The raw and the cooked
A new book on literary journalism is now on sale; a collection of essays by scholars from around the world. It contains two chapters by me.
One chapter, ‘Slow journalism in the digital fast lane’, examines narrative journalism in the age of the internet. It picks up where I left off in a 2007 Prospect article (see Item 3) and includes references to this blog. If you are new to Oddfish and interested in knowing more about the updates on the meme provided on the blog, please look here, here and here.
The new work’s advance on those earlier contributions is twofold. It attempts to map the emerging publishing platforms and relationships that will determine, in future, whether and how high-quality nonfiction storytelling reaches an audience. And it puts forward an argument in the long-standing debate about what makes a piece of writing ‘authentic’.
A set of conventions has developed for digital genres, around the normative ideals of raw vs cooked; artisan vs industrial; provisional vs complete. These qualities are invoked as a guarantee of authenticity but the assumptions behind the ideal are often tacit and therefore unexamined.
Once scrutinised, the ideal of a pure, raw text begs many questions. For writers it is the ability to achieve some measure of distance from raw feeling that can leave readers free to find their own emotional response. And one only has to press ‘send’ on an email to know that, because of some trick of the brain, a text must be ‘finished’ before one can know, to the fullest extent, what needs changing. We need both change and constraint. These questions matter for narrative nonfiction:
Literary journalism represents an attempt to offer considered, original and documented writing that recognises that subjective experience needs verification to stay real. However the move into a digital environment puts it in potential conflict with a form of nonfiction that makes a virtue of its raw and instantaneous qualities. The challenge in this environment is to find important new ways of delivering the luxury of slow journalism’s reflection and documented discovery, and make creative use of the tensions at play, to allow for a further evolution of writing forms.
The other chapter, on Poland, reflects a long-standing preoccupation with central Europe. But at one level, the main discovery made in the writing related to problems of long vintage, rather than anything specific about a country or region. In both essays, reporting is understood as a form of expanded consciousness – a personal experience that is deliberately turned outward and tested by verification. And in both, there is an exploration of the ways it can fall foul of the ideals of ‘committed speech’, in one form or another. About Poland, I write:
The experience of East-Central Europe seems to indicate that when committed reportage is on the outside it can function as literature, albeit one that is not to everyone’s taste. But when it is on the inside, this becomes impossible – it cannot sustain itself because it is simply unbelievable.