On Bad Writing, the Anti-Monument, and Digital Horizontality: Jorge Carrión’s “Some Traits of the Literature of this Milennium”
by Lucas de Lima on Dec.11, 2013
The relational art of the nineties prefigured the habitual modus operandi of written culture in our century. Forms of operation and intervention that are in the laboratory phase that are still hesitantly being progressively defined, without anybody knowing if they are going in the right direction. One only has to look at the boom of community managers and the dearth of companies in the management of social networks. Like them, each writer of the 21st century is looking for a way through, while also having conflicting relations with publishers, disbelieving in the cultural supplements while knowing that they are still the ones who decide part of the prestige, discovering in certain blogs and profiles – international ones – criteria that are of interest, conversing with interlocutors who up to four days ago were inaccessible (in a immeasurable quantity and quality, often secret, this virtual epistolary that in only a few cases will partially, one day, be revealed) and receives more audio-visual stimuli than any writer in the past and expands his artistic production thanks to tools that no longer need formal training (Photoshop, video editors, web pages, word and image processors, etc.). And perhaps, in the most extreme cases, even working in the ambit of digital literature, alongside a programmer or actually programming, far removed, from the market, the laws of supply and demand, from the preservations of works in libraries, from everything that we are accustomed to and which is increasingly rare, even exceptional.
Read more of this insightful article here. Aside from Joyelle’s notion of “the plague ground,” the tentatively optimistic ending above also reminds me of Claudio Willer’s prophecy from 1995 about a technologically driven “romantic rebellion.” Interesting, too, how easily and probably unintentionally Carrión wrests claims to innovation away from Anglo-American literature. Notice how he mentions not one U.S. writer.