Kevan Manwaring's Blog: The Bardic Academic, page 23

The Word for World is Forest – a retro review

‘As a fiction writer, I don’t speak message, I speak story…’ This is something Le Guin believed, even towards the end of her long and distinguished career. The statement was partly in exasperated response to school librarians and teachers asking her for books with the ‘message’ front-loaded. Philip Pullman, a writer very different in tone than Le Guin but no less ambitious in his grappling with big ideas about the human condition and the nature of reality, has experienced a similar problem. In discussing avoiding didactism in his writing Pullman said: ‘Ideas are best conveyed by making them look not like ideas at all, but events.’ Le Guin, in this slim novel first published in 1972, at the height of the Vietnam War, has tried to do just that – not by offering a polemic, but by dramatizing the problem – the wearily familiar dynamic of an aggressively Capitalist colonial power subjugating and exploiting the indigenous inhabitants for the purposes of extracting the maximum amount of wealth (resources, either in the form of slave labour or mineral wealth, or both), no matter the cost to the ecosystem, its biodiversity, and the lives of the aboriginal dwellers. This rapacious pattern (the inevitable manifestation of ‘progress without limits’, and ‘free trade’, the mantra of late Capitalism, Neoliberalism ) has played out throughout humanity history – although that should not make it normative. We come to think of it as the only game in town, and ‘the way things are’, when, with enough willpower, other ways are possible and other worlds. In Le Guin’s story – set within the archipelago of novels exploring the Hainish universe (an advanced intellectual race who may or may not be the progenitors of human kind) – the author transposes this pattern onto a distant planet. Although it is forgivable to see the echoes of the Vietnam conflict, by setting the action on a richly Tropical planet the human colonists call ‘New Tahiti’ Le Guin creates the cognitive estrangement which defamiliarizes us and makes us see the situation anew. Here, both sides are flawed, moral dualisms become enmeshed in complexity, and the obvious empathic leap, identifying with the diminutive hirsute natives (the Athsheans as the literal ‘underdogs’) starts to feel uncomfortable when we see them enacting ‘war crimes’ against the Colonist just as heinous as those they have endured. The cycle of violence seems inexorable until the arrival of a passing ship from Earth, the Shackleton, conveying Hainish and Cetian ambassadors and an ‘ansible’ (interplanetary communicator) changes the rules of the game. Le Guin’s father was an anthropologist, and her exposure to his discipline and careful methodology informs not only this, but much of her work – yet here it is foregrounded in the figure of Raj Lyubov, a ‘spesh’ (specialist) who has deep sympathies for the Athsheans after learning their language and studying their sophisticated dream-praxis. Yet although Lyubov’s frustrated attempts to ameliorate the brutish treatment of the ‘Creechies’ (as the inhabitants are dehumanised), and wanton destruction of the sylvan biome (the extraction of the incredibly valuable timber drives the ‘annexing’ of the planet) are for a while the main line of desire, ultimately Lyubov is seen as an emasculated protagonist, amid the ultra-machismo of the military endeavour (which Le Guin darkly satirizes: the staccato jargon, testosterone-pumped behaviour, and self-destructing madness mirroring Heller’s Catch-22). As the viewpoint shifts to Selver, the Athshean rebel figurehead ‘god’, it is easy to assume we are going to fall into a classic rebellion narrative – Robin Hood in space; but Le Guin has more sophisticated fish to fry. To say more than that would involve spoilers; but the whole, brief novel (practically a novella) is familiar to movie-goers across the world, for James Cameron Avatar feels like a very loose, unofficial ‘revisioning’ of it. However, those expecting things to play out in a similar way will be deeply surprised. Le Guin is not one to go for the crowdpleasing payoffs. Her universe is more complex than that. In such a short ‘novel’ it is perhaps inevitable that the characters will seem (relatively) thinly-sketched: Captain Davidson, the violent, indignant antagonist, is the least convincing; although there is nothing simple about Mr Lepennon, the Hainish visitor, or the troubled reluctant messiah, Selver. What comes across most authentically amid the ambitious thought experiment of it all (the logical endgame of infinite growth on a galactic stage) is Le Guin’s cri-de-coeur for the protection of precious habitats, the biodiversity of life they contain, and the autonomous rights of those who dwell among them. Environmental awareness was developing when she wrote the book, but it feels increasingly prescient in an age of Climate Chaos and the latest IPCC report urging governments to act now before it is too late. As such, Le Guin’s book is a message in a bottle from the future – but one that interweaves that ‘message’ very skilfully into the texture of the narrative, challenging us as readers: confronting us with our assumptions and complicities. But that is to make it sound abstract and intellectual, when in essence it is an Adventure Story told at a cracking pace. To let Le Guin have the last word: ‘The complex meanings of a serious story or novel can be understood only by participation in the language of the story itself. To translate them into a message or reduce them to a sermon distorts, betrays, and destroys them.’

