You are currently browsing the category archive for the ‘aesthetics’ category.
I once drove a forklift in a magazine distribution warehouse for a living and got to know romance, action adventure, and western paperbacks of the 1980s and 90s fairly well, since we handled a high volume of grocery store book sales. I read the cast-offs that got damaged in the sorting process on my breaks. The writing was usually atrocious, but it was an incremental education in what readers actually want.
Years later, when 50 Shades of Grey sold 15.2 million copies, I wasn’t shocked. When James Altucher called the book great literature on account of its sales figures, I shrugged. Someone was bound to make the “volume of sales” argument. It fit with what I was packing every day into forklift innerbodies. And it fit with what I knew about the mentality of the publishing industry, where books are “units” and the bottom line runs deeper than all literary pretension.
Recently, I had a long email exchange with a romance writer friend of mine about changes in her genre, which is now almost unrecognizable to me, since I haven’t done a lot of romance fiction editing and it’s been a long time since I’ve had a warehouse-level view of what is being shipped.
I learned some interesting things from her about the how genre fiction publishing is evolving. But I came away with one difficult unanswered question. Why do the main characters in romance novels now all seem to have unremarkable porn names—i.e. names suggestive of bank managers and legal assistants in gray office complexes somewhere in middle America? Ethan Chase. Julie Steel. Laura Woods. Richard Ward. Shannon Green. One gets the impression they should either be overseeing new accounts on the 15th floor or having a highly choreographed threesome in the back of a speedboat somewhere in Florida. Or both.
There are no more 70s porn names. Nobody’s named “Hung Johnson” or Cyndi Squeals anymore (and I suppose there never were in romance writing). Now there’s just boring character names like Sean Parker, Katie White, and Corey Davidson and equally boring characterization to follow. At least the Fabio romance novels of the early 90s had lurid bodice-ripper paintings on the covers to go along with “Pirate Fabio” or “Fabio in Space” or “Fabio Conquers the Cavemen” or “Fabio and the Secret of the Dragon Crystal”—basically all the same book with a different configuration of adjectives. They never called him “Andrew Roberts.” He was always Fabio, the bodybuilder who got his nose broken by a duck on a rollercoaster in Williamsburg, who now wants to ravish you and save the dolphins.
Thinking I might do some research on the evolution of character-naming trends in romance writing and porn and write about it for a magazine, I did some digging and found a news story about how porn sites have seen a dramatic uptick in popularity as a result of Covid isolation. It got me thinking about a Wired piece from 2015 on how social media, cell phones, and the internet in general have disrupted the entire porn industry. I wondered whether there was a relationship between how audiences were being trained to consume online adult entertainment and how they’re reading romance fiction, which often blurs the lines between erotica and tamer forms of storytelling.
I discovered that online pornography seems to be heading toward extreme minimalism in terms of story, characterization, and acting, emphasizing short clips appropriate for “tube” sites as well as smartphones. The companies still making longer “movies” routinely expect to see them cut into more easily sharable segments. This affects everything from the way people are hired to what they’re paid to how long they can expect to legitimately work in the field. But culture magazines like Wired aren’t interested in how this tech shift might have overturned adjacent industries like literary erotica and romance fiction. As a book editor, I am interested in that, especially in the aesthetic changes (some might say aesthetic fallout) that have ensued. My friend didn’t have answers, but she thought it was interesting, too.
She said many of the in-house style sheets currently handed out to low-status and even midlist romance writers now require interchangeable sorts of everyman characters. If Sex and the City’s Carrie Bradshaw had an unremarkable name, at least she distinguished herself through Bushnell’s idiosyncratic narrative first person (and on TV through Sarah Jessica Parker’s ironic Magnum P.I.-esque voice-overs). But even though the TV series ended in 2004, it was still squarely within the female-oriented rom-com story genre—occasionally with a racy B- or C-plot but nothing too far outside the (fairly permissive, though still present) bounds of HBO propriety.
But now there seems to be a blankness creeping in. The protagonists seem increasingly like pornographic blank slates, primarily distinguished by lowly positions on the corporate hierarchy, by what they own and don’t own, and who they have to worry about at work. There’s an unremarkable ex or a lingering, equally blank high school / college boyfriend. And then there’s Christian Grey, who’s going to make everything happen, but who is about as interesting as a self-cleaning oven.
