I’ve talked about this with a number of people, about why I’m perfectly happy to live somewhere that is grey and rainy but almost never drops below 40 degrees (F), and a lot of the winter is spent right around 50. Hank is dropping some truth bombs here, on how to make the most of living in a cold climate.
He’s right though: try to enjoy it. Gotta find the good parts while you can.
I’m not sure the hows or whys that discussion about the literary theory of the “death of the author” cropped up recently, but it did. Lindsay Ellis has an excellent video essay about it (and really, go watch the rest of her stuff while you’re at it). It covers a lot of ground, and also some of the impact that our current culture’s shift towards personal brand (and subsequent association of any work done with that brand) has on how we think about creators and their creations. Go watch:
This prompted a follow-up response by John Scalzi, which I think is also worth reading. In process of discussing how the author is not the book and the book is not the author, he noted:
One side effect of this is that you should expect that at one point or another the authors whose work you admire will disappoint you, across a spectrum of behaviors or opinions. Because they’re human, you see. Think of all the humans you know, who have never disappointed you in one way or another. Having difficulty coming up with very many? Funny, that.
(Don’t worry, you’ve disappointed a whole bunch of people, too.)
I think that’s a pretty salient point to remember these days. That’s not to excuse people who do terrible things, nor to say there isn’t merit in boycotting the work of someone who did terrible things. But if you treat every gaff or slight as unconscionable, you’re setting yourself to be constantly outraged and constantly disappointed. Everyone’s line is going to be different, though, and it’s your call on whether any particular occasion crosses that line. Relatedly:
A shitty human can write great books (or make lovely paintings, or fantastic food, or amazing music, etc), and absolutely lovely humans can be aggressively mediocre to bad artists. There is very little correlation between decency and artistic talent. You don’t need to be a good human in order to understand human behavior well enough to write movingly about it; remember that con men are very good judges of character.
With that said, if you discover that the writer of one of your favorite novels (or whatever) doesn’t live up to your moral or ethical standards, you’re not obliged to give them any more of your time or attention, because life is too short to financially or intellectually support people you think are scumbags. Likewise, you and you alone get to decide where that line is, and how you apply it. Apply one standard for one author, and a different one for another? Okay! I’m sure you have your reasons, and your reasons can just be “because I feel like it.” Just like in real life, you might put up with more bullshit from one person than another, for reasons that are personal to you.
Just more things to chew on.
Addendum: Neil Gaiman also touched on some of this topic (more specifically, the commingling of author and work, and people making assumptions about the author based on characters in their book), and makes a point I wanted to note:
Well, unless you are going to only write stories in which nice things happen to nice people, you are going to write stories in which people who do not believe what you believe show up, just like they do in the world. And in which bad things happen, just as they do in the world. And that’s hard.
And if you are going to write awful people, you are going to have to put yourself into their shoes and into their head, just as you do when you write the ones who believe what you believe. Which is also hard.
This topic has been coming up a lot in a variety of locations for me (blog posts, tweets and toots, articles, videos): it seems like it’s pretty universally agreed upon that making friends (and really, relationships in general) as an adult is hard. It definitely feels pretty true, and there’s all sorts of reasons why it’s true (and while it’s easy to point at technology or society or all sorts of external reasons, those make up only a fraction of the reality).
I’ve got no easy answers, and it’s certainly something I continue to struggle with. The answers I’ve heard really boil down to one thing: Do The Work™.
What spawned this post is that I really appreciated John Green’s video about this (I find myself deeply empathizing with and appreciating a lot of his videos, seems like the sort of person I’d enjoy knowing):
This, in turn, was a response to Hank Green’s video:
Which I think makes a certain amount of sense (though I don’t entirely agree with the notion that we valued people more — I think the factor of having more shared experiences and enforced proximity while you build that value/appreciation for each other is a big contributor).
While I’m on the topic, one of the other pieces that popped up on my radar recently was a link to this Ask Polly letter, which I can sympathize with (being guilty of a lot of the same weird behavior when I uprooted to SF), and is also at least partly what John touched on in the above video.
It’s true. It’s super easy to start overthinking everything. Being “woke” is a good thing, but like she says, it’s a slippery slope. (To be clear, intersectional awareness is valuable, as is being aware of the consequences of your actions. But you can take it too far, where you’re actually causing more harm than the thing you’re calling out. Don’t @-me.) It also reminds me of a CollegeHumor bit:
The latest from the creator of Too Many Cooks takes a look at games and streamer culture. (Fair warning: gore, sex, depression are all present.)
Different games like WizardSlots can have different requirements for game mastery, and still have both fall under the aegis of a casual or casual-friendly game. A more distinct delineation is to establish the play intensity of the game: examine the amount of investment in game mastery that is necessary to continue to move forward in the game. If there is little room for players who haven’t invested as many resources into mastery of the game (e.g. they didn’t spend hours playing the same zone or area, learning all its quirks and best solutions to the challenges it poses), then that game will only be attractive to players with a high investment threshold, i.e. it isn’t a casual game, no matter how simple the interface is, no matter how complex the game mechanics are.
Mixed feelings. Some of it misses the mark, but other parts punch above their weight. But hey, keep those likes and subscribes coming.
Via Kottke. This is about New York and the Village, but I feel like it’s about more than that. It’s about the homogenization, pacification, and gentrification of the places that were previously the havens of the freaks and weirdos who struggled to fit in anywhere else. It’s about society (and how we interact with it) becoming performative, and anything that deviates from the norm becoming a spectacle for others. You can sense some anger and frustration in this video, and I definitely get why. People who have been outcast, or are considered weird or a freak are people, and shouldn’t be treated as a spectacle or a tourist destination.