November 5, 2013

"Literary Renaissance" or Corporate Miserabilism? You Decide!


This listing has disappeared from Grub Street's job opportunities page, so either they've come to their senses or the position has been filled. As a gift to posterity, however, I'm posting it here. 

With its exquisite synthesis of journalese, ad-man lingo, and management-speak, it's a sterling example of the exciting "literary renaissance" that Boston is currently "undergoing." 

Note how "writers" is comfortably nestled between "philanthropic funding" and "publishing entrepreneurs." And I can never get enough of "liaising" as a verb! Not to mention the with-it swagger of "growing" as a transitive verb -- "growing the list"! And how about the coy afterthought of "a demonstrated love and passion for the literary arts" as a "plus" for any candidate (after "political and fundraising experience" and all the other qualifications, of course).*

I'll have more to say in future posts about Boston's "Literary Cultural District" initiative, but in the meantime: Long may the immortal spirit of Henry Wadsworth Longfellow liaise with the "branding process" and grow the "improved signage"!



Literary Cultural District Coordinator (part-time)

September 12th, 2013
By the mid-nineteenth century, Boston was called “The Athens of America” because it was home to publishing powerhouses like Ticknor and Fields and Little Brown, as well as some of the most enduring writers in our history, including Nathaniel Hawthorne, Louisa May Alcott, and Henry Wadsworth Longfellow. Washington Street was a mecca of magazine and journal publishing. Writing published in Boston contributed both to the development of literature and social justice in the United States.
Today, our city is undergoing a literary renaissance. We are blessed with the Boston Public Library, the important archives at the Boston Athenaeum, and the work of publishers like Houghton Mifflin Harcourt and Beacon Press. Grub Street has become the leading literary center in the country, welcoming over 2,500 writing students a year and hosting a premier writers' conference each May at the Park Plaza Hotel; the Boston Book Festival draws 30,000 people to Copley every October; 826 Boston inspires children to write and publish. Literary stars like James Carroll, Steven Pinker, Tom Perrotta, and Anita Shreve work here, and new presses like Plympton and SixOneSeven are planting seeds.
We have a unique opportunity to harness the work of these organizations, clustered together downtown, to create the nation’s first Literary Cultural District. With an intentional, coherent approach to our collective work, improved signage, partnerships with hotels and restaurants, and marketing, we will make our neighborhood more vibrant by increasing cultural tourism and participation in literary arts and by attracting more philanthropic funding, writers, and publishing entrepreneurs. Current Partners include the Boston Public Library, the Boston Athenaeum, the Boston Book Festival, The Drum, and the City of Boston, but we will be growing the list significantly now that we have funding to make the project happen. Interest is very high.
ROLE AND RESPONSIBILITIES
The LCD Coordinator will be overseen by Grub Street management, and will work 18 hours/week on the project at Grub Street’s offices.
The overall role of the LCD Coordinator is to give the project momentum, to keep all partner and collaborating organizations on track and to facilitate partners' work for district by handling all administrative tasks. Specific responsibilities include:
  • Applying to MCC for cultural district status
  • Managing the branding process with outside design firm
  • Coordinating all project meetings and moving the project forward by creating a timeline and benchmarks
  • Facilitating the Literary Data Tool project
  • Managing marketing efforts for the calendar and website
  • Generating content for the newsletter
  • Liaising with hotels and restaurants
  • Actively researching funding options
  • Helping to write the district-wide marketing strategy
SKILLS AND EXPERIENCE
The idea candidate is a dynamic, self-starter, with excellent and proven project management and organizational skills, experience planning and facilitating meetings, excellent communications skills, and an ability to work well with a wide variety of people. Political and fundraising experience is a plus as is a demonstrated love and passion for the literary arts.
COMPENSATION AND LOGISTICS
$18,000 yearly stipend.
To apply, please submit a resume and brief cover letter to drew@grubstreet.org. No calls, please.


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* With extra credit bonus points awarded for the romance-novel overkill of "love AND passion"!

