If you’re here because you saw my talk on constructive criticism at work at GOTO Chicago yesterday, welcome! I really enjoyed meeting so many of you and I’m interested to adapt the talk to make it more applicable. Thank you for letting the weird art kid come play in your sandbox. Edited to Add: My slides and video should be available through the conference site soon, but you can also access a pdf here if you like: PeepasGOTOMay1 [/Edit]
I’m going to be thinking about Erin Horáková’s essay about the collective retconning of Captain Kirk for a while. Disclaimer: I am a mere Padawan learner in the lore of Trek, so your comments about the details of the episodes and the character might go over my head. Things I really love:
- Her portrait of Kirk as quite a lovely, thoughtful, dutiful person (vs. the “Chest Manbeast:Ultimate Rebel” he’s become a shorthand for) made me want to go back and watch.
- The idea that the Boring Guy You Meet At Bad Parties is part of “a vast eldritch horror sitting in another dimension that extrudes its thousand tentacles into our own, and that each one of This Guy is merely an insignificant manifestation of the beast: they couldn’t all be so boring in precisely the same way by chance, surely.”
- The discussion of Dickens and Helen Keller and Norman Rockwell and the way stories get updated and remanufactured to erase their radical roots and ideas. We love a truth-teller and a rebel and a hero, as long as their radical acts are safely in the past and can have the edges sanded off for the “nation-building, heritage-canonising costume drama adaptations.“
- This sentence: “Robinson Crusoe is a dull, badly-written, racist pile of shit (and it’s “the first novel” like I’m Romy and it’s my high school reunion and I invented the post-it note).” I don’t know you, Erin Horáková, but I think I like you.
- And finally, this:
“Thus it becomes a matter of reclaiming texts via attentive reading. In the post-truth world, attention is a skill. Reading is a skill. We must vigilantly listen to the hum of the currents of power running through texts and their interpretations, to actions and their spin. We must insist upon reality in order to meaningfully and morally do the work of relativistic interpretation: there are four lights, for fuck’s sake. We do have to have stories, and so we need to be able to see them. It’s important both to add marginal voices to canons and conversations and to protect the marginal elements already there from conservative erosion, for the sake of accuracy, artistic quality, and politics. We need to have access to their resources and to be able to use our own, not to host within ourselves an enemy that occludes all we see, that drains the progressive potential of everything we have access to. What good things we have done ought to be preserved. There are histories of resistance, large and small, that we ought not to lose; that we cannot afford to lose.”