I’m beginning to suspect that the romance genre is actually now about consumerism itself: corporate style, money, granite tabletops, the Ivanka Trump winter collection, and the bourgeois dream of neatly trimmed lawns and not having to worry about paying for your route canal because the arrogant Ferrari-driving CEO wants to take care of it for you.
Maybe it’s all about suburbia, even when it’s about dragon crystals. Maybe it’s the same formula, just more direct: young, shy-and-willowy Victoria Grantwell works for an attorney named Jonathan Charles, who has a lot of money and devilish good looks. Ravishing ensues—somewhere in the vicinity of walnut wastebaskets and corner offices. By the end, Jonathan Charles is so moved he has an emotion. All because her passion taught him how to love.
I realize I may have just described the plot of Jerry Maguire. Maybe it was all porn from the beginning.
One of the many reasons I love pulp fiction from the early 20th century is that writers like HP Lovecraft can have a line like, “the moon was gleaming vividly over the primeval ruins” (from “The Nameless City“) and actually get away with it. If I wrote something like “gleaming vividly,” my teachers would have beaten me publicly for about an hour. Is it gleaming? Really? Do you have any idea what that is? Vividly? What does “vividly” look like? Do you even know? If you know, how come you’re not showing it in concrete terms? If you don’t know, fuck you, why are you writing it? Oh, the beating would be vast and terrible.
Instead of telling the reader that the moon was gleaming vividly, the harder, more powerful, more evocative and immersive technique, is to show the gleam, show how it’s vivid, show how the ruins might look primeval using descriptive language. That’s the way I was taught. But HPL can get away with lines like this because he’s consistent. And this brings up a deeper lesson about fiction writing: stylistic consistency is more important than any given stylistic choice.
In other words, Lovecraft will write a line like “the moon was gleaming vividly” and we will have to either accept it or shut the book. If we accept it—okay, it’s pulp fiction or it’s HPL or we’re just feeling generous that day—then he hits us with “It poured madly out of the dark door, sighing uncannily as it ruffled the sand and spread about the weird ruins.” Wow. Take it or leave it. Do you want to enjoy the story or not? It’s no fun if you have to complain about the writing. So you take it. And then he’s got you: you’ve decided to let him have as many adverbs and vague adjectives as he wants. You’re going to let him tell you that the sigh was uncanny (what does “uncanny” sound like, eh?) and the ruins were weird (can you think of the last weird ruins you’ve seen?). He has trained you to read and appreciate his fiction rather than trying to meet your expectations.
Some great fiction writers can do both. F. Scott Fitzgerald, for example, can write idiosyncratic prose and also ground those weird (!) choices in hard-edged concrete description. People think he learned this through his association with Hemingway, but that’s according to Hem in A Moveable Feast—a great book but likely packed with exaggerations and a few outright lies. Hem might have learned it from Gertrude Stein, but the idiosyncratic flourish we’re talking about is less evident in his work probably because he had such a strong background in news writing. He had to make his prose acceptable to the reader (something that also helped him support himself by selling stories to LIFE and The Saturday Evening Post in an era when you could live that way).
Lovecraft is great in other ways. Still, when I read a passage like this, I have to smile: “In the darkness there flashed before my mind fragments of my cherished treasury of daemoniac lore; sentences from Alhazred the mad Arab, paragraphs from the apocryphal nightmares of Damascius, and infamous lines from the delirious Image du Monde of Gauthier de Metz. I repeated queer extracts, and muttered of Afrasiab and the daemons that floated with him down the Oxus.”
I know HPL sets himself the very difficult task of writing about states of consciousness that have only a tenuous connection to everyday life. So maybe that’s the reason for many of his writerly choices. I do take a certain daemoniac enjoyment of how he disregards certain modern conventions.
Read my latest in Splice Today: https://www.splicetoday.com/politics-and-media/jonathan-franzen-can-t-solve-climate-change-for-anyone-who-matters
There was something evil in the glow of the room’s blue lights. I felt the weight of the man on top of me. He could no longer move. His eyes were closed. I stared long into his face. I realized that I wanted him. I wanted the passion he had until a moment ago. I wanted his shoulders, which were quite muscular for his age, and his naturally tan face. I got out from under his body, sat in a chair, and lit a cigarette. I had to wait like this until he fell into a deep sleep.
