New York City in 1979

New York City in 1979

The first lines of text of Kathy Acker’s New York City in 1979 are short and succinct:

SOME people say New York City is evil and they wouldn’t live there for all the money in the world. 

These are the same people who elected Johnson, Nixon, Carter President and Koch Mayor of New York.

But of course, rending it like this undoes the impact of that statement, because it’s divorced from the important context of the page. When viewed in the book itself — or, in my most recent re-read, the ebook file — that same collection of words is framed very differently by the white space around them. 

I come back to this opening — this prologue — repeatedly to appreciate the heavy lifting it does within the text. The content of the text sets us up for the book that follows, but I’d argue the presentation of the text is equally important. The book starts with an immediate defiance of the most basic of prose conventions, eschewing the page full of text we normally assume is part-and-parcel of such narratives. It foregrounds the coming disruptions in the book, the refusal to obey conventions in style and content alike, but it does so in a way that is unassuming compared to the audacity that follows. If you dislike this four-line opening, the rest of this book is likely to alienate you in ways not yet imagined.

And yet, it’s also a promise to the reader: the effort of engaging with this lack of convention will still bear pleasurable fruit. Prose narratives have always been a curated experience, the author surveys the broader landscape of a character’s fictional life and deciding this moment is worthy of fictional scrutiny and that moment is best kept hidden in the ellipsis between scenes or chapters. This moment is significant for the narrative we’re crafting, and that one is easily ignored.

In this respect, the space around the prose is nuanced and loaded with potential meaning. Acker tights her focus like a poet, evokes a moment — a sentiment — and gets the hell out. Trusts the reader to stitch together the greater meaning in the patchwork of moments that follow, and that the choices where we dip into the flow of the world are highly targeted despite their disparate content. Part of me wishes I had a spare three thousand pounds to invest in some of the original transcripts and publications, to see how the work developed and evolved.

I read a lot of Acker back in the days when I first transitioned from poetry to prose, but it’s only recently that I’ve figured out why her work resonated with me the way it did. The most recent release — a stand-alone Penguin chapbook, which brings me joy — is an interesting study in just how much you can do with 6,000 words if you’re inventive and willing to think about the document as much as the story. 

Book Rec: Four Thousand Weeks, Oliver Berkeman

(With a hat tip to Kate Eltham, who recommended this one to me)

For the last few years, there’s been a certain tendency among writers and knowledge workers of my acquaintance to get very enthusiastic about Cal Newport’s Deep Work. I totally understand that impulse on an intellectual level, and I’ll admit to finding it an incredibly useful book in the early stages of my PhD, but I suspect it’s not the transformative work its recurring recommendations make it seem. I know plenty of folks who bounce of Newport’s advice and tome; as my friend Kevin once put it, the underlying message of a Cal Newport book often seems to be “how great is Cal Newport?”. 

The fundamental argument that drives Deep Work — make time for distraction-free focus on projects that really matter — is actually great, which is probably why it’s got so much cache. Where it loses me is the specific approaches Newport lays out to achieve this blessed state, and his fundamental belief that a commitment to Deep Work is going to make you superhuman.

The issue with the advice is relatively simple: Newport works under the assumption that  the behaviours and habits that led him to excel in his chosen field of knowledge work as an academic are equally replicable in all other contexts, examining none of the fundamental assumptions and privileges associated with his success. Which has largely governed my own engagement with it: the specific practices Newport recommended were great when figuring out how to thrive within the university landscape at the start of my PhD; outside it, I barely use anything Newport recommends. 

Wherein we reach the core paradox of Deep Work: the argument is significant, the advice is…well, not. I suspect very few of the folks who lionize this book are following Newport’s system for getting deep work done, aside from cutting back on social media (and, honestly, you can skip to Newport’s actually-worth-reading Digital Minimalism for that — a superior work because the internet-adverse Newport is forced to engage with professionals who actually use social media and understand it, and therefore offer advice far more practical than “don’t use it”. It’s amazing how much more useful Newport is when his philosophies are forced to interact with practices that aren’t his own).

At this point, you may be asking the question, “Why is Peter talking so much about Deep Work when he’s recommending Four Thousand Weeks?” 

It’s simple: I suspect Four Thousand Weeks is the book most people think they’re recommending when they lionize Deep Week. Oliver Berkman is a recovering productivity-junky who is doing a deep mediation on the realities of time and finite lifespans, and how they interact with our capacity to do important things and manage our lives. 

The bulk of the work is basically a prolonged argument about why productivity-focused systems and tomes aren’t working, how capitalism has pushed our concepts of work, pleasure, and focus around, and what we’re meaningfully facing every time we choose to procrastinate.

