In my last installment, I mentioned my skepticism about a Mormon literary esthetic. I’ll start this round by explaining in more detail my reasons for that skepticism.
Differing values are relatively easy to come by. Differing stylistic preferences likewise. What group doesn’t vary within itself — often widely — in the personal styles of its members? Within my own immediate family, there are those who are melodramatic and those who are reserved; those who crave excitement and those who prefer contemplation; those with a taste for the subtle and those who like the blatant. (But no one who likes rap.)
A distinctive group esthetic is a rather taller order to fill. A distinctive esthetic, it seems to me, extends beyond differing preferences to become almost a different symbolic language, where words and phrases and characters and stories mean something different to those inside the group than they can ever possibly mean to those outside the group. Outsiders, by and large, don’t “get it.”
Continue reading “Is There a Distinctive Mormon Literary Esthetic? Part Two”
Following Tyler’s lead, I’ve decided to post the proposal for my AML presentation, which will be an expansion of my DBD post on “The New Mormon Fiction” from a few months back. Glenn Gordon is accepting proposals for the conference until March 20th, so if you are interested in presenting, there is still time. Based on Tyler’s proposal, and other proposals I’ve heard about, it’s going to be a great conference.
See you there.
Mormonism has undergone significant changes over the last twenty years, leading sociologist Armand Mauss to declare that the LDS Church now has a different “feel” than it did in the 1980s and early 1990s. Among the changes has been greater transparency from the Mormon hierarchy on controversial subjects, an increase in open dialogue within Mormonism via the internet and social media, an apparent spike in faith crises, and the emergence of new sites of cultural tension.
What effect have these changes had on Mormon literature? In my presentation, I will argue that these conditions have contributed to what I call the New Mormon Fiction. Like earlier works of Mormon fiction, these works are “post-utopian” in the way they continue to reflect Mormonism’s desire to assimilate with its host cultures. However, unlike earlier examples of Mormon fiction, these works are essentially “post-faithful,” or largely unconcerned about fiction’s role as a vehicle for Mormon propaganda (of any stripe). Rather than bearing testimony, they seek to capture both the euphoria and anxiety of Mormonism in the information age.
My presentation will outline several trends that characterize the New Mormon Fiction. For instance, some works of the New Mormon Fiction are absurdist and darkly comical. Others are comprised of fictional documents, document fragments, and interviews that call into question what we know about history and narrative. Still others foreground conflicts between individuals and information rather than between individuals and the Church, its members, or the dominant culture. Collectively, my presentation will argue, these works comprise a new Mormon fiction that foregrounds acts of discovery and recovery, creative production, and paradigm subversion to disorient readers and force them to configure new realities, question long-held assumptions and notions of truth, and confront the challenges having “too much information.”