October 24, 2012

Read the Fine Print! The Boston Book Festival's Creepy Corporate Sponsors

Here lies Public Education
Brought to you by the Pearson corporation

On October 15, 2011, in the early days of the Occupy movement at Dewey Square, a very different sort of encampment briefly occupied another of the city’s public spaces barely a mile away. The tents of the Boston Book Festival in Copley Square were visited by thousands of people that day, but the contrast between the two occupations couldn’t have been more stark: in Dewey Square, a rough-hewn but genuinely grassroots “festival of the oppressed”; at Copley, a top-down, stage-managed, and one-way simulation of “open” culture. 

For those who had read the fine print, however, this would’ve come as no surprise – the Boston Book Festival is a prime example of culture occupied by corporations. And it’s coming back to Copley Square again this October 27.

The BBF’s organizers, including its wealthy founder and president, Deborah Z. Porter, have relied on a number of morally and politically repulsive sponsors over the four years of the event’s existence. In 2009, for example, they warmly embraced the Boston-based State Street Corporation as their “Presenting Sponsor.” This financial investment giant would go on to help Republican Scott Brown take Ted Kennedy’s Senate seat in 2010 and then successfully lobby Brown and other senators to gut key provisions from the Dodd-Frank financial reform bill, including a $19 billion tax on banks that the senators insisted should be made up in spending cuts. One of those tax-dodging banks was Bank of America, which at the same time was feasting on $45 billion in government bailouts, leading the nation in home foreclosures . . . and enjoying its role in successive years as a Boston Book Festival sponsor.

The festival’s organizers loudly advertise their efforts as being all about “the community” while bringing on sponsors who are notorious community-shredders. Take Verizon: in August 2011, almost 45,000 Verizon workers – including 6000 here in Massachusetts – went out on strike for 2 weeks before having to return to work without a new contract. Verizon was trying to squeeze $1 billion in concessions out of its workers, including cuts in health and retirement benefits, scheduled wage increases, and vacation and sick days. This same company had received over $12 billion in tax subsidies since 2008, hadn't paid a thin dime in taxes over the same period, and continued to lavish multi-million dollar salaries on their top executives. Yet Deborah Z. Porter and the other BBF organizers welcomed Verizon and its ill-gotten dollars into the festival with open arms, allowing the company to burnish its slimy reputation and secure a little brand loyalty among future generations by hosting a children's "StoryPlace."

This year the honor of hosting the kids’ StoryPlace belongs to a different corporate sponsor, the Pearson Foundation.  Less immediately familiar to most people than Verizon, it’s a quieter choice, but in many ways even more troubling. The Foundation is the “non-profit” arm of the UK-based multinational media octopus, Pearson plc., the world’s largest book publisher and provider of education materials and services. The Pearson corporation briefly made headlines last spring when the New York State Education Department had to pull a number of flawed questions from its Pearson-produced math and English exams, including several questions for eighth graders relating to a bizarre story featuring a talking pineapple. 


It would be a mistake, however, to dismiss Pearson as mere bunglers. They are among the most sophisticated and powerful spearheads in the push for corporate education “reform.” The courageous strike this September by teachers organized in the Chicago Teachers Union shined a bright light on the issues involved in this corporate agenda, one that goes far beyond the imposition of high-stakes testing and standardized curriculums. These so-called reformers, from Chicago’s Democratic mayor and Obama crony Rahm Emanuel to “philanthropic” billionaires like Bill and Melinda Gates, actively promote charter schools and voucher programs in order to starve K-12 public schools (especially in poor and minority districts) and gut teachers’ collective bargaining rights, and push for the corporate takeover of teacher certification and assessment at all levels. The ultimate goal is the complete privatization of public education and its restructuring according to “free market” principles of profit and competition. 

Pearson is deeply involved in these efforts. In states from New York to Texas it rakes in millions in taxpayer-funded profit from their monopoly on providing the standardized tests mandated by such legislative swindles as No Child Left Behind and Race to the Top, and of course they fund the lobbyists who push for such laws as well. More recently, by acquiring or partnering with companies that are active members of the American Legislative Exchange Council (ALEC), they simply write those laws themselves, to be rubber-stamped by willing legislators from the Democratic and Republican parties alike. Pearson and their “reformer” buddies want a system imposed on the 99% that benefits the 1%.

