Some of the comments (across twitter, the blogs and Facebook–ah, the joys of online discussion in a social media world) about the Association for Mormon Letters deal with a core tension that has existed in the AML, and, of course, in the project of literature itself: the writer and the critic.
This is not a tension that the AML is going to solve. But I do think it has a decent chance of pulling in some of each crowd for the following reasons:
- Many of the most active personalities in the field are both writers and critics.
- There are not many other viable forums for writing — creative or critical — that focus on Mormon thought and the Mormon experience.
- Mormonism does not have a theology per se, but Mormons themselves are used to talking about various aspects of doctrine and interpreting them in different ways and telling stories that relate to them and our understanding of them. The project of literature, both writing fiction and writing criticism, is not all that different. And I would hope that both writers and critics experience that commonality as the go about their work and that they are both interested when their thoughts about Mormonism intersect with the work they write and read.
- Related to that, I don’t see how you can be engaged with the project of narrative art without being both a creative writer and a critic. No writing is truly autonomic. It all comes from engagement with particular concerns and forms and images and stories and those are shaped by other things that the author has read as much if not more than their direct lived experience.
- Writers and critics have overlapping needs/interests but not the exact same ones. They also have needs/interests that can be better met by other organizations. And, I hope, ones that can be best met by the AML. One of the things that we need to do moving forward is look at how the activities of the AML fit with that spectrum of needs. It seems to me that those projects where there is overlap between the two (messy) categories should be a priority. But that there should also be activities that speak more strongly to one or the other to help strengthen overall engagement with the AML.
- One concrete idea: while it’s nice to have a journal that includes both criticism and fiction, one or the other category (not to mention the various forms of fiction [film, drama, etc.]) tends to be lose out depending on the primary interest of the editor. It might make sense to split out the two projects so that there’s one publication for criticism and one for narrative art. Or perhaps one publication but rotating editors/themes.
- Note that by criticism, I include all reader reactions to narrative art, including formal and informal reviews as well as scholarship and reporting that deal with all the extra-textual stuff related to the production, distribution and reception of narrative art.
What am I missing? Or even more bluntly: am I completely wrong? Is there no way to attract both narrative artists and critics? What do you all find most interesting in the intersection between the two? What bores you?