Surveying the Texts: Fictional Counterfactuals

This morning I woke up thinking about the number of short fictions I’m likely to track down and read over the next 3 months. I intend to survey the authors of those texts, but what about the texts themselves — why not survey them too?

The central organizing scheme of Ficticities Mach 2: each day I track down a few online short fictions; I excerpt some portion of each text that refers to some aspect of the setting in which the narrative takes place; I accumulate a single day’s excerpts into a single post, as if I’d witnessed each of these scenes or events in sequence while strolling through a fictional city; all of these strolling posts displayed together on the site comprise a kind of grand tour of the fictional city. It’s sort of the complement to Calvino’s Invisible Cities, in which what seem like descriptions of various fictional cities all refer to the same actual city of Venice.

So I’m wondering: what sort of data could I accumulate from these multiple short fictions that is relevant to the site’s core conceit? Each of the short fictions takes place somewhere in particular, but from the standpoint of the website the particulars aren’t of central concern; it’s the relationship between the fictional and the actual that comes into focus. I wonder: in a short story, can textual indicators of fictional versus actual be discerned? I don’t mean actual versus fictional places and times during which the stories unfold, nor am I concerned particularly with the author’s use of “realism effects” to make the setting seeem actual. I’m wondering about the extent to which the place and time in which a story takes place drift into realms of the imaginary, the speculative, the abstract, the unreal — the fictional.

I’m going to assay the feasibility of such a project with reference to the next story in James Purdy’s volume of short stories, a library book that I just renewed. I’m going to read it for the first time right now, making observations relevant to the proposed textual survey project.

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I hadn’t the slightest intention of pampering Naomi, the story begins. Intent isn’t actual; it’s speculative, about achieving some desired future state. And here it’s a negated intention, an undesired future state, implying two possible futures, one in which Naomi is pampered, another in which she’s not.

the wages I paid her were far in advance of their day when she came to me… — Here the narrator is reflecting on the past, which of course isn’t the story’s actual present; further, she’s regarding the wages she paid back then as in advance of their day, manifesting a future state that would later be actualized, even though its actualization is by now part of the past.

the rumor she has been circulating… — a rumor is a dubious recounting, unverified, probably fake news — a hypothetical situation that probably varies from the actual fact.

what I did to Naomi could never, not even in a court of law, be construed as striking — again, a counterfactual speculation.

Naomi had changed. She was not a double personality… — the narrator invokes the idea of a doubled reality while at the same time revoking it.

Naomi had simply become another woman… not a doubled reality, but an altered reality.

And that’s just the first paragraph. The next paragraph begins with dialogue: “You’re a woman of at least forty, though you lie to your men friends about your age!” — again, a counterfactual.

I went on, nearly beside myself… — is this just a hackneyed old-lady expression, or is the narrator herself beginning to occupy two realities at once?

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I can see already that the task of distinguishing actual from fictional within a fictional text would entail a lot of work. The textual indicators of counterfactuality aren’t readily reduced to sets of keywords I could easily gather and count; close reading seems required. But maybe Purdy is exceptional in this regard; maybe contemporary writers of short fiction stick more resolutely to the actual heres and nows of their storied worlds. Still, finding a needle in a haystack requires sifting the whole haystack — just as much work as finding a dozen needles.

Maybe the thing to do is to select story excerpts based on their textual counterfactuality. Or maybe I should select excerpts based on other criteria, then conduct the counterfactual analysis post hoc?

Overhaul Update

Version 2 of this site should be up and running by next week. It will look more like a straight-up blog, displaying a series of posts, with the most recent ones at the top of the stack. There will be three categories of posts:

The City. I’ll spend a portion of most days as an online flâneur wandering through online literary magazines, excerpting fragments from short fictions and posting them on Ficticities. Each fragment will be labeled with some salient aspect of the fictional City that it occupies; e.g., Menswear, Sidewalk, Speed, Windows. The fragments collected during a single stroll through the e-magazines will be gathered together into a single post, with original sources cited and linked. I expect that writers googling themselves will come to the site to see what’s up, and while they’re here they’ll be invited to respond to…

Surveys. Respondents are asked questions relevant to two main questions: (1) Could writers and readers of fiction jointly run an open access e-book publishing house of distinction? (2) Would they want to? Google has an app called “Forms” that lets you embed formatted questionnaires in blog posts, so if I can figure out how to use it I’ll be in good shape. Here’s a draft of the first survey:

How important is each these motivations to you as a fiction writer? (1 = not important at all, 5 = extremely important)

  1.  to express and understand myself.
  2.  to describe and interpret the world.
  3.  to imagine and create.
  4.  to master the art and craft.
  5.  to make an impact on the world.
  6.  for people to read what I write.
  7.  to be published.
  8.  to be well regarded by other writers and critics.
  9. to make money from my writing.
  10. to qualify for an academic job.
  11. to think of myself as a writer.
  12. other (please write in) _________________

Findings from Surveys, along with interpretations, will be posted online.

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I’ve reread all of the posts and comments from Ficticities version 1, excerpting and modifying the Pamphlets as needed. I don’t expect to display the Pamphlets on version 2, in part because I want the Surveys and Findings to do the work via the ask-don’t-assume, show-don’t-tell approach.