A successful fight-back against this agenda can only come from below, from the active resistance of students, parents, and teachers in our communities. A recent example of such resistance came last spring at the UMass Amherst School of Education, where the director of the high school teacher training program, Barbara Madeloni, and 67 student teachers refused to participate in field testing the newly-developed Teacher Performance Assessment, a program that would put the evaluation and even the licensing of teachers in the hands of the for-profit Pearson. The student teachers won the day and the test was made optional, but the university retaliated by refusing to renew the contract of the widely-respected Dr. Madeloni. The Can’t Be Neutral initiative has been organized to defend Dr. Madeloni and demand her reinstatement; it is part of larger efforts in Massachusetts and across the country to boycott the Pearson juggernaut and draw a line against these attacks.

So what’s a creepy corporation like Pearson doing at the Boston Book Festival? A look at the festival’s Board of Directors gives us a clue – it’s a miniature Who’s Who of the regional plutocracy. Here we have a hedge fund banker, a marketing research CEO, a senior investment officer; people with decades of experience in places like Salomon Brothers and Goldman Sachs and the bonuses to show for it. Unsurprisingly, some of these 1-percenters have deep ties to education “reform.” Board member Rona Kiley, for example, is the founder of Teach First, the UK-based version of the Teach for America program, which thrusts inexperienced, low-paid teachers into inner-city classrooms as an end-run around teacher seniority and tenure.  While in the UK, Kiley also served as CEO of Academy Sponsors Trust, an organization pushing charter schools on that side of the Atlantic. 

More recently Kiley has been trying to impose this same pro-business agenda on public schools right here in Boston. Working through the misnamed “Stand for Children” organization – which gets funding from the likes of Bain Capital, Walmart, and JP Morgan – Kiley & Co. aggressively lobbied for a ballot initiative that Massachusetts Jobs with Justice called “a corporate-funded attack on public school teachers and the unions that represent them,” one that would “not only hurt our teachers, but also our students and our communities.”

Things get even shadier with board member Nicholas Negroponte, who also happens to be the spouse of the book festival’s president, Deborah Z. Porter. In Negroponte’s case the ties aren’t just to education “reform” but to Pearson itself. Best known for his work at the MIT Media Labs and as founder of the One Laptop Per Child (OLPC) initiative, Negroponte hides his neoliberal agenda in a gaseous cloud of optimistic techno-futurism and a shower of TED-talk bullet points. Just like the Pearson Foundation – or for that matter like the Boston Book Festival itself – Negroponte’s OLPC project is part of the “non-profit industrial complex” that attempts to put a kinder, gentler face on capitalism’s global rapacity. 

"Pay no attention to that man behind the curtain!"
Nicholas Negroponte at the MIT Media Labs

The purported mission of OLPC is to give every child in the so-called “developing world” a free laptop, although they are not free for the governments of those nations, who must pay for them at the expense of other priorities. Those laptops often carry Pearson educational software, especially in Latin America. One of Pearson’s publicity firms, Blue Star Strategies LLC,  boasts that Pearson was “a founding partner and sponsor” of One Laptop Per Child from the project’s inception. At last year’s book festival, Nicholas Negroponte appeared in a panel on learning and literacy that was sponsored by the Pearson Foundation and moderated by no less than the Foundation’s president and CEO, Mark Nieker. In the interests of full disclosure the event should have been labeled an infomercial.

The real purpose of OLPC is right in line with Pearson’s own agenda: to “empower” children by sidelining parents, teachers, and local communities, linking young people directly with the “educational” influence of US- and Europe-based multinational corporations. It’s a “non-profit” Trojan Horse for the market penetration of children’s minds. Negroponte’s contempt for teachers is well known; he is on record as saying, for example, “Teachers teach the kids? Give me a break,” and, “In some countries, which I’ll leave unnamed, as many as one-third of the teachers never show up at school. And some show up drunk.” 

Such neo-colonial arrogance will come as no surprise to those who know that the OLPC founder is the brother of John Negroponte, Reagan’s ambassador to Honduras during the bloody Contra war and George W. Bush’s ambassador to occupied Iraq and later Director of National Intelligence. Nicholas has even called his war-criminal, spymaster sibling his “closest adviser” on getting his laptops into foreign nations.

