When Richard first spoke to me about overseeing the blog (or, more accurately, when Richard spoke to the part of himself that later became expressed as "me"), I raised an obvious question: Why don't you tell this story as a traditional novel? After all, you had a great time writing "The Third Condition" and, with this experience under your belt, you were eager to see if you could improve your writing with a second book. Why the change?
Richard responded that he began "The Recluse" project as a novel but 40 pages into it he encountered a problem that made him re-evaluate his narrative approach. The issue was that the motivation that prompted Michael Guntrip, the protagonist in the novel, to retreat from the world was fundamentally different than the issues underlying Richard's interest in a reclusive life.
In the novel, Michael Guntrip became a recluse in response to a heartbreaking trauma. (In clinical terms, he is a rare example of late-onset, trauma-induced, agoraphobic.) While this dynamic is interesting (I'm at a loss to think of another novel in which the protagonist is a highly functional individual who becomes an extreme, housebound, agoraphobic in midlife) it has no role in Richard's reclusive tendencies. Richard goes out all the time. He gets coffee and reads the paper; he goes to work; he drops off and picks up his dry cleaning; he socializes with friends; occasionally, he takes a trip. He does all of these things without anxiety or fear. Unlike Michael, Richard's reclusiveness is fueled by growing misanthropic feelings rather than a defensive response to internal threats. Increasingly, the quirks and stupidity of individual people, and the distasteful aspects of human culture in general, are annoying the shit out of him. He's not sure why this geyser of irritation is erupting now. Is it hormonal? The world-weariness that comes with age? An over-reaction to traffic? Did George Bush finally push him over the edge?
Also, in contrast to Michael Guntrip, Richard is drawn to the reclusive life for intellectual as well as emotional reasons. Allow me to explain...
We are all privileged to be living at the start of the third revolution or paradigm shift in human productive activity. The oldest fossilized bones ever discovered (in Kibish, Ethiopia in 1967) suggest that homo sapiens first arose in Africa about 195,000 years ago and that modern aspects of human behavior and culture (i.e., bone carvings for religious reasons, hunting tools such as spears and harpoons, and ornaments such as beads and jewelry) originated around 50,000 BCE. For most of this history, human beings survived by hunting game and gathering nuts and berries. Then, somewhere around 9400 BCE, these nomadic,hunter-gather societies were replaced by fixed-location, agrarian communities. This was the first paradigm shift in human culture - the transition from hunting and gathering to growing crops as the primary economic activity of human beings. The dating of this monumental development is traced to an archaeological dig near Jericho that uncovered figs that were clearly not a natural variety. They were stiffer and more edible than their ancestral species and, even more importantly, they were sterile and thus had to be propagated by cultivating cuttings rather than via natural seedlings. This discovery fixed the dawn of agriculture a thousand thousand years earlier then the growing of grains such as wheat and barley, which were previously thought to be the first domesticated crops. Subsequently, about 11 millennia later, with the mechanization of the textile industry in England in the late 18th century and the American invention of the steam engine in the early 19th century, the Industrial Revolution was born and manufacturing replaced growing crops as the dominant mode of economic production. Finally, the third paradigm shift -- the transition to a post-industrial society or Information Age -- occurred in the second half of the 20th century. In this mode of production, the primary mechanism for survival and generating wealth is the transfer of information (as I'm doing now). I'm not hunting, gathering, growing, or manufacturing anything (except perhaps a new neural connection or two).
What struck Richard is that the advent and maturation of a post-industrial world makes it possible for the first time in history for a person to have all of his or her essential needs (and virtually all discretionary needs) met without ever leaving home. The only requirement is that one must be independently wealthy (a rarity) or have a technologically-mediated means of earning sufficient income (increasingly commonplace). When this condition is met, "to stay in" or "not to stay in" becomes the question, a matter of individual decision rather than necessity. In "The Recluse" Richard wanted to fully explore these intellectual issues and he wondered if a novel would suffer from the inclusion of prominent didactic elements.
As Richard wrestled with these concerns, he hit on a number of solutions that would work within the structure of a novel. First, Michael Guntrip would earn millions of dollars a year by being the most successful writer of Google Ads in the world. Corporations large and small would pay him handsomely because his method of ad writing generated a response rate that averaged .25% more than was previously believed to be possible. While that number seemed small, when it was multiplied by hundreds of millions of Internet users who witnessed the ad, it meant huge differences in revenue. Consequently, Michael would never be forced to travel to work and he had the funds to have virtually any product or service delivered to his home. Also, Michael would host monthly meetings of the Southern California Chapter of the World Futurist Society. In the context of these meetings, there would be several satellite characters, some of whom could be misanthropic and some who could convey the more didactic content about the social consequences of post-industrialism. In addition, Michael could use these meetings as a way to camouflage his disorder. He could tell people that the reason he never went outside is that he was engaging in a social experiment to demonstrate that it was possible to live fully in the modern world without leaving one's home and he was planning to publish a book on the subject. In this way, the novel could primarily be a character study of a man struggling to continue on after a heart-wrenching trauma while still exploring other emotional and intellectual issues that were important to Richard.