It was raining outside.
— The Kingdom, Fuminori Nakamura (trans. Kalau Almony)
(or: Footage of a Canadian Treeline in a Time of Goats and Perdition)
I watched it last night and was going to write a review entitled, “Why Snakes on a Plane is Better than The Witch” but I realized there is no comparison. Snakes on a Plane has snakes, Samuel Jackson, and a plane. The Witch has . . . the treeline and a message at the end informing the audience that it was based on actual accounts of 17th century witchcraft, making us wish they’d studied plot structure a little more closely back in the 17th century.
Oh and everybody dies except Thomasin, the ingenue, who has two expressions: dumbfounded fear and hysteria. Because, you know, there’s a witch out there who lives in a hut like Baba Yaga and likes to get dolled-up as Snow White with lip implants. But that’s neither here nor there. She’s got a veiny beast-arm with which she kills children. Sometimes shit floats in the dark. This is some serious business. It’s a witch, people. Come on, now.
I’d warn about spoilers, but it’s not possible to spoil something that has been rendered un-spoilable by stripping it down so far that the possessed family goat has more gravitas than the entire cast. Katie Dickie is a brilliant actress, reprising her nutcase mother role from Game of Thrones, but now in a bonnet. She gets three expressions: dumbfounded fear, hysteria, and maniacal hostility. William, the bewrayed, misunderstood husband, who knows a lot about scripture but who is somehow as effective in life as a suburban husband in a Lorrie Moore short story, gets two: grief-stricken and fearfully enraged.
The rest of the family—the spooky eyeliner-wearing siblings, the chickens, the brother whose sole purpose is to eventually meet the beast-arm—are plot furniture. They each get one expression: ye oulde dumbfounded fear. Maybe the chickens also get the poultry version of bitterness, since they happen to be better actors but, due to species-bias, they are relegated to supporting roles. Hollywood, man. The sickness is deep.
Overall, The Witch is a lot like the Big Alligator in the Sewer movie you go to see in the afternoon when your air-conditioning breaks down. Only Snow White isn’t that scary, the Devil isn’t very present as a supernatural menace, and the treeline is under-utilized as a character. I almost want to say that Deborah Harkness could have written a better screenplay—which is saying something, since A Discovery of Witches is one of the worst novels I’ve ever had the misfortune to attempt. Yet it seems better than this.
Where is the Devil? Out there, in the woods, right? Oh yeah, that’s the beast-arm’s function in the story. Wow. Or possibly the Devil is hiding in the fear-wilderness of the human unconscious? Sure, that works. That’s what Hawthorne gives us in “Young Goodman Brown,” a story that manages to make you feel a little more paranoid and insane every time you read it. And then there’s WGN America’s Salem, in which evil is a very real, very tangible, very transformative presence—which is what we need in a movie like this. And that is definitely what’s missing–aside from, you know, an interesting plot and characters. Hence, the superiority of Snakes on a Plane, which doesn’t even try.
You can’t rely on repeated expressions of dumbfounded fear to make the audience feel something. You can’t explain the flatness away by saying, “Well, these backward rubes were religious fanatics. So, you know, there’s your paranoia and human unconscious at work!” No. I don’t care if they were a settlement of Juggalos who fell out of a time machine. It doesn’t matter who we think they are. What matters is how rounded they are as representations of real human beings to whom we can relate.
We have to feel what the characters feel. And we can’t feel anything if all we get is constant two-dimensional dread. Put simply, in order to feel afraid we have to have the experience of not feeling afraid as well. We have to know and relate to the characters as extensions (projections) of what we feel and what we care about. But there is no balance in this film.
At the very end, when the ingenue decides to join up with the goat, who speaks like Sir Lawrence Olivier with strep throat, we think there’s going to be some big reveal, some payoff that’s going to transform all the open-and-shut dumbfounded fear into something else. Maybe Thomasin will show us something new about herself that adds depth and ultimately makes us give a damn.
Nope. She’s buck naked, floating, laughing like Janis Joplin. Roll credits. And you just wasted 93 minutes you could have spent walking through the woods of Ontario. So mote it be.