Art is a cruel mistress

"You want to ask me about class and status? Is that it?"

"Yes, ma'am."

"You Opinioners are always asking about class and status. One would think you'd know all about it by now. But very well. Today, since everyone is equal, there is only one class. The middle class. The only question then is — to what portion of the middle class does one belong? High, low, or middle?"

"And how is that determined?"

"Why, by all sorts of things. The way a person speaks, eats, dresses, the way he acts in public. His manners. His clothing. You can always tell your upper middle class man by his clothes. It's quite unmistakable."

"I see. And the lower middle classes?"

"Well, for one thing they lack creative energy. They wear ready-made clothing, for example, without taking the trouble to improve upon it. The same goes for their homes. Mere uninspired adornment won't do, let me add. That's simply the mark of the nouveau upper middle class. One doesn't receive such persons in the home."

"Thank you, Citizen Gotthreid. And where would you classify yourself statuswise?"

(With the very faintest hesitation). "Oh, I've never thought much about it — upper middle, I suppose."

— from The Status Civilization, by Robert Sheckley.

Maybe it's because of the job posting I saw last week, for a scriptwriter at Ubisoft, that I'm spending these last few days imagining everything as a video game — the journey to work, a news story, meal preparation, whatever I happen to be reading. This week I happen to have been reading Robert Sheckley, and I'm convinced The Status Civilization would make a most excellent videogame.

This is a novella written in 1960. It appears to be widely available online (I downloaded a free ebook from Kobo Books). Go, download it, read it now.

Will Barrent wakes up to find himself being shipped to the prison planet (think Great Britain's relationship to Australia). He has little recollection of his life on Earth ad does not remember having committed a crime. But here he is with hundreds of others being introduced into a prison society and left to figure out the "rules" on his own, which is something of a challenge — when you let the lawless run things their own way, the law doesn't quite work on the same assumptions you and I would make. And no one's willing to help you out — that's part of the game.

So Will essentially faces one challenge (or puzzle, or enigma) after another, and with every success, he levels up. The challenges mostly consist of staying alive, and usually as part of some society-sanctioned games, some gladiator-style, some mass hunts. Every win gains him some status in this prison world's hierarchy.

Behind all his miniquests lies the greater mystery of the crime he committed on Earth and how Earth society operates now that it exports its convicts. Will does beat the odds and make it back to his home planet, but the egalitarian utopia that Earth society has aspired toward is as stratified as ever, though perhaps more subtly (see the quote above), and with new sets of complications and dirty truths.

The following exchange is not exactly representative; it occurs toward the end, shares little with the rest of the story to this point in terms of pacing and mood, and is not especially videogame-like. But I find this idea of re-creating a work of art both fascinating and hilarious.

"You are a verbalizer, Citizen Honners?"

"I am, sir. Though perhaps 'author' would be a better word, if you don't mind."

"Of course. Citizen Honners, are you presently engaged in writing for any of the periodicals I see on the dissemination stands?"

"Certainly not! These are written by incompetent hacks for the dubious delectation of the lower middle class. The stories, in case you didn't know, are taken line by line from the works of various popular writers of the twentieth and twenty-first centuries. The people who do the work merely substitute adjectives and adverbs. Occasionally, I'm told, a more daring hack will substitute a verb, or even a noun. But that is rare. The editors of such periodicals frown upon sweeping innovations."

"And you are not engaged in such work?"

"Absolutely not! My work is noncommercial. I am a Creative Conrad Specialist."

"Would you mind telling me what that means, Citizen Honners?"

"I'd be happy to. My own particular field of endeavor lies in re-creating the works of Joseph Conrad, an author who lived in the pre-atomic era."

"How do you go about re-creating those works, sir?"

"Well, at present I am engaged in my fifth re-creation of Lord Jim. To do it, I steep myself as thoroughly as possible in the original work. Then I set about rewriting it as Conrad would have written it if he had lived today. It is a labor which calls for extreme diligence, and for the utmost in artistic integrity. A single slip could mar the re-creation. As you can see, it calls for a preliminary mastery of Conrad's vocabulary, themes, plots, characters, mood, approach, and so on. All this goes in, and yet the book cannot be a slavish repeat. It must have something new to say, just as Conrad would have said it."

"And have you succeeded?"

"The critics have been generous, and my publisher gives me every encouragement."

"When you have finished your fifth re-creation of Lord Jim, what do you plan to do?"

"First I shall take a long rest. Then I shall re-create one of Conrad's minor works. The Planter of Malata, perhaps."

"I see. Is re-creation the rule in all the arts?"

"It is the goal of the true aspiring artist, no matter what medium he has chosen to work in. Art is a cruel mistress, I fear."

I am beginning to like, and admire, Robert Sheckley a great deal.

Men of honour

I did it. I finished something by Conrad (The Duel).

Colonel D'Hubert himself, hardened to exposure, suffered mainly in his self-respect from the lamentable indecency of his costume. A thoughtless person may think that with a whole host of inanimate bodies bestrewing the path of retreat there could not have been much difficulty in supplying the deficiency. But to loot a pair of breeches from a frozen corpse is not so easy as it may appear to a mere theorist.

