A Much Deserved Fisking

In the November issue of Locus magazine, Cory Doctorow wrote an op-ed piece defending Jeannette Ng and the decision to strip Campbell’s name from the Campbell Award. At least, that’s how it started out, but it quickly devolved into a hatchet piece against everyone in science fiction whose politics lie somewhere to the right of Stalin.

Ever since Sad Puppies III, I’ve more or less gotten used to the gaslighting, hypocrisy, and projection that has become de rigeur in the traditional publishing side of the field. But somehow, Doctorow’s hit piece manages to hit a new high water mark for leftist insanity.

Since my own politics lie somewhere between Boadicea and Genghis Khan, I thought it would be fun to give the piece a good old-fashioned fisking. I can’t pretend to be as good at it as Larry Correia (and I sincerely hope he fisks it himself), but damn, if anything ever was written to be fisked, it was this ridiculous piece.

Doctorow writes:

At the Hugo Awards ceremony at this summer’s Dublin Worldcon, Jeannette Ng was presented with the John W. Campbell Award for Best New Writer. Ng gave an outstanding and brave acceptance speech

Translation: Ng reinforced the dominant far-left narrative in the science fiction field, telling the gatekeepers exactly what they wanted to hear and earning widespread praise for it.

True bravery is Jordan Peterson deleting his $35,000/month Patreon in protest of their hate speech policies, or Kanye West coming out as a devout Christian, producing a worship album, and announcing that he will no longer perform any of his old songs.

in which she called Campbell – the award’s namesake and one of the field’s most influential editors – a “fascist” and expressed solidarity with the Hong Kong pro-democracy protesters.

You know who else shows solidarity with the Hong Kong protests? That’s right—everyone’s favorite deplorable frog!

Now that’s a dank meme.

I’m curious: does this make Ng a white supremacist for showing solidarity with people who use such a rascist hate symbol? Does it make Cory Doctorow a dog whistler to the far right for appealing to these obviously racist deplorables?

Of course not, but that’s the level of insanity we’ve fallen to.

I am a past recipient of the John W. Campbell Award for Best New Writer (2000) as well as a recipient of the John W. Campbell Memorial Award (2009). I believe I’m the only person to have won both of the Campbells,

All red flags to deplorable readers like me,

which, I think, gives me unique license to comment on Ng’s remarks, which have been met with a mixed reception from the field.

I think she was right – and seemly – to make her re­marks. There’s plenty of evidence that Campbell’s views were odious and deplorable.

There’s that word: “deplorable.” Whenever someone uses it unironically, it’s a sure sign that they hate you. It’s also a sign that they don’t actually have a good argument.

It wasn’t just the story he had Heinlein expand into his terrible, racist, authoritarian, eugenics-inflected yellow peril novel Sixth Column.

I haven’t heard of that one. Thanks for the recommendation, Cory! I’ve already ordered it.

Nor was it Campbell’s decision to lean hard on Tom Godwin to kill the girl in “Cold Equations” in order to turn his story into a parable about the foolishness of women and the role of men in guiding them to accept the cold, hard facts of life.

Okay, I call bullshit. “Cold Equations” wasn’t about the “foolishness of women,” it was about how when our inner humanity comes into conflict with the hard realities of the universe, the hard realities always win.

Switch the genders—a female pilot and a teenage boy stowaway—and the story still works. Switch the endings—have the pilot decide to keep the stowaway, dooming himself and the sick colonists—and it does not.

In fact, it makes the girl even more of a hapless, weak feminine stereotype. Stepping into the airlock voluntarily is an act of bravery. In some ways, she’s stronger than the pilot—and that’s kind of the point.

The thing that makes “Cold Equations” such a great story is that it functions as something of a mirror. It’s the same thing with Heinlein: those who see him as a fascist are more likely to be authoritarians, while those who see him as a libertarian are more likely to be libertarians themselves. After all, fascism is “citizenship guarantees service,” not “service guarantees citizenship.”

It’s also that Campbell used his op-ed space in Astound­ing to cheer the murders of the Kent State 4. He attributed the Watts uprising to Black people’s latent desire to return to slavery.

Was John Campbell a saint? No, and I don’t think anyone’s claiming that. In the words of Ben Shapiro, two things can be true at once: John Campbell had some racist, sexist views, and stripping his name from the award is wrong. (Also, that Doctorow is full of shit.)

The Campbell award isn’t/wasn’t named after him because he was a perfect, flawless human being. It was named after him because of his contributions to the field. If we’re going to purge his name from the award, are we also going to purge all of the classic golden-age books and stories that he edited, too? Are we going to have the digital equivalent of a book burning? Because that strikes me as a rather fascist thing to do.

These were not artefacts of a less-englightened [sic] era. By the standards of his day, Campbell was a font of terrible ideas, from his early support of fringe religion and psychic phenomena to his views on women and racialized people.

What are the standards of our own day? In what ways are we less-enlightened? Are future generations likely to accuse Doctorow of being a “font of terrible ideas,” just like he accuses Campbell here?

Do unborn black lives matter? If Trump is truly a fascist, why does the left want him to take all our guns? Is it okay to be white? Is Islam right about women? Is transgender therapy for prepubescent children just another form of conversion therapy? Are traps gay?

When you free your mind to explore new ideas, a lot of them are bound to be terrible. It’s simply Sturgeon’s law. So is Doctorow criticizing Campbell for having an open mind, or for not conforming to Doctorow’s values and beliefs?

Who’s supposed to be the fascist again?

So when Ng held Campbell “responsible for setting a tone of science fiction that still haunts the genre to this day.

I’m pretty sure that taking hormone blockers and getting your balls cut off makes you a hell of a lot more sterile than anything else. Lesbians, gays, transgenders, queers—all of these tend to be sterile as a general rule. Most babies are still made the old-fashioned way.

Male.

Isn’t her word choice kind of sexist here? I mean, she could have used the word “patriarchal,” but she didn’t. She. Deliberately. Used. The. Word. “Male.”

White.

Is she saying that it isn’t okay to be white?

Exalting in the ambitions of imperialists and colonisers,

Come on, Ng. Let’s not be racist. There were plenty of imperialists and colonizers who weren’t white Europeans. After all, how can we forget Imperial Japan and the Rape of Nanking? Now that was an ambitious massacre. The Turks also ran a pretty brutal empire, as did the Zulus and the Aztecs. You can’t tell me that cutting out the beating hearts of more than 80,000 prisoners to rededicate your temple isn’t ambitious.

settlers and industrialists,”

Find me one place that was not built by “settlers.” Find me one human being on this planet who has not benefitted from “industrialists.” Who do you think makes the vaccines and antibiotics? Who do you think makes machines that harvest your food?