While this approach could have worked, Richard (as I'm sure you surmised by this blog) eventually rejected the idea of writing a traditional novel in favor of a poly-consciousness narrative. In this structure, a traditional novel is embedded in the multi-voice narrative in the form of Michael Guntrip's postings, but it makes up only one of five perspectives on the subject of being a recluse. In this way the role of trauma in withdrawing from the world is given its place in the narrative, but it isn't the dominant or central perspective. Other viewpoints on the subject: the misanthropic stance of Richard, Cha-Ching's preference for technologically-mediated experience; the other-worldly domain of D.K. Urbane (nice rhyme, Metablog!), and my free-floating, aerial omniscience are all given greater weight than they would receive in a novel. (What would I be in a novel? Reduced to some trivial, David Foster Wallace-esque, meta-fictional footnote? No way! I wouldn't have taken the gig on those terms.) Also, by having alts that express the full range of the host personality (rather than focusing the story on a single aspect of the self) the potential exists for almost continuous posting because there's an outlet for whatever the host is experiencing. Richard doesn't have to wait until he is in the mood to convey the singular perspective of Michael Guntrip, or torturously will himself into this point of view. There is an alt for any state of mind. And if there isn't, one can always be added. And of course the potential exists for there to be comments to the postings of the various alts, making the blog interactive and multiplying the narrative possibilities. However, that would require someone to actually read the blog and take the time to respond to an entry, a highly uncertain prospect at this time.
Another reason Richard decided to move away from writing a traditional novel is the increasing evidence that it's fast becoming an archaic narrative form. According the National Endowment for the Humanities, the number of people who elect to read one novel a year, let alone consistently read novels, is dwindling, especially among the young. No need to wear a black armband. Human beings will always hunger for narratives; our dreams demonstrate that we are story creating machines. But it isn't written on any sacred stone that "Thou shall get one's narratives from a novel." Forms of storytelling rise and fall with the changing times. Cave paintings and the oral tradition had their day before becoming casualties of history. Do you mourn that they are gone? The novel was made possible by the invention of the printing press and made sense in a slower paced world where one could lose oneself in a gradually-building, long-form narrative. Now the novel runs counter to the natural rhythms of the modern world. To some extent the same thing is happening to the feature film. Where movies used to run two hours or more, now they often run 90 minutes or less and are drawing closer and closer to the time frame of a television show. No wonder DVDs of TV shows sit side by side in video stores. Short form narratives -- blogs in the world of words, Utube videos in the world of images -- are the modern forms of telling stories. In the world of hunter-gathers and agrarians time was unitized in months and days, by the passage of the seasons and the laconic movements of the sun and moon. In the industrial age, it was broken into seconds, with beat of the heart serving as the naturally occurring analog for the incessant, throbbing sound of the assembly line. Now we live in a world measured in nanoseconds, a unitization of time for which there is no natural analog. There is nothing in our bodies or in the natural world that moves in unison with the machines that define our existence. This is a central reason why we are alienated and why it is absurd to think that novels can be a meaningful artistic expression of our age. Let's not wallow in nostalgia for the past. Long live blogs. That is, until the time comes when stories are downloaded directly into our brains and minds!
One last thing before I dissolve back into space. Richard told me that, with all of this movement toward digitization and abbreviation, he still likes the way a good book feels and especially how it looks on a shelf. That is, books may be an unnecessary and wasteful means of housing a story, but they work well as an element of interior design. In that sense they are similar to a houseplant, but superior in that they don't require watering (just an occasional dusting works fine). With that in mind, it's possible that if Michael Guntrip's postings go well, he might publish them in book form (The Recluse, a novel by Richard Gilbert) or Michael's postings may never be more than fragments of a novel, a component perspective in the wider purpose of the poly-conscious blog. Another possibility is to publish the entire blog, including the postings of all the alts and any reader comments, at various times, perhaps once a year. In this case, the cover might read something like:
WWW.THERECLUSE.ORG
VOLUME ONE: 2008
by
RICHARD GILBERT'S INNER ORG
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