The association of literacy and book culture, on the one hand, and democracy on the other goes back at least to the Enlightenment and even to Gutenberg. Education has become the middle term linking the two. The Boston Book Festival’s organizers rely on these long-standing links between book culture, education, and democracy to create community support for their event even as they cynically betray those associations – and our communities – in their deeds. Pearson and its agenda of corporate education “reform” have absolutely nothing in common with genuine democracy, nor with educating people for democracy. That Pearson should be a book festival sponsor – and moreover the host of its main venue for young children – is a grotesque mockery of everything such an event supposedly stands for.

It is time to demand that the Boston Book Festival drop anti-community sponsors like Pearson. But it’s worth remembering that the festival’s chief organizers are not just well-meaning book lovers who naïvely signed up the first fast-talking corporate reps to appear with open wallets. People like Deborah Z. Porter and Nicholas Negroponte and their friends on the BBF’s board belong to the New England fraction of the 1% – they share the same neoliberal values as the event’s sponsors and they toast their victories at the same parties. They have a track record of helping their slimiest sponsors – State Street, Verizon, and now Pearson – launder their reputations by hosting the kids’ StoryPlace. In the case of Pearson, the BBF’s organizers also work for the same “reform” goal of privatizing public education. Clearly the change of one sponsor to another would only be a facelift on something fundamentally rotten.

It’s also worth considering the quality of the book festival this corporate cash has purchased for four years running. The BBF is organized in a bureaucratic, top-down fashion, for passive consumers rather than active participants. From the speakers and panel topics to the annual “One City One Story” selection, its offerings are utterly conventional, uncontroversial, and pre-masticated – the complete opposite of the effect of truly vital books! And while billed as being for all of Boston, the festival is actually quite limited in its audience, targeting primarily the National Public Radio demographic. It’s little wonder then that many of the BBF’s scheduled presenters turn out to be WBUR announcers, who can be relied on to hypnotize festival-goers in the same tranquilized tones that they call torture “enhanced interrogation.”

So while we make our legitimate demands on a cultural event that is staged in the name of our communities and in our civic spaces, it is also important to think differently, imagine differently, and act differently when it comes to such events. Occupy has reminded us of what collective efforts of self-organization can accomplish, especially when it comes to retaking city space from corporate and state power and returning it to common use. It’s time not only to renew these efforts but extend them as well, into the “spaces” of culture. Another book festival is possible!

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This article first appeared at The Boston Occupier.

For a critique of the BBF's "One City One Story" project, go here.

August 6, 2012

The Quahog Mafia: More on the Boston Book Festival's corporate sponsors



In my previous post, I noted that the Boston Book Festival has scrubbed the most offensive of last year's corporate sponsors (Bank of America, Verizon, and Target) from its website.  But in a comment on that post, comrade Frances Madeson urges us to keep turning over the stones to see what crawls out.  

Here are her observations on two of the BBF's new sponsors, Akamai and Good Measures, and one of its continuing sponsors, publishing giant Pearson:

According to recent Form 8-K filings by Akamai both a Board member and a Sr. VP resigned last week. Wonder what that's all about? They're also transitioning their CEO and President out. Their most recent 10-Q looks pretty dicey as well [link].  All in all a pretty shaky partner for the BBF. 
Gary Syman, board member of the Pearson Foundation (retired Goldman Sachs pahtnuh) talking about privatized education, sounds like [link]. Which makes sense because The Pearson Foundation itself (reading between the lines, naturally) looks like it's running offense for the privatizing education movement. Syman's wife is a big fundraiser for Obama; they were at the recent White House dinner with Babs Streisand. "People, people who need people are the LUCKIEST people in the world." It's all so seamless.

George Bennett, CEO of Good Measures was part of the Reagan Revolution [link].  Now, remember I was working as a legislative aide in the U.S. Congress (Ed & Labor Committee) at exactly that moment. The very FIRST program under the Committee on Education and Labor's purview that Reagan via his hatchetman David Stockman tried to cut was the WIC program, a very low-budget item for impoverished nursing moms and their babies. The reason they came for this one was purely psychological: IF THEY COULD CUT IT, THEY COULD CUT ANYTHING. And they did. Now I'm thinking that was one of Mr. Bennett's "best practices."
Maybe ketchup as a vegetable was another one, just for good measure.