Just for a single day, I would like to see all of these anti-capitalist types live without any of the benefits that capitalism and modern industry provide.

she was factually correct.

And yet, so completely full of shit.

In the words of Andrew Klavan, you can’t be this stupid without a college education.

Not just factually correct: she was also correct to be saying this now.

Because it’s [current year]!

Science fiction (like many other institutions) is having a reckoning with its past and its present. We’re trying to figure out what to do about the long reach that the terrible ideas of flawed people (mostly men) had on our fields.

The best way to fight a terrible idea is to allow it out in the open while fostering freedom of speech. In the words of Andrew Breitbart, sunlight is the best disinfectant.

The reckoning that Doctorow is calling for is something that’s already built into the field. Science fiction is constantly evolving and revisiting its past. Good science fiction not only builds on the stuff that came before, it critiques it while taking the ideas in a new direction.

We don’t need to tear down the legacy of the giants in the field who came before us; we simply need to build up our own legacies for the generations that come after us. But that’s not what Ng and the social justice warriors want to do.

It isn’t a coincidence that the traditionally published side of the field is rapidly losing market share as the SF establishment seeks to purge everything that could possibly offend their progressive sensibilities. The people doing the purging can’t compete on the open market because their toxic ideologies don’t resonate with the buying public, so they’re forced to resort to the digital equivalent of burning books and tearing down statues. Meanwhile, indie publishing is eating their lunch.

Get woke, go broke.

We’re trying to reconcile the legacies of flawed people whose good deeds and good art live alongside their cruel, damaging treatment of women. These men were not aberrations: they were following an example set from the very top and running through the industry and through fandom,

Future generations will struggle to reconcile our good deeds and our good art with our cruel and inhuman treatment of the unborn.

None of this is new. All of us are flawed; every generation is tainted with blood and sins that are reprehensible to those that follow. Realizing all this, you would think a little introspection is in order. But the people today who are so eager to throw stones are completely lacking in self-introspection that they can’t—or rather, won’t—see their own blood and sins.

to the great detriment of many of the people who came to science fiction for safety and sanctuary and community.

Is science fiction a “safe space,” or is it the genre of ideas? It can’t be both at the same time. Ideas are inherently dangerous.

It’s not a coincidence that one of the first organized manifestations of white nationalism as a cultural phenomenon within fandom was in the form of a hijacking of the Hugo nominations process.

Bullshit. If you think that the Sad Puppies were white nationalists, you’re either stupid or willfully ignorant (a distinction without a difference).

Larry Corriea’s flagship fantasy series, the Saga of the Forgotten Warrior, is set in an Indian-inspired fantasy world populated entirely by brown people. Brad Torgerson has been happily married to a woman of color for decades. Sarah Hoyt is both latina and an immigrant.

If this article was written three years ago, you would have just called them all racists, but you can’t do that now because “racist” has lost its edge. You’ve cried wolf far too many times, and no one pays attention to those accusations anymore. That’s why you use words like “fascist,” “white nationalist,” and “white supremacist” to describe your enemies—not because you actually believe it, but because those accusations haven’t yet lost their edge.

While fandom came together to firmly repudiate its white nationalist wing, those people weren’t (all) entry­ists who showed up to stir up trouble in someone else’s community. The call (to hijack the Hugo Award) was coming from inside the house: these guys had been around forever, and we’d let them get away with it, in the name of “tolerance” even as these guys were chasing women, queer people, and racialized people out of the field.

Translation: we’re done with paying lip service to “tolerance” and “open-mindedness.” From now on, if you don’t look like us, act like us, or think like us, we’re going to do everything we can to destroy you.

I’m telling you, these people hate us. That’s why they call us “deplorables.” That’s why they paint us as racists and fascists, even when we’re nothing of the sort. They don’t want to listen to us. They don’t want to give us a fair hearing. They want to destroy us.

Stripping Campbell’s name from the Campbell Award is just another example of this toxic cancel culture. It isn’t about reckoning or reconciliation. It’s a naked power grab.

Those same Nazis went on to join Gamergate, then became prominent voices on Reddit’s /r/The_Donald, which was the vanguard of white national­ist, authoritarian support for the Trump campaign.

See, this is why I can’t trust you, Cory. Gamergate had legitimate grievances with Anita Sarkeesian, Zoe Quinn, and Gawker. Trump supporters had legitimate reasons to want to stop Hillary Clinton from becoming president. Yet you casually dismiss all these people as deplorables, racists, and fascists without even listening to them.

That’s intelluctually dishonest, Cory. It’s also a form of gaslighting.

The connections between the tales we tell about ourselves and our past and futures have a real, direct outcome on the future we arrive at. White supremacist folklore, including the ecofascist doctrine that says we can only avert climate change by murdering all the brown people, comes straight out of SF folklore, where it’s completely standard for every disaster to be swiftly followed by an underclass mob descending on their social betters to eat and/or rape them (never mind the actual way that disasters go down).

I don’t think Cory Doctorow has any idea what actually happens when society collapses. When the thin veneer of civilization gets stripped away, people will eat each other. We’ve seen this just recently in Venezuela, Syria, and Mexico. Here in the US, we can see the seeds of our own collapse in Chicago, Portland, San Francisco, Baltimore, and Detroit (all very blue and progressive cities, by the way).

Also, I don’t think Cory Doctorow has any idea what he’s talking about when he says “white supremacist folklore.” What is that even supposed to mean? Just a couple of paragraphs ago, he called all the Sad Puppies “white nationalists,” and that obviously isn’t true. By “white supremacist folklore,” does he mean all the science fiction that doesn’t fit his radical progressive political ideology? Once again, he’s painting with an overly broad brush.

Also, notice how he uses “white supremacist” instead of “racist.” He can’t use “racist” because that word has been overused. Give it a couple of years, and “white supremacist” will lose its edge as well.

When Ng picked up the mic and told the truth about Campbell’s legacy, she wasn’t downplaying his importance: she was acknowledging it. Campbell’s odious ideas matter because he was important, a giant in the field who left an enduring mark on it. No one questions that. What we want to talk about today is what Campbell’s contribution was, and what it means.

Whenever the people on the progressive left claim that they want to have a “conversation” about something, what they really mean is “shut up and let me tell you how I’m right and you’re wrong.” There is no way to have an honest dialogue with these people, because they will not listen to us “deplorables.” Cory Doctorow has already demonstrated this with his blanket accusations against all the supporters of Gamergate, the Sad Puppies, and President Trump.

