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Debauch This

Infamous Scribblers by Eric Burns
Media matters
Status: You’ve been scooped

FOR ALL THE WOE CONCERNING TODAY’S UNDER-BALANCED AND OVER-SENSATIONAL MEDIA LANDSCAPE, perhaps no era of newspapers was more intense or intemperate, or more guiltless in its venom, than early journalism in the American colonies and new United States. It was the first draft of history for a nation feeling its way, rather probingly, to an identity as a republic.

Eric Burns’ “Infamous Scribblers: The Founding Fathers and the Rowdy Beginnings of American Journalism” explores this turbulent era of news from the first newspapers in Boston in the 1690s through the Passionate Decade of the 1790s. These formative years produced some of the finest scolds and wordsmiths our country has ever known, from Ben Franklin writing as Silence Dogood in his apprentice days, to Alexander Hamilton in the Federalist Papers. It was also a golden age of wrath and overreaction, when mobs would tear print shops to shreds and thrash offending editors in the streets. Years ago, I worked as the editor of the Pioneer Review, a small-town weekly in rural South Dakota. I remember after one contentious election, an angry contingent — including several prominent citizens — stormed into my office and demanded that I turn over the voter rolls to reveal any local traitors who had helped elect Tim Johnson, a Democrat, to another term in the U.S. Senate. I explained that I printed the vote tally but was not privileged with individual ballots. The mob grudgingly retreated, leaving my office and body unharmed. No tables were overturned. No chairs tossed through windows, no fire set to our press. That was child’s play by comparison.

But then I hadn’t even written anything to inflame the town. In colonial times, blowhards railed against everything from the Stamp Act to various treatments for small pox, and publishers neither saw nor presented any distinction between a news report or opinion and editorial. The idea of an impartial media did not yet exist, and rival editors laced into each other with blistering ferocity. You couldn’t skate by with clichés. You couldn’t be toothless in your taunting, or insipid with your insults, or you made a sorry journalist.

Early newspapermen were businessmen first; they needed to turn a profit, and that often meant accepting commissions, and viewpoints, from their patrons. One of the most scandalous instances of a writer-goon for hire came from Thomas Jefferson, who secretly funded Thomas Callender to slander and abuse President George Washington — all while Jefferson served next to Washington in his cabinet as secretary of state.

Jefferson’s dick-move has earned him condemnation in multiple volumes, while history has judged Washington far more generously than his own time. In his two terms, the first president was sneered as a monarchist, accused of “debauching” the nation, and slandered by nearly every Republican newspaper. These takedowns took their toll, and Washington — who appears to have coined the phrase “infamous scribblers” — grew to regret the free press his administration had tolerated (John Adams, with the Sedition Act, would later exact some temporary and questionable revenge by imprisoning the most vocal of his government’s critics).

Another foul-mouthed minion of the Republicans, Benjamin Franklin Bache, was involved in a long-running feud with archrival William Cobbett, whose paper supported the Federalists. Cobbett once wrote that Bache “has outraged every principle of decency, or morality, or religion and of nature. I should have no objection to the boys spitting on him, as he goes along in the street, if it were not that I think they would confer on him too much honour.”

These exchanges and many others in Burns’ book give me a pang of jealousy for an age of such impudent journalism.  There was once an honor to being eloquent, even at your most vicious, and no one bothered with the illusion of impartiality. Everyone had a bias, and that bias was a brand. Owning your arguments — and acknowledging your influences as a writer and thinker — did far more to educate readers than any pretension of being fair and balanced. Plus, the very real threat of a duel hung over every exchange of verbal fire. Now that’s accountability for your words.

It’s difficult to do justice to all the misery these writers heaped on each other, or to capture the extraordinary friction and energy involved in the early days of hammering out our grand national experiment. In these subdued times — and likely to the grave disappointment of my journalistic forebears — I will only go so far as to advise that you read the book and find out for yourself.

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Trade Paperbacks on Facebook

Trade Paperbacks has joined 2005 and created a facebook page.