Kevan  Manwaring

Over the Hills and Far Away

Diary of a Viva Ninja: Day 28

One of the best things you can do to prepare is feel some wind in your hair…

 

Today I did a usual cross-section of prepping — practising answers; reading an article; a chapter or two; a browse through my notes, and so on — but by far the best thing I did was to go for a run. At this late stage (less than a week to go) one needs to prioritize peace of mind, a good diet, exercise, and rest. It is not the time to be cramming in any more theory, for one risks muddying the waters. The odd short online lecture or interview can be effective at just maintaining a ‘Viva-fit’ mind, but that is all. Put everything in order – your notes, your outfit, your travel arrangements, etc. And go for a walk, or in my case, a hill-run. Anything – to get you out of the house, out of your bubble. To avoid ‘spinning wheels’, as I started to feel was happening. One can risk over preparing and getting oneself into a near panic state, or state of exhaustion. Some time-out is far more effective. You’ve done your prep, you know your thesis, you’ve made it this far. So, take five.

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Finding the Flaw in the Gem

Diary of a Viva Ninja: Day 27

Imperfections in your ‘flawless’ thesis. The more you look, the more you’ll see… 

A random tweet today from a fellow writer, Chrissy Derbyshire, apparently exhorting readers to ‘Don’t Torture the Ducklings’ (in fact, a reference to a Halloween-themed movie … obviously!) led to a brief, silly exchange in which I mentioned Arthur Quiller-Couch’s famous (and often incorrectly attributed advice) to ‘Murder your darlings’. After playing around with this and coming up with an amusing variant in my head (‘murder your ducklings’), I went on to read a provocative article by the novelist John Crowley, resisting Q’s ubiquitous (in writers’ workshops) advice: Spare the Darling. Although I think Crowley’s counter-intuitive and quasi-heretical critique of this hoary workshop wisdom is of some merit for its resistance to the often unquestioned ‘norms’ of pedagogic tradition, I wouldn’t throw the baby (or the rubber duck) out with the bathwater yet. In advocating editorial rigour it has clear benefit – most pieces of creative writing could do with editing. Students are sometimes afraid of editing, as though the editing would somehow ‘kill’ the spirit of the fragile, beautiful thing they have created; but I have yet to come across an over-edited piece of student work in nearly twenty years of teaching. We could always go further – as Lindsay Clarke advocates (2001: pp256-260),

‘hunting down those moments that unintentionally tip the reader out of the dream.’ (p258)

Of course, during the 4 years of my PhD I have had intensive feedback and gone through several drafts of the novel and commentary. This year in particular has seen exhaustive micro-editing (to the point of near-nausea and ‘word-blindness’: when I could no longer see the words for the trees, as it were). Yet even with several pairs of sharp eyes scrutinising the text it is inevitable that things slip through (especially when dealing with a complicated MS of 135000 words). Thus it is essential to go through it again, after submission. Today I made a list of corrections, and also a list of weaknesses (with responses), to pre-empt the revisions I will inevitably get back from my examiners. This will show you have critical awareness. Not that’s it’s advisory to point out weaknesses, but … if they come up in the Viva, you won’t be wrong-footed. Indeed by having a list of corrections handy you will show you have the mistake on your radar.  It hasn’t slipped through the net, only the submission date. Anticipating the revisions that may be suggested will make a ‘pass with minor/or major revisions’ seem less of a blow. You will have an idea of what is expected and will be able to crack on with it. Such corrections often take less time than you think. It is the mindset which is difficult to inhabit. One may feel resentful at having to go back through the work again after you have slaved over it for years. But that is the price of quality. And your PhD.

So enjoy murdering those ducklings!

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Clarke, L., ‘Going the Last Inch’, in Bell, J. & Magrs, P., eds. (2001) The Creative Writing Coursebook. London: Macmillan.

Crowley, J. (2014) ‘Spare the Darling’, Harper’s Magazine. New York, NY. November. pp 4, 6-7.

Reaching for the Moon

Diary of a Viva Ninja: Day 26

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Giving it your best shot… 

And so, one week to go. A rather sobering thought, but I’m trying to not let it paralyze me with fear! The best thing I did today was to go for a wee stroll along the canal in the lovely autumnal sun. It is critical in this last week not to overtax oneself. Review notes and so forth, but rest and pleasant distraction is just as important.