We'll certainly follow Frances' lead and keep digging.  Here and here, for example, are two articles on how Akamai Technologies (located in Cambridge, MA), abruptly terminated its contract with the Al Jazeera news service back in 2003.  Obviously the Boston Book Festival is as keen on free expression as it is in "community."  And here is an extended article on the push to privatize public education, with a special emphasis on the activities of the Pearson Foundation.  Nice going, Boston Book Festival! 
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Frances Madeson is the author of the novel Cooperative Village and the publisher of The Madison County Crier.  She blogs at Written Word, Spoken Word.  Thank you, Frances!

August 2, 2012

Scrub-a-dub-dub: Has the Boston Book Festival cleaned up its act?

. . . or just its site?


It wasn't long after I posted my piece on the Boston Book Festival's track record of community-busting corporate sponsors that an unannounced change appeared on the BBF's website.  Gone are the most obnoxious of the sugar daddies -- Bank of America, Verizon, and Target -- that the festival's organizers had so egregiously flattered and fellated on Twitter and elsewhere a year before.  A coincidence, I'm sure, but a very gratifying one nonetheless.
  
Still, it's worth keeping an eye on the BBF's site, Twitter feed, and press releases, to see who might drop into the begging-bowl in the months leading up to this year's festival.  In the meantime we can be confident that the BBF will remain a thoroughly corporate event, blandly unthreatening to the plutocracy and its servants and enforcers (i.e., what the organizers still really mean when they say "community"); the presence of 3 of the publishing mega-conglomerates (Hachette, Penguin/Pearson, and Houghton Mifflin Harcourt) can reassure us of that.

July 24, 2012

Vault: An Anti-Novel, by David Rose -- a review



I'll admit, I first bought Vault for its subtitle - "An Anti-Novel." I thought it took some gumption for the author, David Rose, to give his novel a tag like that in our current publishing climate, and I hoped that the book would make good on its promise. The splendid cover made an additional temptation; on the Acknowledgments page Rose himself even offers a disarming remark about hoping his book lives up to it. On both counts - subtitle and cover - it does.

Vault is structured in alternating chapters that give two different versions of the protagonist's life. One set of chapters tells the story of McKuen, a cycling enthusiast from the Southeast of England who becomes a sniper in WW2 and a freelance operative for the intelligence services in the Cold War. This might sound like the well-trod territory of espionage novels such as those of Frederick Forsyth or Len Deighton, which functioned in their day as fantasy compensations for the real decline of England's status in the world. But these chapters are intercut with their revisionist counterparts, first-person chapters in which the hero's "real-life" prototype comments on and criticizes the "legend nonsense" and "novelism" in the alternate sequence. He protests that the author's appropriations of his biography distort it in the service of false heroism and spurious glamour, and against these he offers the corrective of his own more prosaic account.

Rose's anti-novel goes beyond merely questioning conventional literary heroism, however, finally implicating both versions of its protagonist in a condition of moral ambiguity. The key might be found in the "real" main character's description of his relationship with his racing cycle, the "sensation of control" and "exhilaration of being one with a mechanically-perfect machine," so fused with it that he "no longer had to think." It is the same relationship that he has with his sniper rifle. But bicycle races can be rigged, lovers can turn into double agents, and the figure of the lone existential hero, seen from another angle, might turn out to be just a pawn - as much a mere instrument as the rifle and bicycle are to the hero. The intelligence service's deployment of McKuen against the antinuclear movement broadens the frame dizzyingly, raising the possibility that the same commitment to instrumental expertise is behind the construction of the H-bomb and the specter of nuclear annihilation.

If Vault is therefore also something of a historical novel, it has the advantage of never reading like one. It's not upholstered with boring period detail and barely-digested chunks of research; rather, it convincingly distills an atmosphere appropriate to the era in which it is set. An earlier, more convivial way of life is hinted at only by its absence; cycling as a genuine people's pastime and the "Great War" as a popular, mass mobilization have been chiseled down into grim existential choices made in the cold and dark. I've seldom read a first novel written with such economy, in which so much is suggested in such spare and unsparing prose. And while Vault refuses many of the easy consolations of more mainstream fiction, it shouldn't scare away anyone who might mistakenly believe that "anti-novel" equals willful obscurity. It's a novel about cycling, guns, and novels that suggests with great clarity that what is obscure is our fates.


