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[personal profile] azn_jack_fiend
Whoo hoo! [ profile] rm got quoted in Time in an article about fanfiction! The Boy Who Lived Forever by Lev Grossman.

I only skimmed the article so far, but it seems pretty balanced. I especially loved the context at the end that shows how the divide between high and low literature is totally historically contingent.

Up until relatively recently, creating original characters from scratch wasn't a major part of an author's job description. When Virgil wrote The Aeneid, he didn't invent Aeneas; Aeneas was a minor character in Homer's Odyssey whose unauthorized further adventures Virgil decided to chronicle. Shakespeare didn't invent Hamlet and King Lear; he plucked them from historical and literary sources. Writers weren't the originators of the stories they told; they were just the temporary curators of them. Real creation was something the gods did.

All that has changed. Today the way we think of creativity is dominated by Romantic notions of individual genius and originality, and late-capitalist concepts of intellectual property, under which artists are businesspeople whose creations are the commodities they have for sale. But the pendulum is swinging back the other way. The particular feature, or bug, of our millennial moment is a double vision that allows us to look at stories both ways at once. In 1966, the year Star Trek premiered, Jean Rhys published Wide Sargasso Sea, which retold the story of the mad wife from Jane Eyre, and Tom Stoppard staged Rosencrantz and Guildenstern Are Dead, which borrowed two bit players from Hamlet. Both works fused homage and critique as surely as Spockanalia did. In her 2005 novel March, Geraldine Brooks filched the absent father from Louisa May Alcott's Little Women and took him on a tour of Civil War battlefields. March won the Pulitzer Prize.




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August 2011

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