This morning I finished editing a novel I’ve been working on for the last four months after I received a positive reply from a publisher. It has been good to work on something creative amidst all this intense preparations (and teaching). Writing reminds me of who I am, and why I am doing this. I have been sustained by my dreams, and engaging with one’s craft on a daily basis has got to be one of the best ways to prepare anyway – it stops the whole thing becoming abstract. Furthermore, this current novel, like The Knowing – A Fantasy; and Black Box, the science fiction one I ‘knocked out’ in 4 months last year after winning a national SF novel competition (Literature Work’s One Giant Write), means I’ve had 3 serious opportunities to explore my Goldendark ethical aesthetics.  Weighing in at 135000; 82000 and 93000 respectively, they collectively total 320,000 words. Three novels (plus a 20,000 word Critical Commentary; collection of poetry; anthology of folk tales; plus several articles, conference papers and commissions) is not bad going for 4 years’ work. I have used the opportunity to really step up as a writer. As my supervisor commented, I’ve put 200% into this. I’ve done this first and foremost to develop as a writer. I’ve wanted to push myself, try new forms, and really raise my game. I’ve not held back. There have been many byproducts and benefits along the way, but let’s hope my efforts pay off next week. I’ve given it everything I have – and in this life that is the best we can do.

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The Hour of Parleying is Dangerous

Diary of a Viva Ninja: Day 25

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The Parley, Frederick Remington, oil on canvas (1898)

In his collection of reflective essays, Montaigne, writing contemporaneously with the Siege of Mussidan (April 1569) which was taking place 20 miles from his estate, discusses unfortunate examples of generals exploiting the protocols of Jus In Bello: in particular the long tradition of the ‘parley’, when representatives from opposing forces meet to discuss terms. Montaigne quotes several infamous episodes where the parley was used to invade and seize the castle or town behind the backs of the general engaged in dialogue. Well, if we can for the moment ignore the ignoble behaviour of world leaders who tear-up peace treaties or murder anyone who disagrees with them, irregardless of international opprobrium, as we’ve seen this week, then I would like to, briefly, repurpose the notion of ‘parleying’ for my insignificant, imminent PhD Viva. This may seem like an insensitive trivialisation, but I would argue that it is in the microcosm of our daily lives that the battle for truth, conscionable values and civilised behaviour is fought and won.

In my up-and-coming Viva I have discovered that my external examiner) a highly accomplished academic) writes what is unapologetically ‘Grimdark’ science fiction. Now, on the surface, this is diametrically opposed to my concept of Goldendark: an ‘ethical aesthetics of Fantasy’ which I posit in my thesis. Initially, this discovery caused me concern: would such an obvious fault-line make my external antagonistic? But on reflection, and discussion with supervisor, I realise it is an opportunity for a lively critical debate. It is so easy in an age of Tribalism to stay within a cohort of like-minded people who reiterate your interests, belief system and values. If anyone posts something we strongly disagree with on social media we can mute, block or unfriend them with a painless, anonymous ‘click’ of a button.  This is far easier than having their ‘toxic’ views poisoning your cosy digital bubble, and in truth there is something about so-called information communication technology which often seems to me to be opposite of communication: it simplifies, polarises, and distorts, reducing the complexities of our lives to little jpegs, gifs, soundbites or reactive statements. It is hard to sustain any kind of intelligent discourse in the echo-chamber of social media (exceptions do occur, but so often it just becomes a shouting match). However, within the ‘held space’ of the Viva dialectical discourse is not only possible, but actively encouraged. It is the raison d’etre of it, in many ways. One is expected to engage in a critical debate, defending one’s thesis. And so, the opportunity to meet with a writer and academic on the ‘other side of the fence’ should be seen as a positive. In truth I don’t see Goldendark and Grimdark as antagonistic concepts (as they may first appear) but as modalities existing within a healthily diverse ‘biome’ of contemporary writing in science fiction and fantasy.  What Goldendark is resistant to is any kind of cultural hegemony, one that makes Grimdark (or its Godparent, Neoliberalism) the only game in town. Considering that Grimdark originated from wargaming (Games Workshop’s Warhammer 40,000) the notion of conflictual play, in which opposing forces are roleplayed by contained within a lively, ludic framework, should allow for a healthy cut-and-thrust without the actual drawing of blood! One can disagree with someone without actually disliking them, or being able to converse with them. As long as the tone of the conversation is respectful, mutually curious, with each party being able to consider the other person’s point of view, there is no reason to see the prospect of such a potential dialogue as threatening. It is just shooting the breeze. One’s viewpoint may even be modified as a result. After all, this is how ideas develop, and the academy (and civilisation) advances.

So, to modify Montaigne’s titular dictum: the hour of parleying is dangerous, but it is also essential.

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Diary of a Viva Ninja: Day 25

 

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Kevan Manwaring in lecturing mode.

Today I had to run an Open University dayschool in Bristol (A215 Creative Writing) so have been unable to do anything for the Viva … except for teaching my subject specialism, so I suppose that counts in some way. Got have a day off too, so will probably post next entry on Monday.

