I’ve been following with equal parts hope and concern, the conversations on Dawning of a Brighter Day (see here and here) that are attempting to revive the Association for Mormon Letters. I have written a guest blog that should be appearing in that space soon that lays out my thoughts on the foundational stuff for the AML — mission and board structure/purpose.
I have many other thoughts as well, but the primary one that I want to address is the tension between literary fiction writers/readers/critics and genre writers/readers/critics. There are other important tensions that impact the AML, but this is a foundational one. And one that has the potential to foul things up considerably. It has already cropped in the comments to Theric’s post and was a contributor (although not the driving factor) to the creation of LDStorymakers and also to the Whitney Awards.
I use the terms literary and genre in the previous paragraph. I don’t like those terms. And neither do some of the people who get labeled with them. They have their uses, but they can be quite limiting. And some of the best works of Mormon narrative art completely break down when trying to categorize using that division.
One way to get around the use of “literary” is to deploy the related term “serious literature”. Serious just isn’t a very useful descriptor. And it’s insulting. As in: if someone using that term doesn’t include certain works in it then that by extension means that those works aren’t “serious.”
All creative work is serious (even, often especially, if it is humorous).
So what I propose is that as we think about what narrative art should get attention from the new AML, we use the word interesting. Not actually use it as a term, a label. But rather that that’s a* key metric for what works get attention.
The nice thing about interesting is that it doesn’t exclude genres and audiences. There are many ways that a work can be interesting in a way that fits with the AML. For example: Stephenie Meyer’s Twilight series is not very interesting in terms of sentence level prose or overt Mormon content or use of poetic imagery or plot structure or narrative voice (all qualities that many people would file under the umbrella “literary” or “serious”). And yet it has received attention from LDS literary critics because it is interesting in terms of thematics, plot, reception among readers, including LDS readers, and reception among national reviewers/critics.
Stories can be interesting in many different ways and interesting in different ways to different audiences. But, at least in my experience, not every story is interesting enough to write about, talk about, receive consideration for awards, etc. So using interesting as a metric doesn’t mean that every single work get the same amount of attention. It simply means that the works that the AML engage with need to have aspects that stand out, that are worthy of taking notice and considering further. And that’s regardless of how “literary” or “serious” they may or may not be.
*There’s another key metric. But that is covered in my guest post for the AML.