With the collapse of mainstream literary fiction as a commercially viable genre in 2036 and its subsequent replacement with Algorithmic Sentimentalism, so-called ‘human literature’ became an entirely state and corporate funded activity. Freed from market considerations, writers could concentrate on accumulating the ingroup prestige required to secure so-called ‘non-reciprocal’ sponsors. In the wake of the new sciences, this precipitated an explosion of ‘genres,’ some self-consciously consolatory, others bent on exploring life in the wake of the so-called ‘Semantic Apocalypse,’ the scientific discrediting of meaning and morality that remains the most troubling consequence of the ongoing (and potentially never-ending) Information Enlightenment.

Amar Stevens, in his seminal Muse: The Exorcism of the Human, famously declared this the age of ‘Post-semanticism,’ where, as he puts it, “writers write with the knowledge that they write nothing” (7). He maps post-semantic literature according to its ‘meaning stance,’ the attitude it takes to the experience of meaning both in the text and the greater world, dividing it into four rough categories: 1) Nostalgic Prosemanticism, which he describes as “a paean to a world that never was” (38); 2) Revisionary Prosemanticism, which attempts “to forge new meaning, via forms of quasi-Nietzschean affirmation, out of the sciences of the soul” (122); 3) Melancholy Antisemanticism, which “embraces the death of meaning as an irredeemable loss” (243); and 4) Neonihilism, which he sees as “the gleeful production of novel semantic illusions via the findings of cognitive neuroscience” (381).

Stevens ends Muse with his famous declaration of the ‘death of literature’:

“For the sum of human history, storytelling, or ‘literature,’ has framed our identity, ordered our lives, and graced our pursuits with the veneer of transcendence. It seemed to be the baseline, the very ‘sea-level’ of what it meant to be human. But now that science has drained the black waters, we can see we have been stranded on lonely peaks all along, and that the wholesome family of meaning was little more than an assemblage of unrelated strangers. We were as ignorant of literature as you are ignorant of the monstrous complexities concealed by these words. Until now, all literature was confabulation, lies that we believed. Until now, we could enthral one another in good conscience. At last we can see there was never any such thing as ‘literature,’ realize that it was of a piece with the trick of perspective we once called the soul” (498)


Algorithmic Sentimentalism: Freely disseminated computer-generated fiction based on the neuronarrative feedback work of Dr. Hilary Kohl, designed to maximize the possibilities of product placement while engendering the ‘mean peak narrative response,’ or story-telling pleasure. Following the work of neurolinguist Pavol Berman, whose ‘Whole Syntax Theory’ is credited with transforming linguistics into a properly natural science, Kohl developed the imaging techniques that allowed her to isolate what she called Subexperiential Narrative Grammar (SNG), and so, like Berman before her, provided narratology with its scientific basis. “Once we were able to isolate the relevant activation architecture, the grammar and its permutations became clear as a road map,” she explained in a 2035 OWN interview. “Then it was simply a matter of imaging people while they read the story-telling greats, and deriving the algorithms needed to generate new heart-touching and gut-wrenching novels.

In 2033, she founded the publishing startup, Muse, releasing algorithmically produced novels for free and generating revenue through the sale of corporate product placements. Initial skepticism was swept away in 2034, when Imp, the story of a small boy surviving the tribulations of ‘social sanctioning’ in a Haitian public school, won the Pulitzer, the National Book Award, and was short-listed for the Man Booker. In 2040, Muse purchased Bertelsmann to become the largest publisher in the world.

In a recent Salon interview, Kohl claimed to have developed what she called Submorphic Adaptation Algorithms that could “eventually replace all literature, even the so-called avante garde fringe.” In a rebuttal piece that appeared in the New York Times, she outraged academics by claiming “Shakespeare only seems deep because we can’t see past the skin of what is really going on, and what has been all along.”

Mundane Fantasy (aka, the ‘mundane fantastic’ or ‘nostalgic realism’ in academic circles): According to Stevens, the primary nostalgic prosemantic genre, the “vestigial remnant of what was once the monumental edifice of mainstream literary fiction” (39).

Technorealism: According to Stevens, the primary revisionary pro-semantic genre, where the traditional narrative form remains as “something to be gamed and/or problematized” (Muse, 45) in the context of “imploding social realities” (46).

Neuroexperimentalism: Movement founded by Gregor Shin, which uses data-mining to isolate so-called ‘orthogonalities,’ a form of lexical and sentential ‘combinetrics’ that generate utterly novel semantic effects.

Impersonalism:  A major literary school (commonly referred to as ‘It Lit’) centred around the work of Michel Grant (who famously claims to be the illegitimate son of the late Michel Houellebecq, even though DNA evidence has proved otherwise), which has divided into a least two distinct movements, Hard Impersonalism, where no intentional concepts are used whatsoever, and Soft Impersonalism, where only the so-called ‘Intentionalities of the Self’ are eschewed.

New Absurdism: A growing, melancholy anti-semantic movement inspired by the writing of Tuck Gingrich, noted for what Stevens calls, “its hysterical anti-realism.” Mira Gladwell calls it the ‘meta-meta’ - or ‘meta-squared’ - for the way it continually takes itself as its object of reference. In “One for One for One,” a small position piece published in The New Yorker, the famously reclusive Gingrich seems to argue (the text is notoriously opaque) that “meta-inclusionary satire” constitutes a form of communication that algorithmic generation can never properly duplicate. To date, neither Muse nor Penguin-Narratel have managed to disprove his claim. A related genre called Anthroplasticism has recently found an enthusiastic audience in literary science departments across eastern China and, ironically enough, the southern USA.

Extinctionism: The so-called ‘cryptic school’ thought by many to be algorithmic artifacts, both because of the volume and anonymity of texts available. However, Sheila Siddique, the acclaimed author of Without, has recently claimed connection to the school, stating that the anonymity of authorship is crucial to the authenticity of the genre, which eschews all notions of agency.

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