These people don’t want to talk about “what Campbell’s contribution was, and what it means.” They want to purge him from the field. Metaphorically, they want to burn his books and tear down his statues.

Look, I’m not trying to defend all of Campbell’s views here. I’m all for having an honest discussion about his bad ideas and how they’ve influenced the field. But I don’t believe I can have that discussion with people who clearly hate me, and will do whatever it takes to cancel and destroy me.

After Ng’s speech, John Scalzi published a post where he pointed out that many of the people who were angry at Ng “knew Campbell personally,” or “idolize and respect the writers Campbell took under his wing… Many if not most of these folks know about his flaws, but even so it’s hard to see someone with no allegiance to him, either personally or professionally, point them out both forcefully and unapologetically. They see Campbell and his legacy ab­stractly, and also as an obstacle to be overcome. That’s deeply uncomfortable.”

Scalzi’s right, too: the people who counted Campbell as a friend are au­thentically sad to confront the full meaning of his legacy. I feel for them.

Do you really, though?

It’s hard to reconcile the mensch who was there for you and treated his dog with kindness and doted on his kids with the guy who alienated and hurt people with his cruel dogma.

Did you catch the sneaky rhetorical trick that Doctorow uses here? He assumes that we’ve already accepted his argument that Campbell’s views were odious enough to have his name stripped from the award. Now he’s using an appeal to emotion to smooth it over.

Gaslighting of the highest order.

Here’s the thing: neither one of those facets of Campbell cancels the other one out. Just as it’s not true that any amount of good deeds done for some people can repair the harms he visited on others, it’s also true that none of those harms can­cel out the kindnesses he did for the people he was kind to.

Or cancel all of his contributions to the field?

If Doctorow actually believes all this, why does he support Ng, who argues that everything Campbell did should be cancelled out by his most odious views? If anything, this is an argument against stripping Campbell’s name from the award.

Life is not a ledger. Your sins can’t be paid off through good deeds. Your good deeds are not cancelled by your sins. Your sins and your good deeds live alongside one another. They coexist in superposition.

Yes, and you should never underestimate the capacity of the human mind to believe two mutually exclusive ideas at the same time, especially when his name is Cory Doctorow.

You (and I) can (and should) atone for our misdeeds.

Not in today’s cancel culture, where everything you’ve accomplished can be erased by the one bad thing you tweeted or posted to Facebook ten years ago. There’s also no forgiveness or repentance, when you will be forever remembered for the worst thing you said or did.

We can (and should) apologize for them to the people we’ve wronged.

No. Giving a public apology is the absolute worst thing you can do in today’s cancel culture, because your enemies will smell blood in the water and come in for the kill.

Never apologize to a mob.

We should do those things, not because they will erase our misdeeds, but because the only thing worse than being really wrong is not learning to be better.

Oh, this is rich.

You first, Cory. Have you taken a good, hard look in the mirror? Have you really, truly asked yourself “what if I’m wrong?”

I don’t see eye to eye with Vox Day about everything, but he was right about this: you social justice types always lie, you always double down, and you always project your own worst faults onto your enemies. That’s why you’re so blind to your own hypocrisy, even when it’s staring you in the face.

I completely and totally agree that we should all strive to admit when we’re wrong and learn to be better for it, but you’re not in a position to tell me that, Cory. Not after painting all us “deplorables” with such a broad brush.

People are flawed vessels. The circumstances around us – our social norms and institutions – can be structured to bring out our worst natures or our best. We can invite Isaac Asimov to our cons to deliver a lecture on “The Power of Posterior Pinching” in which he would literally advise men on how to grope the women in attendance, or we can create and enforce a Code of Conduct that would bounce anyone, up to and including the con chair and the guest of honor, who tried a stunt like that.

Honest question: was the sexual revolution a mistake?

Asimov, Heinlein, Farmer, and all the other science fiction writers who explored questions of sexuality back the 60s and 70s were speaking to a culture that had abandoned traditional morality for a new, “free love” ethic. In other words, having thrown out all the rules, they now felt free to explore their newly “liberated” sexuality.

Was Asimov wrong in his attempt to rewrite our sexual norms? Personally, I believe it was, but I come from a religious tradition that still practices total abstinence before marriage and total fidelity within. Even then, it still depends on context. Groping a random stranger at a science fiction convention is obviously wrong, but playfully pinching my wife when the two of us are alone? Not so much.

I find it really fascinating that the woke-scolds of the left have become far more puritanical and prudish than the religious right ever was. Within the bonds of marriage, most of us religious types are actually very sex positive—after all, where do you think all those babies come from?

And Ng calls us “sterile.” Heh.

We, collectively, through our norms and institutions, create the circum­stances that favor sociopathy or generosity. Sweeping bad conduct under the rug isn’t just cruel to the people who were victimized by that conduct: it’s also a disservice to the flawed vessels who are struggling with their own contradictions and base urges.

Fair enough, but there’s nothing generous about today’s cancel culture, which is frankly pathological in the way it defines everyone by their worst flaws and basest urges.

Creating an environment where it’s normal to do things that – in 10 or 20 years – will result in your expulsion from your community is not a kindness to anyone.

But how can we know what will and will not be acceptable in 10 to 20 years?

Twenty years ago, it wasn’t considered hate speech to say that there are only two genders. Ten years ago, “micro-aggressions,” “safe spaces,” and “white privilege” were not a thing. In fact, we’d just elected our first black president, bringing an end to our racially divisive past. /sarc

In the next 10 to 20 years, will we adopt all the theories and ideologies of the radical left? Or will the pendulum swing back in favor of more conservative morals and standards? We don’t know yet, because the future has not been written, and frankly, it’s not our place to write it. Every generation reinvents the world.

There are terrible men out there today whose path to being terrible got started when they watched Isaac Asimov grope women without their consent and figured that the chuckling approval of all their peers meant that whatever doubts they might have had were probably misplaced. Those men don’t get a pass because they learned from a bad example set by their community and its leaders – but they might have been diverted from their path to terribleness if they’d had better examples.

Certainly. I’m just not convinced that these virtue signalling, social justice warrior types are the examples that we should hold up.

They might not have scarred and hurt countless women on their way from the larval stage of shittiness to full-blown shitlord, and they themselves might have been spared their eventual fate, of being disliked and excluded from a community they joined in search of comradeship and mutual aid. The friends of those shitty dudes might not have to wrestle with their role in enabling the harm those shitty dudes wrought.

I’m confused. Does Doctorow believe that women are strong and independant, or does he believe that they’re tender, fragile creatures that need to be protected from socially inept, “larval” shitlords? I mean, I can see how they need to be protected from predators, since all of us—women and men—are vulnerable to various degrees… but you’d think that a strong, independent woman would be able to hold her own against a socially incompetent geek who is simply a “flawed vessel.”