If it’s not obvious yet, we’re asking you to Like us.

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Get Ready

Something new from The Fiction Advocate and Trade Paperbacks is coming this Friday Saturday.

And it will be all over the web.

You’ll want to put aside some pocket change.

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#1 Fiction Advocate Bestseller

Thanks to everyone who got a copy of ROBERT REPINO HAS A NEW CATCHPHRASE!

The first printing sold out, the second printing sold out, and we finally got a third printing, so it’s available again.

Here is what people are saying about the book.

ROBERT REPINO HAS A NEW CATCHPHRASE sucked the eyeballs right out of my head. In a good way. Never have I read so many words about a man I care so little about.” —Ben Allen

If you don’t own a copy yet… what the heck?

And here is some free stuff for everyone.

1. Four “lost pages” of new material that doesn’t appear in the book:

1 2 3 4

2. A PDF of the interview that we’ve been sending out with each copy:

interview

We’ll be taking the meager profits from this venture and rolling them into something new and bigger and very readable.

On we go!

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Real vs. Authentic

 

This is a response to a conversation with my friend Matt.

Matt, I think you’re right to start with reality TV as the prime example of our present understanding of the real. Initially reality TV was like documentary filmmaking—the camera took a neutral perspective on real-life events, and we assumed the creators were being neutral, too. But as reality TV evolved to compete for viewers, its creators’ neutrality eroded, and now its defining characteristic is simply that “this happened.” We acknowledge that the camera, being a neutral machine, isn’t quite lying to us, even though it’s being used to depict something that is partially contrived. No matter how scripted or deceptive it may be, reality TV shows you something that really happened. That’s the real. We can define the real as anything that happens, regardless of how it was created, so long as we are presented with evidence of it. OK Go’s music videos are a good example. They’re not necessarily artistic or valuable or even suited to the music, but you watch them and have this overwhelming sense of, “Damn. That happened.”

We’re talking about cultural products—music, movies, fashion, celebrity gossip, video games, culinary trends, etc., and we encounter these primarily through media. We read about them online, watch them on video, or listen to them on headphones. Since they are mediated, real things are not always equal to each other. A funny YouTube video with 1,000 hits is real, because it really happened and you can see it for yourself. But a funny YouTube video with 3,000,000 hits is even more real. It has somehow “happened” more. With the real, value correlates to ubiquity. The more a thing happens, via Facebook or Last Night’s Party or Us Weekly, the more real it is. In advanced states, the real becomes tautological. Kate Gosselin is Kate Gosselin because she is Kate Gosselin.

This premium on ubiquity means that some things can grow monstrously real even though everyone finds them distasteful or undeserving. Donald Trump is a loathsome prick. But he’s on a TV show, he has scads of money, and people are compelled to talk about him. He happens a lot. He is very real. So is Lady Gaga, even though every move she makes is contrived. So is the cast of Jersey Shore. Since all publicity is good publicity, it follows that all ratings are good ratings (even if viewers are tuning in to be appalled) and all money is good money (even if it’s acquired in a distasteful way). The real is pretty straightforward.

Authenticity, on the other hand, is like a hate crime. We all agree on the nature of the crime, and we all know who committed the crime, but we argue about the accused’s emotional and psychological state when he committed it. When we judge authenticity, we can agree that you’re standing in a divey-looking bar with a broken mirror and $3 cans of Bud Light. But we might argue about whether the bar intends to be divey-looking, or whether it’s just naturally a dive. In both cases we have to weigh a mountain’s worth of complicated backstories, contradictory interpretations, and hidden agendas. There is something almost naively noble about trying to evaluate a thing’s authenticity. You have to ask whether it’s being true to its essential nature—without necessarily knowing what its essential nature is, because how are we supposed to know a thing like that? The notion of authenticity is simple, but once you begin to investigate, it becomes terribly complex. Authenticity is frustrating.

