,” which makes it par­tic­u­lar­ly time­ly to men­tion here.

It’s worth not­ing that you can down­load the com­plete etext of Dublin­ers at Project Guten­berg or on Google Book Search. (The lat­ter ver­sion is clean­er.) And, if you can suf­fer through it, Guten­berg also offers a free audio ver­sion of Joyce’s text, which is read by a com­put­er, not a real per­son.

Last­ly, be sure to spend some time perus­ing Lib­rivox’s entire col­lec­tion of free audio­books. It’s the best on the web.

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The Future of Print

WNY­C’s lat­est On The Media (iTunes — Feed — Site) cov­ers the cri­sis of tra­di­tion­al book pub­lish­ing in a new media age. While Ama­zon rolls out the Kin­dle and more and more con­tent comes out in pure dig­i­tal form, we’re still pub­lish­ing more books than ever before. One inter­est­ing note from the pro­gram is that pub­lish­ers have dis­cov­ered that offer­ing more free con­tent online (i.e. not just excerpts but whole chap­ters of new books) serves to increase sales even more. The show was great–worth a lis­ten.

Listening to Poetry Online

shakespearenew2.jpgToday, we have a guest fea­ture from Don from Clas­sic Poet­ry Aloud (iTunes — Feed — Web Site), which offers a great line­up of poet­ry pod­casts. They have just kicked off a week ded­i­cat­ed to war poet­ry, which includes pieces by Shake­speare, Coleridge and Melville, among oth­ers. Below, Don offers a very help­ful sur­vey of the poet­ry pod­cast land­scape and helps us see why pod­cast­ing might be the per­fect medi­um for spark­ing a renais­sance in poet­ry. Take it away Don…

Short, intense and often emo­tion­al pieces of writ­ing penned for the human ear: poems could have been invent­ed for pod­casts. It’s no sur­prise, then, that poet­ry read­ing pod­casts have sprung up like daisies this year.

Most are the aur­al equiv­a­lent of blogs, telling the inti­mate sto­ries of the poet, and often about as inter­est­ing. Some, though, are ded­i­cat­ed to read­ing oth­ers’ poet­ry, and they are worth vis­it­ing for a reg­u­lar, short piece of writ­ing that will almost always stim­u­late thought and feel­ing – and if it doesn’t, well, you’ve prob­a­bly only wast­ed the few min­utes it takes to read a poem.

Clas­sic Poet­ry Aloud (Tunes Feed Web Site)), my own pod­cast, is ded­i­cat­ed to any­thing in the Eng­lish lan­guage which is over 70 years old. Exper­i­men­tal­ly, this week (Nov 4 – 11) is War Poet­ry Week, fea­tur­ing poems from Samuel Coleridge and Her­man Melville as well as Wil­fred Owen and Shake­speare. It’s an attempt to take lis­ten­ers on a week-long jour­ney from the first rumours of war (on Mon­day 5th) through to remem­ber­ing the dead (on Sun­day 11th, Remem­brance day in the UK).

Most poet­ry pod­casts don’t deal exclu­sive­ly with the past, how­ev­er. On the excel­lent Poet­ry Off the Shelf (iTunes — Feed — Web Site), from the Poet­ry Foun­da­tion, you’ll find the smooth-toned Cur­tis Fox inter­view­ing con­tem­po­rary poets about their works, and hav­ing them read and inter­pret a poem or two. It’s won­der­ful­ly pro­duced and Fox’s intel­li­gent, self-dep­re­cat­ing style puts both this guests and his lis­ten­ers at ease. Oth­er pod­casts, such as MiPO­ra­dio (iTunes — Feed — Web Site), fol­low the same interview/reading for­mat.

Cloudy Day Art (iTunes — Feed — Web Site) sim­i­lar­ly involves inter­views, most recent­ly with for­mer US Poet Lau­re­ate Ted Koos­er, but with a dif­fer­ent focus. A home-pro­duced show by Wash­ing­ton DC res­i­dent Will Brown, the aim is to draw out of those he inter­views thoughts, tips and advice for those who, like the ever-enthu­si­as­tic Will him­self, are writ­ing poet­ry, for pub­li­ca­tion or just for them­selves.