Since her acceptance speech, Ng has been subjected to a triple-ration of abuse and vitriol,

Join the club.

much of it with sexist and racist overtones.

You keep using those words. I do not think they mean what you think they mean.

But Ng’s bravery hasn’t just sparked a conversation, it’s also made a change. In the weeks after Ng’s speech, both Dell Magazines (sponsors of the Campbell Award) and the James Gunn Center at the University of Kansas at Lawrence (who award the other Campbell Award at an event called “The Campbell Conference”) have dropped John W. Campbell from the names of their awards and events. They did so for the very best of reasons.

No, they did it because they were bullied into it by the woke-scolds.

As a winner of both Campbell Awards, I’m delighted by these changes. Campbell’s impact on our field will never be truly extinguished (alas),

Yes, because what you really want is to tear down all the statues and burn all the books. Who’s the fascist again?

but we don’t need to celebrate it.

Back when the misogynist/white supremacist wing of SF started to publicly organize to purge the field of the wrong kind of fan and the wrong kind of writer, they were talking about people like Ng.

Bullshit.

The entire point of the Sad Puppies (which Doctorow intentionally and dishonestly mischaracterizes as “the misogynist/white supremacist wing of SF”) was to bring more attention to a diversity of conservative and libertarian writers, many of whom are also women and people of color. We were the ones who were excluded, not the ones doing the excluding. In fact, we invented the words “wrongfan” and “wrongfun” to describe the unfair way that we were treated by the mainstream establishment.

Please stop trying to gaslight us, Mr. Doctorow. Please stop projecting your own faults onto us, and recognize your own hypocrisy which is laced throughout this article. I don’t expect a public apology, since I wouldn’t offer one myself, but do wish for once that you would just listen to the people on the other side of these issues. Just. Listen.

I think that this is ample evidence that she is in exactly the right place, at the right time, saying the right thing.

Meanwhile, traditional publishing and the SF establishment will continue to implode, and indies will continue to eat your lunch.

If all you want is to be king of the ashes, you can have it. The rest of us are off to build the new world.

2019-10-10 Newsletter Author’s Note

This author’s note originally appeared in the October 10th edition of my author newsletter. To subscribe to my newsletter, click here.

I saw Joker yesterday. Don’t worry, I won’t give away any spoilers. It was every bit as incredible as I expected it to be, and yet in some key ways, not what I was expecting at all.

First, the basics. This movie is dark. Very, very dark. I believe this is the darkest, most terrifying iteration of the Joker ever made. Part of that is because it is so realistic. There are no magical superpowers, no aliens or infinity stones or any of that stuff. This story could have already happened in our world. It could yet happen.

That said, it is clear that the people who made it have deep respect and appreciation for the franchise. It isn’t like The Last Jedi, where the filmakers explicitly tried to subvert all of the things the fans love about Star Wars. In many ways, Joker is a homage to all of the iterations of Batman that have come before it. This could just as well be the origin story of Cesar Romero’s Joker as Heath Ledger’s.

Joaquin Phoenix is incredible. I didn’t think it was possible to do a better Joker than Heath Ledger, but Phoenix has done it. He really draws you into the Joker’s head, and his transformation from a broken misfit to a sociopathic supervillian is believable, compelling, and utterly terrifying. He earned every moment of the eight-minute standing ovation this movie received on its debut.

There is a dramatic arc to violence that very few movies, TV shows, or even books show in its entirety. When a character swings an axe at someone’s head, the scene usually cuts. You know what happened. But in Joker, you see everything. It’s a lot like Blade Runner in that respect. The bodycount is not that high, but the violence really hits you, and stays with you.

If you aren’t in touch with your dark side, this movie will profoundly disturb you. It will also screw with your mind. If you struggle with PTSD, this is probably one to avoid, unfortunately. Even if you think you like dark movies, this one may be too much for you. But if you do enjoy it, you will probably want to see it again, and again. There are so many layers to this movie that a single viewing is not enough to fully take it all in.

Without question, Joker is a major cultural landmark. It is, above all else, a brutally clear and damning indictment of all of us. In a world convinced that guns cause violence, Joker focuses on mental health and the cracks in our healthcare system. In a world obsessed with priviledge and inequality, Joker is about our pathological lack of empathy and compassion.

Part of the controversy surrounding this movie is the gulf between the critics who hate this movie, and the general audience, which loves it. After watching it, I think the critics can be divided into three camps.

First, there are the social elites who are so out of touch with the reality that the rest of us live in that Joker is anathema to their lived experience. It’s not that they hate it, so much as that they’re confused and bewildered by it. They are also bewildered by Brexit and the election of Donald Trump.

Second, there are the wokescolds who hate Joker because they recognize it as an indictment of themselves. They deride it as an “incel movie” because they know that their woke politics are partly responsible for creating a culture where “incels” are a thing, and that drives these people to violence.

I actually think that this isn’t the case for most of the critics. Sargon of Akkad recently put out a video on this, and while I agree with him that the wokescold critics see Joker as a mirror, I don’t think they see themselves as the people who drive the Joker into psychopathic madness. Instead, I think that the vast majority of the wokescold critics see themselves in the Joker.

In Milo Yiannopoulos’s interview with Jordan Peterson, he made the very salient point that the angriest, most radical people on the far left are, in their personal lives, broken and in pain. Often, they are victims of abuse. Personally, I would expand that to include many on the alt-right as well, but the point still stands.

The wokescolds want to see themselves as heroes working to overcome systems of oppression and inequality. They see themselves as builders, but Joker shows them that all they really want is to burn it all down. That’s why I believe this movie has provoked such a virulent backlash from the wokescolds: because it is a mirror that shows them as they really are, and they are terrified of what they see in it.

Without love, it is impossible for our culture and society to heal. That, I believe, is Joker’s ultimate message. The reason that Arthur becomes the Joker is because no one ever showed him any compassion, empathy, or love. He laughed through the pain until the pain made him laugh, and became the villain that Gotham deserved.

How often do we really listen to each other? How often do we reach outside of ourselves and genuinely connect? A recent study shows that the average American hasn’t made a single new friend in the last five years. Is that you? Is that your neighbor? The family across the street, or the guy who lives down the hall?

It doesn’t take much to reach out. Sometimes, all it takes is a smile—but isn’t that the joke? Somewhere, I hear maniacal laughter…

2019-10-03 Newsletter Author’s Note

This author’s note originally appeared in the October 3rd edition of my author newsletter. To subscribe to my newsletter, click here.

