Googling the Random Short Fictions

I’ve written only 3 posts here since April, so it’s not surprising that there haven’t been many visitors to Ficticities. Still, I do get a hit here and there,  now and then. Today for instance someone came to look at this post — one of a series of fourteen posts from almost exactly a year ago, in which I interacted textually with short stories I selected at random from online literary magazines.

These occasional Ficticities visitors got me to wondering about hit rates. If I were to google the author and the title of each of the 14 stories on which I wrote a post last year, how high in the stack of google results would my posts appear? And how does each of my posts about these stories stack up popularity-wise compared with the original story itself, or the author’s website referencing their story, or the litmag’s tweet announcing publication of the story, or others’ reviews or comments on the story?

Well, let’s find out, shall we? I’ll google the stories in chronological order, using this search format: author’s name “title of story”:

“Cockatoo Tears” by Daniella Levy — the Ficticities post is the first result listed; the story itself comes in fifth.

“Pity and Shame” by Ursula LeGuin — Ficticities post comes in third, following the story and an interview with the author.

“Breadcrumb 398” by Olivia Hardwig — Ficticities post first, story second.

“Nobody Knows How To Say Goodbye” by Richard Spilman — Ficticities post first, story second.

“Christmas Lights” by Demian Entrekin — story first, Ficticities post third.

“A Legend is Born” by Calvin Celebuski — Ficticities post first, story third.

“The Singing Tree” by Shawn Goldberg — Ficticities post first, story fifth.

“Rattle and Spin” by Jeannette Sheppard — story first, Ficticities post second.

“The Wallaby & the Python” by Alexis Kale — Ficticities post first, story second.

“A Deceptively Simple Word Problem” by Samuel Rafael Barber — story first, Ficticities post third.

“Pop” by Carlo Gallegos — Ficticities post first, story not at all.

“Death for Serafina” by Rayji de Guia — story first, Ficticities post second.

“Big G Little G” by Kelsie Donaldson — Ficticities post first, story third.

“Entry 038::After Ash Wednesday>>Moon Quincunx Pluto” by Sade Lanay — story first, Ficticities post second.

So, for this random sample of 14 cases, the Ficticities post is the top google result for 8 stories, while the story itself gets top position for the other 6. That might be exciting for me, if I didn’t know how few hits these posts have received during their year of online existence. Still, on average these 14 story-based intertextual pieces fared better than other Ficticities posts I wrote that were original content, untethered from other published texts — which I find a bit disheartening.

I might find it even more disheartening if I were the author of one of these short stories. Why, I’d ask, should some random guy’s blog post about my story generate more Internet traffic than my actual story? To be fair, the stories might well have been read by a lot of people like me who happened upon the story while looking through the latest issue of the litmag in which the story was published. But still…

So:

  1. People are more likely to search for my posts about other writers’ stories than for the stories themselves.
  2. People are more likely to search for my posts about other writers’ stories than for my independently inspired posts.

Gossip? Do people want to hear what other people are saying about other people, rather than finding out what they have to say on their own behalf?

My takeaway, in the context of this website’s larger agenda, is this: If you’re a literary magazine, try to get other people to write something — anything — about the stories you publish, in order to draw greater attention to the authors and their work. If your magazine happens to be the work of a writers’ syndicate, then get one or more of the other authors whose work has previously been published in the litmag to write something about each of the newly published stories.

Apocalypse Porn

Thinking about the end of Wednesday’s post this morning before rolling out of bed, I realized that joining up with a collective of applied Ballardian fiction writers is just about the last thing I’d want to do.

I get it that Ballard exerts strong appeal in certain circles, and I do find myself intermittently drawn into their orbits. Ballard explicitly theorizes his own novels from inside the text — a kind of “theory fiction” that lends itself to traditional scholarly writing. And Ballard’s diagnosis of late-capitalist culture resonates with a lot of people. Here’s a passage from Ballard’s 1975 novel High-Rise:

These people were the first to master a new kind of late twentieth-century life. They thrived on the rapid turnover of acquaintances, the lack of involvement with others, and the total self-sufficiency of lives which, needing nothing, were never disappointed.