Vault, an Anti-Novel, by David Rose (Salt Modern Fiction, 2011), available here, here, and here.

An article by Rose, "Dark Matter:  Modernism and the Anti-Novel," here.

An interview with the author here.


July 21, 2012

Gone Lawn 8


 The All-Seeing Eye vs. The Invisible Hand (Martha McCollough, 2012)

I had the pleasure and privilege of guest-editing the Summer 2012 issue of Gone Lawn, a webjournal of innovative fiction. That issue is now live.

The contributors include writers I reached out to because I admire their work and those who sent pieces through the regular submission process and whom I now number among writers I admire. They are:

Kristina Marie Darling, Angela Genusa, Jacob Wren, Frances Madeson, Valerie Witte, Jake Syersak, Neila Mezynski, Malcolm Sutton, Frances Kruk, j/j hastain, Derek Owens, David Hadbawnik, Stephen Hastings-King, and Dale Smith.

The issue also features cover art and a haunting video by Martha McCollough.

One thing of significance that I note among the contributors is how many of them produce work in other fields -- poetry, performance, music, digital and conceptual polyart, and criticism -- and indeed in some ways how little the generic boundaries really matter. I know I take a dim view of mainstream fiction and its insular, complacent "alt-lit" mirror-image, but the experience of reading these works (as well as others that did not make it into the issue but which I am grateful to have seen) has gone some ways towards restoring my faith that genuine literary art is still being produced, against the odds, in the Anglo-US axis. Thank you to everyone involved, with a special thanks going out to
Gone Lawn's editor, Owen Kaelin, for giving me this opportunity.

(And be sure to check out Frances Madeson's own gone lawn, here.)

July 8, 2012

The Boston Book Festival's "Transgressions"



So Boston's annual celebration of safe, middlebrow "literary" culture, now gearing up for its fourth installment, has decided to get a little freaky, hosting a "transgression"-themed reading and fundraiser.  The folks that whined about getting punked last year now promise an event jam-packed with "law-breaking, rule-bending, convention-busting, [and] paradigm shifting."  Funny, though, that the six perps in their line-up all have spotless records.  I suppose transgression in this case means cute, titillating, "edgy."  For a taboo-busting twenty-five bucks you'll be able to hear Holly LeCraw talk about the time she peed in The Swimming Pool.  

This isn't to say, however, that the Boston Book Festival and its president, Deborah Z. Porter, don't know a thing or three about real transgression. While trumpeting the word "community" in every official utterance, the festival's organizers continue to take on corporate sponsors who are known offenders of the most community-shredding sort.  Take a look at these love-tweets that the festival sent out last year to several of its corporate sponsors.


Yes, Bank of America, one of the nation's leaders in kicking families out of foreclosed homes, fattening itself on corporate welfare at the government trough, and funding mountaintop removal mining (which poisons children's drinking water in local . . . communities).  Bank of America just loves that word, "community," as well.

Here's another little bouquet:


Verizon!  In August 2011 almost 45,000 Verizon workers -- including 6000 in Massachusetts -- went out on strike for 2 weeks before having to return to work without a new contract. Verizon was trying to squeeze $1 billion in concessions out of its workforce, including cuts in health and retirement benefits, scheduled wage increases, and vacation and sick days.  This same Verizon has received over $12 billion in tax subsidies since 2008, hasn't paid a thin dime in taxes over the same period, and continues to lavish multi-million dollar salaries on their top executives.
  
Yet Deborah Z. Porter and the other organizers of the Boston Book Festival welcomed Verizon and its ill-gotten dollars in to the 2011 BBF with open arms, allowing the company to burnish its slimy reputation and secure a little brand loyalty among future generations by hosting a children's "StoryPlace"!


Finally, there's this gem:


Target, the company that requires their employees to watch a 13-minute anti-union film and donated $150K to the campaign of a notoriously anti-gay politician in Minnesota.  I guess "community" doesn't include unionized workers and the LGBT . . . community.

And so far it looks like all three sponsors will be back for this year's festival:


So, when it comes to the Boston Book Festival and the theme of "Transgressions," we might chuckle at their wildly misnamed reading event, but can't exactly accuse them of being hypocrites.

But when it comes to "community"?



UPDATE!
Ha!