I’m actually in favor of the real. As a means of evaluating cultural products, I think it works better than authenticity—in large part because of what I said earlier about monstrously real things. Nobody loves the very real stuff. We don’t praise the real automatically. It’s just a statement about where a thing stands in our cultural hierarchy. Because people are willing to both elevate it (by acknowledging its cultural importance) and denigrate it (by constantly talking shit), the real provides a fairly objective spectrum along which we can situate our opinions and identities as cultural consumers, relative to each other.

Authenticity, by contrast, was treated like a universal virtue. It became oppressive when small groups of people stamped a thing as “authentic” and expected everyone else to revere it accordingly. Authenticity was all-consuming: if you wore authentic clothes, you started down a slippery slope where you also had to watch authentic movies and eat authentic food. And if you were ever tainted by something inauthentic, it called into question the authenticity of everything else you did. But we all partake of the real to varying degrees. We’re all compromised by it, and we’re allowed to recoil from it when it becomes too much for us. The real is just a massive set of crude ideas about what counts. Each of us is encouraged to agree or disagree in our own way.

There’s a YouTube phenomenon where amateur bands play cover versions of hugely popular songs, like Beyonce’s “Single Ladies,” in a style that matches the band’s own  obscure niche, whether it’s death metal or a cappella. The phenomenon is a tacit admission that Beyonce is bigger than the cover band will ever be. But it’s also a critique of Beyonce’s version and an aggressive demonstration of the cover band’s own identity. We don’t necessarily cheer for the real. We just start thinking about what our remix will sound like.

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FICTION: Cigarette

You might be driving Interstate 5 in the dark, with no markings but the reflector tape and the floating heads of your fellow motorists. Then a flicked cigarette explodes in the air. It strikes the pavement and skitters toward you at 80 m.p.h., and you remember how you’re all racing each other and setting fire to things.

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Are any of the new formats for publishing fiction worth a damn?

 

After helping out with Electric Literature’s experiment to publish a Rick Moody story on Twitter; after reading the sometimes excited, sometimes critical reactions that it provoked on literary blogs; after contemplating a thoughtful post on the subject by m.snowe, I’m left with one question.

Are any of the new formats for publishing fiction worth a damn?

Featherproof Books has published dozens of short stories in their Light Reading Series. The stories are fully typeset and designed, and you can download them for free as PDFs. The idea is that you’ll print, fold, and staple them to make your own little books. It may sound like a cheap way to outsource labor (“Here, reader. You make the book.”), but in practice it’s kind of fun. I built myself two little stories by Blake Butler and Patrick Somerville, both of whom I admire, and I’ll be damned if they weren’t a pleasure to read.

Idiots Books, which seems like a crackerjack operation all around, makes a free, illustrated PDF that you can download and fold, according to their instructions, to build an endlessly repeating story called “Captain A-OK Fights Blug-Glub-Glub.”

Bear Parade, which is partly run by Tao Lin, publishes stories online that are specifically designed for web viewing, with thematic stencil illustrations and lush color schemes.

Ass Hi Books, also from Tao Lin, somewhat counter-intuitively publishes each story as a massive, illustrated JPG that reads from top to bottom, like a scroll. Somehow it’s a more elegant presentation than it ought to be.

Five Chapters keeps it classy with a new serialized story each week, and the fact that I compulsively check their daily updates is probably an indication that serializing a story, one of the oldest tricks in the books, is still a good way to tantalize readers.

Have you found any good story formats on the web?

Are you totally boggled and exhausted by the variety of forms?

Should I just migrate my consciousness to Twitter?

Which of these methods, if any, should the Fiction Advocate employ when we kick out some original stuff?

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Wait, why are your tweets all nutso?

A pretty damn badass magazined called Electric Literature is publishing a new short story by Rick Moody via Twitter. He wrote it expressly for this purpose. They asked for volunteers to simultaneously retweet the story, and I said hell yes.

Anything for the author of “The James Dean Garage Band.”

Read the story! It’s good.

So what does this say about Twitter, publicity stunts, brevity, the future of storytelling, etc?

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