Even though I thought it quite funny in spots, there were times I thought this novella dragged. I don't think I'll be trying Nostromo anytime soon, but I believe the curse is finally broken.

This ebook includes a lot of supplementary material, about this story and about duelling. I haven't worked my way through all of it, but I was delighted to discover that the historical duel on which Conrad based his story took place between two French officers, Fournier and Dupont. Being that I live with a Fournier, upon learning this tidbit I can better appreciate the grandiose sense of honour and justice that might lead to the sort of decades-long standoff Conrad described.

Conrad and me

"Drop this! I won't fight with you. I won't be made ridiculous."

"Ah, you won't?" hissed the Gascon. "I suppose you prefer to be made infamous. Do you hear what I say? ... Infamous! Infamous! Infamous!" he shrieked, rising and falling on his toes and getting very red in the face.

My grade 11 history teacher wore a brown leather jacket, Lennon specs, and a beard. He was a Harley-riding born-again Christian. Mr Osgan encouraged all sorts of strange ideas. For example, we did a unit on Ancient India, which may not sound so strange in these enlightened times, but back in my day, the classes of my peers were essentially limited to the big three: the Egyptians, Greeks, and Romans.

Naturally, the course material lent itself to discussion of philosophy and religion, and really, that's all your typical hormonal teenagers really want to talk about. I don't think it was just me; most kids thought he was pretty cool, laid-back, like, he got it, man.

He'd go off on all sorts of interesting tangents. It seemed to me they were all about road trips, and meeting hippies and drinking tea and playing sitar. No, he probably didn't tell us any stories quite like that, but he may as well have, man, that was totally the aura he exuded.

For some reason, Mr Osgan seemed to think I was pretty bright, and he gave me A++s (that's double pluses) on my essays. I wrote something on Lucretius and Epicureanism. Then there was this thing on Pythagoras's Table of Opposites and how Pythagoras was clearly(!) influenced by Eastern philosophy. I had to present that to the class. Mr Osgan told me he was giving me bonus points for having conducted the whole seminar barefoot, that it somehow enhanced the material. But I hadn't given it any thought. I was just reckless that week. That was the week my mom went to visit my sister, and I stayed home alone with my big brother, though you can't really say my brother was very present. I had friends over, and stayed out late, and didn't prepare for my project at all. I just left my shoes somewhere, or my feet hurt or something. It was spring, and warm and sunny.

Anyway, before all that stuff, on the very first day of class — history was my home room — Mr Osgan had us fill out some basic information about ourselves, things related to culture and language and religion, I think, and we had to respond to something like, I dunno, "How would you describe yourself," or "What do you want me to know about you?" — something like that. And I remember I wrote that I was "a prolific reader" and I think I was going through my Somerset Maugham phase and I said something about that, but then I worried a long time, for days, about whether I'd used the word "prolific" correctly.

So Mr Osgan notes that I'm Polish, and he starts to tell me, and the whole class, about Józef Teodor Konrad Korzeniowski, aka Joseph Conrad, and how remarkable it is that he should write so remarkably well in a language (English) other than his mother tongue (Polish), and, really, I should read him. I'm pretty sure he noted Nostromo as being particularly good. And then he went off on a tangent about some commune where they drank tea and read Conrad or something.

Shortly thereafter I had my very own copy of Nostromo (did our rinky-dink local bookstore actually have it in stock? did my mother special order it for me?). I'm sure Mr Osgan noticed me carrying it around for a while, but he had the sense never to ask me about it.

I still have that book somewhere. Dogeared at page 17. It bears the distinction of being the first of very few books I never finished.

University was a lot harder than high school. In first year, I was a math and philosophy major, but everyone still had to take English. Everyone was tested and placed according to their abilities. I was exempt from all the basic grammar and composition stuff, and ended up in a lit survey course, which was one of the very few lit courses I took in university.

Of course, Heart of Darkness was on the syllabus, and nothing in the world could convince me to read it. I'm not sure I even tried. Maybe I tried. Maybe I read a page. I'm pretty sure I didn't even try. I totally faked it. I hadn't even seen Apocalypse Now.

And I've felt this gaping lacuna in my literary education ever since.

I tried to read Nostromo again later, in my twenties, which served only to grant it the the distinction of being the only book I never finished twice.

Enter The Duel. I received my e-book for free when I subscribed to Melville House's mailing list (offer no longer available).

Conrad's Duel. It's funny! And absurd — the extent to which honour may be insulted and defended. I'm not quite finished, but finish it I will. I may even try Nostromo again.

Thank you, Melville House, for reconciling me to Joseph Conrad. Otherwise this standoff might've lasted to the death (mine).

Congratulations, Frances, for all the extraordinary reading you accomplished this month — the Art of the Novella reading challenge — and thanks for the nudge in this direction.

Sorry, Mr Osgan, that I never appreciated Conrad the way you hoped I would. But look at me now.

Saying these words the chief spun round to seize the truth, which is not a beautiful shape living in a well, but a shy bird caught by strategem.