When Mrs. Vasicek and I got married, we decided that there would be no smart devices or screens in our house beyond the master bedroom. Our reasoning had mostly to do with personal health and avoiding bad habits, though there was also some concern about data collection and privacy.

One of the things I really like about this rule is that it keeps me from becoming too attached to my smart phone. Most of us are never be more than an arm’s reach away from our phones, and over time we come to feel almost like they’re a physical part of us. But every night, Mrs. Vasicek and I leave our phones to get ready for bed, and we don’t pick them up again until after we’re fully awake.

I have to admit that I had withdrawals at first, but now I feel much better. My phone is just another tool now; it no longer feels like an extension of myself.

Another thing I really like about this rule is how it sets apart a large section of the house that is free from digital distractions. The bedroom is now a really great place to read. Our one exception to the no screens rule is my Kindle Paperwhite, which uses e-ink anyway so it’s not as bad as an LED screen. It’s also seven-and-a-half years old, so web browsing isn’t really practical.

The other thing I really like is how it sets my mind at ease to know that there’s at least one part of the house where there aren’t any digital recording devices surveilling and collecting data on us. (Please don’t tell me that the Paperwhite is recording me too!)

In the last few years, it seems that Big Tech has been increasingly intrusive in our lives. Over the summer, it seemed like every week there’d be a new story about a Silicon Valley whistleblower, or an undercover investigation, or even a senior Google executive coming out on the record about censorship, bias, and control.

A couple of weeks ago, Glenn Beck did a fascinating interview with Robert Epstein, a researcher who found compelling evidence that Google has both the capability and the motivation to sway major national elections. (Epstein voted for Clinton in 2016, so the interview wasn’t partisan.) It reminded me of a presentation that Chamath Palihapitiya (senior executive at Facebook from 2007 to 2011) gave at Stanford in 2017, where he talked about social media addiction and explained why he doesn’t use social media nor allow his children to do so.

It’s becoming increasingly difficult to navigate our modern, complex world in a way that doesn’t surrender most of our agency to Big Tech and Silicon Valley. It’s also becoming increasingly ambiguous how much of that agency is an illusion, with companies like Facebook and Google influencing us in ways we aren’t consciously aware of.

As an indie author who depends on Amazon for a large part of my income, I’m very much aware of these issues. It’s part of the reason why I’m working so hard to build and maintain this newsletter, so that I don’t have to depend on Big Tech for my book marketing. It’s impossible to be a career author these days without a plan for navigating this world.

Where are we headed? Science fiction gives us a chilling answer. Right now, it appears that China and the East are going the way of 1984, while the United States and the West are going the way of Brave New World.

But those books were written almost a hundred years ago, and technologies have been developed that Orwell and Huxley couldn’t have even dreamed of. It’s time for a new generation of writers to pick up the torch that they handed off to us.

That’s a big reason why I’m writing “Sex, Life, and Love under the Algorithms.” As for where to go next, I honestly don’t know. So much happening in the world today screams out for new science fiction just to make sense of it all, so when I’m not writing fantasy I’ll probably delve more into that.

Whatever else happens, we’re all in this rabbit hole together.

2019-09-19 Newsletter Author’s Note

This author’s note originally appeared in the September 19th edition of my author newsletter. To subscribe to my newsletter, click here.

It’s September, which means (among other things) that it’s time to revisit my business plan and update it for the next year. Every January 1st, I print out a new and revised copy of my business plan, which provides a great opportunity to evaluate my efforts and hone in on the things I need to do better.

For the last couple of weeks, I’ve been working on the section titled “What I Write.” In this year’s business plan, it was a pretty straightforward breakdown of all of the series in my catalog. But for next year, I took a few steps back to address things like what is a Joe Vasicek book? or what are some of my books’ recurring themes? or what kind of science fiction and fantasy do I write specifically, and how does my work contribute to the genre?

The exercise really got me to think about why I write. In the day to day life of a writer, it’s very easy to lose sight of the forest for the trees. Deadlines and daily word count goals keep the focus on the page right in front of you, and when you do think ahead it’s usually just to the next chapter. But without taking time to step back and look at the bigger picture, it’s easy to lose that creative drive, or settle for second-rate work.

So what is a Joe Vasicek book? I hope it’s a book that’s memorable and meaningful. It may be dark, but never dismal. It may push you out of your comfort zone, but it also leaves you feeling rejuvenated and inspired. It features interesting characters wrestling with complex ethical dilemmas and struggling to do the right thing as best as they know how.

What are some of my books’ recurring themes? The balance between liberty and responsibility is a huge one. Actions have consequences, and true liberty is taking ownership of those consequences as well as your actions. Another is the sanctity of sex, contrasting selfish gratification with the affirmation of commitment and love. The yearning for God is another recurring theme, with a great deal of religious diversity in the starfaring civilizations of my books. Another theme I keep coming back to is the call of the frontier.

I’m curious, though, to hear what you guys think. What do you think makes a Joe Vasicek book? What tropes or recurring themes have you enjoyed in my books? As a writer, I’m often too close to my own work to see what’s obvious to everyone else. What do you think is my biggest contribution to the genre?

2019-08-08 Newsletter Author’s Note

This author’s note originally appeared in the August 8th edition of my email newsletter. To subscribe to my newsletter, click here.

A couple of days ago, Mrs. Vasicek and I had an old friend of hers over for dinner. This friend was visiting from out of state, and Mrs. Vasicek made it clear that politics was a subject which we would have to avoid, or at least tread very lightly. Among other things, I’d have to drop my tailgate to make sure it didn’t make a bad first impression.

(One of these days, I’ll have to share a photo of my tailgate. I despise political correctness in all of its forms, so my tailgate has become something of a monument to the first amendment. Frequently at stop lights, people will take out their phones to snap a picture.)

The dinner went really well, and we had good conversations well into the evening. Surprisingly enough, this wasn’t because we outright avoided politics, but because when the issues came up, we were able to find common ground in spite of our obvious differences. In this way, we were able to connect in a much more genuine way than if we had avoided those difficult subjects entirely.

One of the things we talked about was the destructive influence of social media outrage. Our friend told us how the relationship between her father and her sister has been destroyed, because Facebook is the only way that they can connect with each other. Those interactions have become so politically toxic that they’ve lost all of the love that they once had for each other.

That’s sad, but it’s becoming an all-too-common occurance here in the United States. Some people believe that we’re on the verge of a second civil war. I don’t know what the future holds, but if it’s anything like the first civil war, I know that there will be honorable people on both sides. That’s the tragedy. I have ancestors who fought on both sides of the American civil war, and when people ask which side I think was right, I answer “the American side.”

