The Politics of Narrative: Shaping How We Think
I posted this a while back on Ambling Along the Aqueduct, and Amp linked to it in one of his link farms, but given my tendency to post about political narrative, I thought it might be good to have this post around for people to refer to if they’re wondering about my positions.
Collective Unconscious
My anthropological theory of literature, basically, is that through reading a large sampling of a culture’s literature, it’s possible to deduce some of the basic concerns and narratives running through that culture’s subconscious. This is especially true when a subject becomes trendy in science fiction.
For instance, the way that we (as science fiction writers) explore virtual reality as a social space reflects our anxieties about social spaces in the “meat” world. Depictions of virtual reality tend to cleave to older cultural dialogues about cities. They’re seen as freeing, a place for people to move beyond mundane concerns — much as the theorist Simmel saw cities — or they’re seen as oppressive places where human interaction is traded for fetishization — much as the theorist Durkheim saw cities.
I see art as our culture’s roiling subconscious. Our beliefs and anxieties bubble to the surface. Especially in the fiction of ideas.
Narrative and Society
I think that one of the strongest effects of culture on the human psyche is to shape the narratives that we use to dissect the world. These narratives give me a lens for interpreting what happens to me. I, as a western woman, am likely to interpret my choices from an individualistic perspective. I decide things. I make them happen. In Invitations to Love: Literacy, Love Letters, and Social Change in Nepal, Laura Ahearn discusses the ways in which Nepali women will talk around the concept of agency; saying, for instance, that they were forced to make a love match because of a magic spell, rather than that they chose to make a love match.
Narratives obviously shape our interpretations of gender as well. The ways we view the actions of men, and the ways in which we view the actions of women, are subtly but importantly different. This is one of the major reasons, I believe, why people are so disturbed by gender ambiguity. When presented with an individual who does not visually present as male or female, people have trouble figuring out what narratives to apply to that person, and thus how to interpret or interact with hir.
Cultural narratives are shaped in manifold ways, of course. Nevertheless, I think it’s important to look at novels and short stories (and plays and television shows) as direct ways in which we shape our narratives. When The Simpsons presents an image of a boorish, stupid husband who is too stupid to be trusted with simple tasks, and his competent housewife who is content to be his helpmeet — they are tapping into those narratives. At times, they manage to use the narratives to mock themselves, in a complex weave of upholding and subverting the paradigm.
Roseanne, on the other hand, presenting complex individuals who do not so easily fit into the standard narratives of male and female, breaks the paradigm for a moment. It pries open our narrative space just long enough to give us a framework for talking about fat, bossy, but extraordinary women, and men who are both involved in manly work and not always in control. (Hat tip to Myca at Alas, a Blog for those examples.)
In literature, we see this with something like Delany’s Trouble on Triton, which poses some alternate methods for categorizing sexuality. Rather than gay and straight exclusively, we see people categorized by whether they prefer younger or older partners, their inclination toward sadomasochism, and so on.
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As if the Source hasn’t had enough problems, now beleaguered Source owners Raymond “Benzino” Scott and David Mays have lost a major lawsuit brought by for Source editor Kimberly Osorio. There is some dispute over the amount of the damages, and it was a little unclear from initial reports exactly what charges the defendants were guilty of. The