Alternatively, their real needs might emerge later. The more arid and affectless life became in the high-rise, the greater the possibilities it offered. By its very efficiency, the high-rise took over the task of maintaining the social structure that supported them all. For the first time it removed the need to repress every kind of anti-social behavior, and left them free to explore any deviant or wayward impulses. It was precisely in these areas that the most important and most interesting of their lives would take place. Secure within the shell of the high-rise like passengers on board an automatically piloted airliner, they were free to behave in any way they wished, explore the darkest corners they could find. In many ways, the high-rise was a model for all that technology had done to make possible the expression of a truly “free” psychopathology.

That’s Ballardianism in a nutshell, or spilling out of the cracked shell. I’m skeptical that late-capitalist anomie and ennui, fermenting in the decay of traditional societal connections and expanding in the vacuum left by the collapse of traditional social constraints, is distilling itself into all hell breaking loose, the comfortably coddled bourgeoisie’s unrecognized and repressed desires frothing forth in a hedonic eroticized death drive pitting all against all and each against each. It hasn’t happened in the 44 years since High-Rise was published: the privileged bourgeoisie remain complacently conformist while those consigned to the lower storeys of the socio-economic high-rise are becoming more desperate, marginalized, precarious, more attracted to unshackling their aggression not as a Ballardian tonic for alleviating boredom but as an act of desperation.

Maybe the Ballardian reality is delayed but still coming. Maybe what seem like the side effects of late capitalism, the recoil from schadenfreudean hubris, the collateral damage and the unintended consequences, are really the main effects, the objectives. Maybe the distributed unconscious of the stock market really wants to crash. Maybe the multitude of immaterial labor — the creatives and bureaucrats and technocrats — really want to be made redundant by inhuman labor, tantalized by the nightmare of finding themselves suspended precariously above the abyss. Maybe the bored psychopathic elite really do mean to undermine their own security, to render the planet unlivable, to crank the creative destruction up to 11, to pick up the red phone and push the red button, to turn the controls over to an all-knowing psychopathic AI. Maybe Trump desires impeachment and imprisonment. Maybe the Democrats want to provoke the Trump followers to armed insurrection so they can call in the military to quell the insurgency, declaring martial law and suspending democratic process indefinitely. Maybe all of the Ballardian drivers are accelerating into the crash, thirsting for their own annihilation.

In contemporary theory, Ballardian notes can readily be discerned in Accelerationism, its Deleuzian lines of flight propelled by technology, capital, and intelligence, thrusting a disembodied affectless desire beyond the humanistic gravitational field into a posthuman exploratorium that to the normies left behind can look a lot like “the expression of a truly free psychopathy.” And Ballardianism permeates the world of fiction, from cyberpunk to the new weird to new horror into mainstream commercial entertainment. The medieval decadent ruling class in Game of Thrones and the well-heeled clientele of the futuristic Westworld theme park occupy recognizably Ballardian dystopian imaginaries. Are these cautionary tales or apocalypse porn?

Trump parades himself before his acolytes as a Ballardian president, flaunting his ill-gotten wealth and his “dark triad” personality traits of narcissism, machiavellianism, and psychopathy, aggressively provoking confrontation seemingly just for the hell of it. It’s a performance enjoyed by the master showman, his routine choreographed and scripted and staged as an opioid-glazed spectacle for entertaining the inert masses. Fake news mingles with real news; all of it gets weaponized. High-Rise again:

A group of residents, all from the 14th and 15th floors, leapt out and hurled themselves into the mêlée. They were led by Richard Wilder, cine-camera gripped like a battle standard in one hand. Royal assumed that Wilder was filming an episode of the documentary he had been talking about for so long, and had set up the entire scene. But wilder was in the thick of the fray, aggressively wielding the cine-camera as he urged on his new allies against his former neighbors.

Nowadays Wilder might be renamed Fox. But he’s not the only one…

‘They’re all making their own films down there,’ Anne told him, clearly fascinated by her heady experience of the lower orders at work and play. ‘Every time someone gets beaten up about ten cameras start shooting away.’

‘They’re showing them in the projection theatre,’ Jane confirmed. ‘Crammed in there together seeing each other’s rushes.’

‘Except for Wilder. He’s waiting for something really gruesome.’

Like I said, I’m not sure I’d want to hitch my anarcho-collectivist wagon to an alliance of applied Ballardian writers… unless, secretly and unbeknownst even to myself, it’s what I crave.