The book isn’t particularly prescriptive — essentially sidestepping the fundamental problem of Newport — and by the time Berkman does lay out some practical steps and questions to ask yourself, they’re still focused on being adaptable to your individual circumstances and acknowledge that life is messy, full of conflicting priorities, and requires an acknowledgement that you’ll never do everything and no system will ever make that possible. 

Four Thousand Weeks is confronting, awkward, and sometimes overly-earnest, but it’s definitely highly recommended. I picked it up on the suggestion of my friend Kate and basically spent a day immersed in the text making notes and cursing the moments of self-recognition. Here’s a quote I found really interesting, if only because of the chill that settled over me the moment I read it:

One vivid example of how the capitalist pressure towards instrumentalising your time saps meaning from life is the notorious case of corporate lawyers. The Catholic legal scholar Cathleen Kaveny has argued that the reason so many of them are so unhappy – despite being generally very well paid – is the convention of the ‘billable hour’, which obliges them to treat their time, and thus really themselves, as a commodity to be sold off in sixty-minute chunks to clients. An hour not sold is automatically an hour wasted. So when an outwardly successful, hard-driving lawyer fails to show up for a family dinner, or his child’s school play, it’s not necessarily because he’s ‘too busy’, in the straightforward sense of having too much to do. It may also be because he’s no longer able to conceive of an activity that can’t be commodified as something worth doing at all. As Kaveny writes, ‘Lawyers imbued with the ethos of the billable hour have difficulty grasping a non-commodified understanding of the meaning of time that would allow them to appreciate the true value of such participation.’9 When an activity can’t be added to the running tally of billable hours, it begins to feel like an indulgence one can’t afford. There may be more of this ethos in most of us – even the non-lawyers – than we’d care to admit. Burkeman, Oliver. Four Thousand Weeks (pp. 134-135).

Writers and freelancers don’t operate on the same billable hours system, and we’re certainly not so well paid, but I’ll be damned if that doesn’t describe the way my thinking warps in the periods where I’ve found myself making a living from writing alone.

Highly, highly recommended for any creative who feels like they’re constantly overwhelmed. and don’t feel like they’re making any progress.

Purchase Links: Four Thousand Weeks, Oliver Berkeman 

10 Story Mystery Magazine

I’m currently collecting data for a prolonged meditation on pulp fiction, pulp writers, and the current resurgence of the pulp mentality in indie publishing circles. The image above appeared on the pulp covers. Among the habits I’ve built up around this: following the Pulp Covers blog, where the image above appeared in my RSS reader. 

You’ve got to admire the brutal efficiency of the title development here – 10 Story Mystery Magazine! 10 outstanding fiction aces! It’s a promise so clean and keyword driven you’d be forgiven for thinking it was developed by a 21st century content marketer with one eye on effective search engine optimization.

The more lurid and suggestive titles for individual, which promise much and give away little, support that clean promise and draw strength from it. The Voice in the Mist would be far less effective as a stand-alone title, requiring really careful promotion and packaging to make it clear what genre and style you’re getting. Meanwhile, the main title gains a lot by those little splashes of colour from the story titles, their promise and intrigue reeling in a reader tempted by the big hook.  

I suspect this approach would still be hideously effective here in 2022 — the customer is relatively clear about what they’re getting, and who the target audience is. Some research suggests these were 6.75″ x 9.5 periodicals of about 116 pages to 120 pages. At a rough guess, I’d say about 30,000 to 60,000 words of fiction a month, depending on the formatting choices, which isn’t entirely out of the range of a fast writer (or, more sensibly, several writers banding together to produce 1-2 5000 word stories a month).

Add in some recurring characters to create some issue-to-issue continuity and there’s a really interesting publishing model to play with (and I suspect some people are, probably in the horror and western spaces, possibly even in romance).

But — and you probably suspected this was coming — what a lot of folks who follow the quick production pulp path miss is one of the key market considerations of pulp fiction: the authors wrote fast and hard, putting out a prodigious amount of content, because they were writing for a disposable market. Stories were read once and discarded, the focus was on the new and the next issue. Nobody was engaging with backlist other than a few rabid fans.

Sure, there were outliers who broke this paradigm, but writing the same disposable fiction here in 2022 has a very different effect. When your entire backlist is always available for sale, making sure each new story is an invitation to go read more rather than forget and dispose can be a smarter play. Every story written for a magazine like this would go on to be collected, transformed into best-offs and themed collections, and repurposed into other works.

And that’s a very different paradigm than pulp writers wrote within, and I’m curious to see how some of the more prolific examples would have played things if working in a 2022 market.