One pod­cast focus­es pure­ly on Shakespeare’s son­nets, and is read by a man describ­ing him­self as “some guy from New York” (iTunes — Feed — Web Site). The shtick on this pod­cast is that the read­er was ordered to read the son­nets as some form of com­mu­ni­ty ser­vice or face the prospect of prison. I’m not sure I quite believe this – the inter­pre­ta­tions are too good, and the atti­tude too laid-on. None of this detracts from what is, though, an enter­tain­ing and intel­li­gent lis­ten­ing expe­ri­ence.

For pure sim­plic­i­ty, and no atti­tude, I sub­scribe to Clarica’s Poet­ry Moment (iTunes — Feed — Web Site), which gives me what I want: a clear female voice read­ing a wide range of poet­ry, with no fuss, just a sense of plea­sure in the mean­ing and the sound of the words.

In this reac­tion, I am a reg­u­lar poet­ry pod­cast lis­ten­er: all com­ments I’ve read on my own, and oth­er sites show reac­tion to all this spo­ken poet­ry to be over­whelm­ing­ly pos­i­tive, and some­times deeply emo­tion­al. Peo­ple love to hear the poem come off the page, whether they are a recep­tion­ist in Hol­land, study­ing for their Eng­lish Lit­er­a­ture exams at high school in Scot­land, or learn­ing Eng­lish in the Far East. It’s won­der­ful to sense the world being brought togeth­er through the medi­um of the poet­ry pod­cast. Some­times it almost seems that tech­nol­o­gy has enabled the oral tra­di­tion to be reborn.

For more poems and nov­els, please vis­it our Audio­book Pod­cast Col­lec­tion and if you want to guest blog, get in touch.

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Bestselling Novelist Sells Story Ideas for $1

lethem2.jpgBest­selling writer Jonathan Lethem — author of one of my favorite nov­els Moth­er­less Brook­lyn — has put togeth­er an offer that’s hard to beat. He’ll sell you a sto­ry for a book, play, or screen­play for a mere $1. Then you can take the sto­ry idea, make it your own, and move it in new and unex­pect­ed direc­tions.

This is obvi­ous­ly not a get-rich-quick scheme. It’s actu­al­ly more about bring­ing Lar­ry Lessig’s notion of free cul­ture to the lit­er­ary domain. You can get more on Lethem’s ideas here, but the upshot is that Lethem, being a fan of “adap­ta­tions, appro­pri­a­tions, col­lage, and sam­pling,” wants artists to “make mate­r­i­al free and avail­able for [cre­ative] reuse.” (Some of this think­ing informs a recent piece in Harper’s called “The ecsta­sy of influ­ence: A pla­gia­rism.”) The ini­tia­tive, which he calls The Promis­cu­ous Mate­ri­als Project, offers a step in the right direc­tion.

Relat­ed Con­tent: Give a lis­ten to this engag­ing inter­view with Lethem where he talks about this project and more. Also check out Lethem and oth­er authors speak­ing at Google.

Tell us what books have changed your life. Three days left. We have over 30 con­tri­bu­tions so far. Keep them com­ing.

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The Worst Sentence Awards

Every year the folks at the Bul­w­er-Lyt­ton Fic­tion Con­test cel­e­brate their love for bad prose by run­ning “a whim­si­cal lit­er­ary com­pe­ti­tion that chal­lenges entrants to com­pose the open­ing sen­tence to the worst of all pos­si­ble nov­els.” They’ve just announced this year’s cham­pi­on sen­tences and they’re well worth a read. The con­test accepts entries year-round, so if you think you’ve got what it takes to write the worst sen­tence of 2008, feel free to take your shot.

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Wolf Brother: Serial Literary Entertainment

Chronicles of Ancient Darkness #1: Wolf Brother (Chronicles of Ancient Darkness)The Guardian Books Pod­cast has start­ed offer­ing an audio­book ver­sion of the young adult nov­el Wolf Broth­er as a ser­i­al pod­cast. The sto­ry is the first in a series of books by Michelle Paver called Chron­i­cles of Ancient Dark­ness. It makes good audio since it’s grip­ping and not hard to fol­low (or get back into if you get dis­tract­ed). But what real­ly makes it worth­while is Ian McKel­lan’s voice, which lends the tale just the right lev­el of ancient, mag­i­cal atmos­phere. The Guardian has released 9 out of 13 episodes so far, at a rate of one a week. (Site, iTunes)

Click here for more free audio­books. 

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