I’m fascinated by Robert E. Lee and his decision to fight for the Confederacy, when Lincoln himself offered him command of the Army of the Potomac. He opposed both slavery and secession, yet his conscience couldn’t allow him to stand at the head of an invading army. Neither could it allow him to stand by idly while his friends and family were slaughtered—not when he was in a position to make a difference.

Did he make the right choice? I don’t know. However, I do believe that he tried his best to do so. I try to keep that in mind when I talk with people across the political divide. No matter how much we may disagree, it’s refreshing to meet people who are sincerely striving to do what’s right as best as they know how.

In these troubled times, when the public discourse is rapidly deteriorating and outrage is the social currency of the day, it’s important to recognize the good in people, no matter which side they line up on.

Algorithms, social media addictions, and the endless churn of content

In the last 5-6 years, I’ve noticed a shift in most of the media content that I consume. Content has proliferated at an unprecedented rate, and the churn—or the rate at which new content pushes out old content—has become one of the driving factors for those of us trying to make our careers in this way.

We see it on YouTube, where three or four adpocalypses have massacred various channels, and where copystrikes have become part of the game. YouTubers who don’t put up content every day, like Tim Pool or Pewdiepie, quickly lose views and subscribers even when they do put up new content.

We see it in video games, where companies like Paradox are now making the bulk of their money on DLCs, some of which make the vanilla version almost unplayable. Back in the 90s, a game was a game was a game. You could get expansion packs for some of them, but that was just bonus content, not a core part of the gaming experience, or the business model.

It’s a huge issue in journalism, where the news cycle has accelerated so much that weeks feel like months, and months feel like years now. Remember the Kavanaugh hearings? That was less than a year ago. The Covington kids controversy happened this year. Everyone is in such a race to break the story that the quality of journalism has fallen considerably, but by the time the corrections come out, the news cycle has already moved on. Fake news indeed.

The churn has also become a major thing in the indie publishing scene. For the last few years, the established wisdom (if there is any) is that you need to publish a new book about every other month—preferably every other week—to keep your entire catalog from falling into obscurity. There’s a 30-day cliff and a 90-day cliff, at which points the Amazon algorithm stops favoring your books over new ones. And now, to complicate things, AMS ads are taking over from more organic book recommendation methods, like also-boughts. The treadmill is real, and it’s accelerating.

I’ve been thinking a lot about this, and I can think of a few things that may be driving it. I don’t have any statistics or firm arguments to back it up yet, just a couple of hunches, but it’s still worth bringing them up to spark a discussion.

First, social media has taken over our society, not only in public life, but in personal life as well. Now more than ever before, we use Facebook, Twitter, Instagram, Snapchat, and other social media to interact with each other. The problem is that these social media sites are incentivized to get us addicted to them, since we are the product they sell—our data, our time, and our eyeballs. Every like is another dopamine hit. Every outrageous headline is another injection of cortisol.

We have literally become a society of drug addicts. The drugs may be naturally produced by our bodies, but big tech has figured out how to manipulate it like never before. And as addicts, we are always looking for our next hit.

That’s not all, though. There’s a feedback loop between the end-users who consume content, and the algorithms that deliver content recommendations to the end-users. When something new gets hot on social media, the algorithms act as a force multiplier to drive it even further. But because of our addiction, and the fact that we’re constantly looking for the next hit, things can fall off just as quickly as they rise. Hence the churn.

It’s also a function of the massive rate at which content is proliferating across all forms of media. I’m not sure how many millions of English-language books are published any year now, but it’s much, much more than it was back when tradpub was the only real game in town. Same with videos, music, news blogs, etc. With so much new content coming out all the time, and so many people on social media ready to share it, the conditions for churn have never been stronger.

But there’s another, more sinister aspect to all of this, and it has to do with the biases of big tech and Silicon Valley. Yes, there is a feedback loop that governs the algorithm, but it goes both ways: the people who write the algorithm can, within constraints, use it to reprogram all of us, or even society itself.

I don’t think it’s a mistake that the churn is worse on sites that are run by big tech, or worse on content creators who depend on the platforms that big tech provides. The authors experiencing the worst burnout all seem to be exclusive with Amazon and Kindle Unlimited, and news sites that are getting hit the worst now (Vice, Buzzfeed, etc) all depended on clickbait tactics to ride the Facebook algorithm.

There are a few content creators who seem to have escaped the churn. As a general rule, they seem to be scaling back their social media usage and developing more traditional income streams, like subscriptions, sponsorships, and email lists. Steven Crowder, Tim Pool, and Pewdiepie are all examples. A few of them, like Alex Jones, Carl Benjamin, and Paul Joseph Watson, are learning how to swim by getting tossed in the deep end. Big tech has deplatformed them, but they’re learning—and showing to the rest of us—that it’s possible to make your own path, even when all the algorithms conspire against you.

I recently listened to a fascinating interview on the Jordan Peterson podcast, where he talked with Milo Yiannopoulos. Milo fell out of the public sphere when allegations of pedophilia emerged, getting him banned from CPAC in 2018. His career isn’t over, though, and his future prospects look quite bright, especially with the plan he’s been putting together. If he succeeds, big tech and the algorithms will never be able to touch him.

In my post a couple of days ago, I argued that one of the unique advantages of books over other forms of media is that they are timeless. As Kris Rusch puts it, books aren’t like produce—no matter how long they sit on the shelf, they don’t spoil. We are still reading books that were written centuries ago.

If that’s true, then there must be something about books that makes them resilient to churn. In fact, books may be the antidote to churn. That’s basically Jeff VanderMeer’s thesis in Booklife. It’s also worth rereading Program or Be Programmed by Douglas Rushkoff, where he offers some helpful rules to keep social media and the algorithms from completely taking over our lives.

So as indie writers, what’s the best way to deal with all of this? I’m not entirely sure. Back in 2011 when I first started indie publishing, slow-build and long-tail strategies seemed a lot more viable than they do now. But if there is something inherent in books that makes them the antidote to churn, then there has to be a way to take advantage of that.

I’ll let you know when I find it.

Thoughts on Minimum Viable Product

So I read an article on Draft2Digital’s blog about Minimum Viable Product and what it means for writers, and it got me to thinking about what that means for books in general, and my own books in particular.

From what I’ve managed to gather (and I could be totally wrong), the controversy in the indie writing community over MVP began when the guy who started 20 Books to 50K first started a topic on KBoards, talking about how he’d used the MVP concept to launch a successful career. This rubbed the KBoards groupthink in the wrong way, and they ran him out with torches and pitchforks, so he started his own group. Indie writers have been arguing about it ever since.

