Must Writers Be Moral or Just Profitable?

     The New York Times recently ran an op-ed piece titled "Must Writers Be Moral?" focusing on the recent trend of publishers adding a morality clause into their writers' contracts.  This stipulates that, should a writer become the target of a scandal that could damage their sales or readership numbers, publishers are released from the contract and no longer have to publish the work as agreed.
     There are plenty of heady issues to address here and the piece engages with some of them.  One that it doesn't touch on is this: publishing companies don't care if writers are moral or not, they only care if writers endanger the profit margin.  This clause isn't saying writers mustn't act immorally, only that if they get caught for doing something (or get blamed for doing something they didn't actually do, or even traffic in ideas that are too controversial for the company), then they suffer the contractual consequences.   
    In a capitalist society, money is how we enforce morality, which seems dangerous for many reasons, not the least of which is that it allows profit to trump the the free exchange of ideas.

The Most Important Graphic Novel of the Year

     New Kid is a graphic novel about a boy of color entering a predominantly White private school.  It's handled with sensitivity, intelligence, insight and humor and told with great accessibility.  I spoke with Jerry Craft, the writer and artist of the book.  You can have a look at the interview here.

Struggle for the Human Spirit

     Checking back in with the Internet as I do from time to time, I found this much more recent review of Those That Wake, gratifyingly headlined by the epic (and timely) title above.

Thanks 2018

     Well, there's still plenty of turmoil in the world, but it's embracing the things we value that helps us get through it.  Hopefully, you have a few big things to be thankful for (for me, it's always about the people in my life).  As in years past, here's a list of some small things that I'm enjoying and that are helping me explore some of my favorite art forms more deeply.

The Man Who Was Thursday by G.K. Chesterton - The world's first conspiracy thriller?  Published in 1908, it's about a poet recruited by Scotland Yard to infiltrate a group of anarchists (the terrorists of the time) and finds himself on their Council of Days, where he comes up against the terrifying man who is Sunday.  It's sinister and hilarious by turns, but flat out nutso from beginning to end.  Centered on dueling philosophies (sometimes literally dueling) and obsessed with disguises (the kind that hide, but also the kind that reveal), the esteemed British author Kingsley Amis called it "the most thrilling book I have ever read."

Mazeworld by Alan Grant and Arthur Ranson - The story of convicted murderer Adam Cadman who is hanged for his crime, only to awaken in the fantasy realm of Mazeworld, where he's forced into battle with dark forces, including the ones he harbors inside himself.  Back on Earth, though, his not-quite-dead body is being carefully studied by dark forces of yet another kind.  The story is epic yet moves at breakneck speed, but it's Ranson's jaw-dropping visuals - gritty, grainy photorealism deepened with tactile surfaces and atmospheric lighting -- that elevates this work.

Room 207 Press - Howard David Ingham's website is a deep analytical dive into many of cinema's greatest cult movies (among other things).  Some of his pieces are trenchant and humorous, like the one on An American Werewolf in London; others are deeply personal and meaningful like the one on Possession.  All of them touch on what lies beneath the stories we see and know, and make an old favorite seem like a new experience

     And, of course, don't leave without your free turkey joke.

The Nature of Argument

     In their book, Metaphors We Live By, George Lakoff and Mark Johnson discuss the ways a few basic human experiences formed our language and the way our language forms our understanding of the world.  Their first example they use is about the way we think of arguments.  The fact that argument is steeped in metaphorical terms like winning and losing, defending your position, attacking your opponent's case, shooting down your opponent's points and going in with the right strategy deeply ingrains in us the idea that argument is warfare.
     What if, I've been wondering, instead of looking at argument as warfare, we understood it as a way to cooperatively solve a problem?  What if, instead of battle, it was a way we helped each other fix things?
     Particularly in light of recent events, just an idea I thought might be apropos to our imminent elections.