Diary of a Viva Ninja: Day 24

Today I had to run an Open University dayschool in Bristol (A215 Creative Writing) so have been unable to do anything for the Viva – except for teaching my subject specialism, so I suppose that counts in some way. Got have a day off too, so will probably post next entry on Monday.

The Path to the Summit

Diary of a Viva Ninja: Day 23

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In the last few days before the big day it is good to take stock, to look back at what has achieved over the course of the PhD. This will, on one level, make the final summit more within reach – for one has built up to it throughout one’s research. Each research output creates a foothold, a handgrip, a clipping point. This is perhaps akin to mountaineering, using a belay system of ropes, hoops and harnesses. Knowing one has made this progress is reassuring – this cannot be taken away from you, whether you make the summit or not. And the chances are you will: whether that will be with or without revisions, major or minor, is well, academic. The hard-earned view will be yours.

View the PDF here:

RESEARCH OUTPUTS DIAGRAM Kevan Manwaring

 

Playing the Role

Diary of a Viva Ninja: Day 22

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‘All the world’s a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.’ Photo by K. Manwaring

In a Viva a candidate has to play a certain role. It is important to ‘look the part’, and to know when one’s ‘cues’ are… In many ways the Viva is a performance – one that requires focused preparation. Yesterday’s Mock was in many ways a dress-rehearsal. And very useful it was too. It was like rehearsing a play where one cannot remember ‘lines’ verbatim, but nonetheless has to be able to deliver perfectly-crafted responses to the examiners’ variable set of questions. It is a high-wire act, and leaves one rather exhausted afterwards.

Not a great deal to add today as, a. I’ve had to look after my Open University students, and b. I’ve been wiped out after yesterday’s Mock Viva and 5-6 hours on the bike (arriving home 10.40pm after a diversion on the Fosseway…). Still I came back with the experience of the mock under my belt (plus the list of questions asked – very useful), a couple of books on SF and Fantasy criticism, a poetry collection (from a book launch I attended last night) and some photos from the exhibition I visited in the basement of the David Wilson Library on Fairy Tales and Folklore. So, not a bad haul – well worth going up for (not least to connect with my supervisor and internal examiner).

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First impressions count… Presenting at a conference during the PhD. 

And today, on a trivial note, I went for a haircut – for its important to look sharp (and thus feel confident) in the viva. It may seem inconsequential, but choosing what to wear (and how that will make you feel) is all part of stepping through that door on the day of the viva with the right attitude. You need to feel comfortable, and confident. Dressing the part is all part of inhabiting the paradigm you’re entering into. First impressions count too – it is akin to an interview, so dress accordingly. Clothes maketh the man (or woman).

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Swimming with Sharks

Diary of a Viva-Ninja: Day 21

The Mock-Viva

Come on in. The water’s fine… 

Today I travelled up to the University of Leicester to have a ‘mock-viva’ with my supervisor, Dr Harry Whitehead. This took place in his office and was conducted by Harry himself. Although it was only an hour, it felt like twice as long, and Harry managed to grill me thoroughly – playing both good cop (and mainly) bad cop simultaneously. Having worked with him for the last four years I have got used to his ‘cut the crap’ approach, indeed I welcome it. He doesn’t hold back, but at the same time somehow manages to make me feel positive about the whole thing. His questioning was rigorous and unrelenting – he went for the jugular with a string of ‘nightmare’ questions, in the hope they will prepare me for the ‘worst case scenarios’ of the viva proper. It was intense and I felt pretty wiped out afterwards – as I will on the day, no doubt. But it felt manageable and apparently I acquitted myself well – after a clunky start when I turned a request for a pithy pitch into a flabby answer (!), I warmed up and began to defend myself well. As a rule of thumb the 95/5% rule is a good one – defend your thesis 95% of the time but be willing to accept the odd concession. Wilfully ignoring or refuting these may just result in increasingly vexated examiners. Bear in mind each concession will result in a minor revision, but that’s okay. It would still mean achieving a doctorate, with just an additional couple of months of final tweaking (best case scenario). It’s no different from submitting an article to a peer-reviewed journal and getting thorough, critical feedback; or a manuscript to a publisher and getting back a list of ‘corrections’.  It is the inevitably hurdle of quality control you must be willing to leap if you wish to be validated in that way. We concluded the mock by reflecting upon my performance, and clarifying final details for the day itself. Now I know the particular room and the precise identity of those present (including the chair), it all feels far more real. It is now only less than a fortnight away, but I feel like I have done all the necessary preparations, and with these two live practice sessions (Saturday’s ‘mock-mock’ and today’s ‘mock-viva’) I feel ready to defend my thesis. The main thing to bear in mind is that it is a critical dialogue with two experienced people who have taken the time to read your work closely.  Their objective response to your work (as detached outsiders) could be seen as the first professional review of your work. It may feel like swimming with sharks – but keep your head above water, hold your nerve, and don’t let them draw blood!

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