On the one hand, I can’t really criticize the concept, because I kind of followed it myself. When I published my first three books, I sunk a fair amount of money into them, and when I realized it was going to take a long time to earn that back I shifted strategy, publishing the best quality work that I could on a shoestring budget. The result was this:

Ah, the good old days when I was young and stupid (now I’m just stupid). Cover art taken from NASA, which is all in the public domain. Title and subtitle font taken from a free font site, author font cribbed from an old 90s-era Sid Meier’s Alpha Centauri CD-ROM. No gradients or visual effects on the text itself—even the drop shadow is just a mirror image of the text in black, offset diagonally by a few pixels. As if that’s not enough, the aspect ratio is 3:4, which makes me want to grate my teeth.

So that was my minimum viable product at the time. The other novellas had very similar covers, with NASA space art, free fonts, and everything else. I also self-edited most of them, though I did have some editing student friends who volunteered to proofread the later ones. Surprisingly, the books sold. By 2013, they’d earned enough that I could afford to hire out a cover designer, who made the covers the books have today. Needless to say, the quality is much better.

I guess you could say the MVP strategy worked for me, though I’m not so sure it would work as well today. The key point, though, is that once I could afford to upgrade to a better quality product, I did so. The production aspect of a book is stuff like the cover art, copy editing, proofreading, etc. Most of that stuff can be upgraded over time, so if you have to do it on a shoestring budget, it’s not such a big deal.

But in my opinion, the writing itself is completely different. Some writers will go back and rewrite their books after they’re published, but I think that’s a horrible idea. What about the readers who enjoyed the first version? It’s okay to fix things like typos, or maybe remove some bad language but changing things so completely that the story itself changes is just wrong. It’s how we end up with memes like this:

A lot of people got pissed at George Lucas for the changes he made to the original Star Wars trilogy, myself included. It’s one thing to update the CGI for the X-wing dogfights, but it’s something else entirely to rewrite the characters. Han shot first, dammit!

So as far as MVP goes, I don’t think it works for writing—at least, not the kind of books that I’m trying to write. Perhaps in some genres, like porn, clickbait, and Buzzfeed articles, it’s better to put as little time and energy into the writing as you can get away with, but for the books I like to read, I want to know that the author did their best work. You can’t produce your best work and simultaneously aim for what’s minimally viable.

Of course, as the Draft2Digital blog post points out, that doesn’t mean that you should write slowly and slog through endless revisions. Sometimes the best books are written quickly, in a single draft. One of the great enduring myths is that there’s a correlation between how good a book is and how long it takes to write it, and another enduring myth is that revisions always make a book better.

I know there are some indies out there who have had great success by reading the one-star reviews and rewriting their books accordingly. To which I say: you shouldn’t use paying customers as beta testers like that.

Some media formats, like blogs, TV, or magazines, are designed to be ephemeral or to be changed or updated over time. Books are not. As Stephen King put it in On Writing, when we write a book, we are acting as time travelers, packaging up our stories and sending them forth, to be recreated in the mind of a reader long after we have written it. Books are unique like that.

So that’s what I think about minimum viable product. It’s a useful way of thinking about all the stuff you can update later, but for the story itself, it’s a horrible idea. Write the best book you can right now, then send it out into the world and write another one. That’s my strategy, at least.

Gotta go fast!

So they’re making a Sonic the Hedgehog movie, and the character design for Sonic is so bad that it’s spawned a bajillion memes. Within days of the trailer’s release, it got so bad that the director said they’d redesign the animation, and suddenly thousands of nine-year-olds became drunk with power.

I have a few thoughts on the whole Sonic fiasco. The first game came out when I was seven, and even though I only ever played it at friends’ houses, stuff like the Green Hill Zone theme definitely scratches the nostalgia itch. That said, never got into it as much as some people.

The new movie actually doesn’t look all that bad. I mean, it doesn’t look great, but it’s got potential. I really like seeing Jim Carrey as Robotnik, that could be really fun. Also… well, okay, that’s pretty much all that looks good so far, but just because it’s a horrible trailer doesn’t mean the movie has to be crap. Right?

The fact that Paramount Pictures made this movie reminds me of the early 00s, when superhero movies started to get big again, and the major studios really screwed up some of the big franchises. Fantastic four, I’m looking at you. Basically, the big studios were treating these intellectual properties as cash cows instead of treating them with the passion and love of the original creators. It was also very disrespectful to the fans.

Unless I’m mistaken, that’s actually how we got the Marvel Cinematic Universe. After the failures of Hulk, Fantastic Four, and Fantastic Four: Rise of the Silver Surfer, Marvel decided to do everything in house, because the major studios kept screwing things up so badly. With Blade and X-Men in the 90s, they’d proved that movies with B- and C-list superheroes could still be profitable, so they reacquired the rights to as many characters as they could and went all in on it. Thus was born the MCU, and there was much rejoicing.

It’s particularly interesting to me as an indie writer because the pattern is very similar to what’s happening in the book industry. It basically goes like this:

  1. Technological disruption renders the legacy business models obsolete.
  2. Independent creators start to steal market share from the old guard companies.
  3. The old guard goes through a period of mergers, acquisitions, and layoffs.
  4. They start to cut corners because too much is expected of the people who are left.
  5. The old guard companies become dependent on blockbuster hits to stay afloat.
  6. The bean counters take charge, further killing the old guard’s creative spirit.
  7. Several intended blockbusters fail spectacularly, driving further downsizing.
  8. The independent creators eat the old guard’s lunch.

And that’s why I’m still indie.

Is this what’s happening with Sonic the Hedgehog? Looks like it to me. We’ll have to see how this all plays out, but I’m not expecting much. On a more positive note, though, the best way to enjoy a crappy movie is to go in with low expectations. It worked for me with Indiana Jones 4, so maybe it’ll work with the new Sonic movie.

In the meantime, here’s Pewdiepie reviewing some of the hilarious memes that have come from all of this:

Trope Tuesday: Future Primitive

From tvtropes:

Evolution isn’t goal-directed. Sometimes …a species (often but not limited to humanity) will sometimes evolve into a more feral, less civilized, sometimes even non-sapient variety, regaining “primitive” characteristics. These “primitive” characteristics can include behaviors and/or physical traits…

Most basic is the scenario common to Post-Apocalyptic settings After the End, where humanity (or another species) is still physiologically more or less the same, but society has collapsed and technological and cultural regression have set in… In more extreme scenarios, the population may have evolved into a new subspecies or another species altogether… Most Scavenger World-type future settings are not far enough removed from the Present Day for natural selection to favor such drastic changes.

May overlap with Was Once a Man. Sometimes, it’s the motivation of an Evilutionary Biologist to try and take control of evolution in order to avert this fate.

Common to After the End settings. Likely to exist in Humanity’s Wake. Contrast Evolutionary Levels, Ultimate Lifeform and The Singularity (all of which tend to assume evolution’s a linear, goal driven process). Has nothing to do with the effects of a Devolution Device.

This trope has been on my mind as I write Edenfall, the sequel to Genesis Earth. In that book, this trope featured prominently, and drove the main character to question his faith in the progression of the natural world from chaos to order, entropy to complexity, and ignorance and barbarity to knowledge and civilization.

Perhaps the most prominent example of this trope is the Morlocks and Eloi from H.G. Wells’s The Time Machine. In the far future, the children of the rich elites of society have evolved into dainty, helpless, childlike creatures, while the descendants of the lower classes have evolved into dark and predatory monsters. As different as they are, though, they have both lost the drive and ingenuity that makes us human: the Eloi because it was pamperd out of them, and the Morlocks because they were repressed for so long. Both of them have lost their humanity and devolved into little more than animals.

In the Victorian era, people generally had faith in the slow and steady march of progress: that ignorance and superstition inevitably gave way to the light of science and reason, each successive age tended to be more advanced and scientific that the previous ages, and that humanity represented the pinnacle of evolution, the crowning achievement of the natural world. They rejected the notion that catastrophic and violent upheavals had any significant effect on the development of cilivization or humanity, and believed that the world was in a state of constant, unstoppable improvement.

Well, the two worlds wars pretty much shattered that notion forever. And since that time, we’ve discovered all sorts of evidence that in history and evolution, catastrophic change and violent upheaval are the rule, rather than the exception. From the bronze age collapse and the black death to supernovae and the extinction of the dinosaurs, the Victorian concept of the slow, steady, and inevitable march of progress looks very quaint indeed.

That was what I wanted to deconstruct in Genesis Earth. But now that I’m writing the sequels, I plan to subvert this trope. I can’t say how without giving spoilers, but it’s going to be a major plot point, especially in the third book.

What happens when humans meddle in evolution? When we hack into our genetic code and rewrite our place in the natural order? Can time heal the scars of our broken world, or will it take something else to fix us? Something more than human, or something so fundamental to our humanity that it lies in every heart?

Anyways, those are the things on my mind as I finish up Edenfall and get ready to write The Stars of Redemption. With luck, they will both be out by the end of this year!

Will A Song of Ice and Fire stand the test of time?

A while ago, I wrote a blog post titled Why I don’t like George R.R. Martin, in which I laid out some of the issues I had with the Song of Ice and Fire series, and why I decided not to read past the first book. That post has been getting a lot of traffic lately, probably because the last season of Game of Thrones is coming out and there’s a lot of hype right now about it.

At FanX a couple of weeks ago, I attended an interesting panel with Steve Grad from Pawn Stars on the do’s and don’ts of collecting. On that panel, he expressed some skepticism that Game of Thrones signatures and collectibles would hold their value over time. This made me wonder: will the books this TV series is based on stand the test of time?

Full disclosure: I have only read the first book, A Game of Thrones, and have not watched any episodes of the miniseries. I’ve watched a few of the more important scenes on YouTube and occasionally follow discussions about it on online forums. After reading the first book, I decided that this series was not the sort of thing I wanted to watch or read. See the blog post linked above.

People have been calling George R.R. Martin the American Tolkien for years now, but I’ve always been skeptical of that claim. Tolkien’s books are timeless because they are so archetypal, with the classic struggle of good vs. evil permeating every page. In contrast, Martin rejects the archtypes of good and evil for a nihilistic black-and-gray morality, where there are no heroes, only victimizers and victims.

Why, then, is A Song of Ice and Fire so popular? First of all, because the writing and storytelling really are top notch. For all my criticism of George R.R. Martin, I fully recognize that he is a master. But there are a lot of excellent, masterful books that never capture the public imagination quite like Game of Thrones and A Song of Ice and Fire. What, then, makes Martin’s work so different?

I believe it’s because George R.R. Martin has struck a nerve with the current zeitgeist, and scratches a uniquely contemporary itch in a way that none of the great works by the old masters can. What is that zeitgeist? It is spirit of a culture in the late stages of decadence, where wealth disparity, big government, endless wars, easy credit, runaway debt, moral decline, and corruption are the defining aspects of the age.

In a world where, in so many ways, we are shielded from the consequences of our own actions, morality becomes irrelevant and entertainment shifts to serve our basest, most carnal lusts. In such a world, we turn to nihilistic stories like Game of Thrones, which are saturated with sex and violence. They reinforce the view that good and evil don’t exist, that honor and integrity are for fools, and that wealth, power, and sexual indulgence are all ends in themselves. “Eat, drink, and be merry, for tomorrow we die, and it shall be well with us.”

At the same time, these stories satisfy a deep sense of self-loathing that arises out of the very nihilism that they celebrate. In those few moments when we are honest with ourselves, the decadence of our age profoundly disgusts us. As Haruki Murakami put it, “secretly everyone is waiting for the end of the world.” That is exactly what stories like Game of Thrones give us: gleeful destruction and total collapse, with blood, fire, ice, and steel. No one is safe. Anyone can die, even our most beloved characters. Winter is coming.

Every empire collapses, however, and every age of dedadence comes to an end. The very nihilistic elements that make stories like A Game of Thrones so appealing ultimately cause them to fall away and vanish, along with the culture itself. To stand the test of time, stories must be built upon archetypes that transcend the spirit of the age, rather than indulge it. Does George R.R. Martin do this? I don’t believe that he does.

A Song of Ice and Fire has an added disadvantage in that the TV series has overtaken the books. How many people will simply give up on the books after watching the season 8 finale? A Dance with Dragons averaged a 2.9-star rating on Amazon the year it came out, with thousands of reviews. It takes George R.R. Martin so long to write these books that it’s already become a meme, and his health isn’t all that great.

Personally, I think we’ve already reached peak George R.R. Martin. The season 8 finale will be an enormous affair, but after that the show’s popularity will steadily decline, and the books will not renew the public interest. I still think the books will do well compared to other books in the fantasy genre, but compared to previous installments, I think the Song of Ice and Fire series will go out with a loud and plaintive whimper.

A generation from now, when the current age of decadence is over and our children and grandchildren are rebuilding the world, I believe they will look at these books and scratch their heads—if they even bother to read them at all.