Alternatives to this End of Intelligent Writing and its potential distribution channels are quickly coming into view. The vast untapped lands of cyberspace, the place where any number of commercial, governmental and alternative computer internetworking environments come together to form webs of virtual (or niche) communities, has opened up the possibility of a truly democratic means of creating and disseminating the creative writing of our near-future. Instead of a multi-layered Author-Agent-Editor-Publisher-Printer-Distributor-Retailer-Consumer formula, we may be entering the age of True Dispatch, that is, Author (Sender) - Interactive Participant (Receiver). Visionary writers of the near-future are desperately trying to transgress the dead weight of book matter so as to secretly enter the realm of the Electric.
Instead of hiding out in the industrial sludge of adolescent self-deception and gloom-and-doom suicide, I took a different tact. I decided to start from scratch, to wholly recreate myself to the point of fictional-becoming. This could be done any number of ways: changing jobs, changing locations, changing names, etc., but what I found to be the most rewarding way to accomplish this task of Reclaiming the Imagination (that's been appropriated by the Multi-Nationals vis-a-vis their financing, distributing and advertising of Pop Culture) was to continuously drive my creative apparatus onto the open spaces of the Intertextual World, the place where the fictionality of our Being feels its way through chemically-altered environments loaded with uncontrolled (and uncontrollable) Desire.
Perhaps we are becoming digitally-processed image-beings, something the Situationists would have had a heart-attack over (maybe this tendency toward the Avant-Pop is what caused artist/theoretician Guy Debord to finally, once and for all, kill himself...just like Kurt Cobain and all the others before him). Meanwhile, I believe the future of fiction will be something along the lines of an interactive non-linear narrative hypertext that grotesquely distorts the human image to the point of ultimate philosophical reconsideration.
Maybe "Avant-Pop," a catch-all term for artists as diverse as William Gibson, Robert Coover, Jello Biafra, Ann Magnusson, William Vollmann, Quentin Tarantino, Darius James, Henry Rollins, Annie Sprinkle, Eurudice, Steve Erickson, Kim Gordon, and Kathy Acker, besides being an obvious counter-hype assault on our wicked hyperconsumerist societal situation, can also become an "applied grammatology" where the floating signifier (Mark Amerika, Larry McCaffery, Ron Sukenick, etc.) develops new philosophictional (critico-aesthetic) narrative spaces (of any kind, multi-vocal or non-linear being the most interesting for this end-of-the-century crisis revolving around the political economy of meaning and representation).
Is making money your primary motive for writing the way you do? If yes, why? If no, then what is the primary motive for writing the way you do?
Is this next generation of writers just now emerging onto the cultural scene articulate enough to express their experience or has experience itself become the active articulation of a hyperconsumerist presence that has become nothing but marketing and self-promotion?
The problem, as you know, is that addiction is Institutionally-supported. We crave sexdrugs because we're no longer human and need to numb the pain, release the sickness. Drug-texts will (I believe) find optimum distribution through internetworked systems of personal computers that will transform the receivers of this distorted flow of pseudo-human data into diseased texts themselves. This is what Burroughs meant when he said LANGUAGE IS A VIRUS. And, as a result, Readers will start becoming Scanners.
Scanned any good writing lately? What did it do to you?
A near-future, apocalyptic crystal-ball reading of the future of fiction would show the individual continuously exposing himself/herself/itself to transformative doses of the Videodrome-ish signal, whereupon he/she/it will assume the becoming-virus posture and will finally annihilate any rendering of the human possible. Our lives will be controlled/monitored more than they are now: our biogenetic sprawl will be encoded into the FDA's (Food and Drug Administration) metalanguage databanks and the FDA, content on distributing our "blood" according to the algebra of THEIR need, will link forces with the CIA and Ross Perot will be President. Fiction for mutants...
Pop Culture is a Virtual Ghetto that infiltrates our minds. In this Virtual Ghetto, meaning is meaningless un-less you un-cover a radically different subjectivity in which to process your own becoming. This was the PoMo dilemma (one never resolved) and Avant-Pop artists, who are just now traversing the borders of The Beyond and entering the dangerous lands of Genderlessness and Degenerative Narrative, are the ones who are presently trying their best to create the necessary angels on whose wings we can find our way OUT of this virtual ghetto.
The Avant-Pop artist is a nomadic voyager, a cultural terrorist, whose identity is constantly in flux (so as to elude the corporate absorption), and who secretly "becomes" something like Woman or the open-endedness of feminine imagination, reclaiming the terrain vis-a-vis the enactment of subliminal postures/gestures that sabotage the system's rigidity. The strategy is to deterritorialize the Institutional effects so as to create a new level playing field where the action of hypermarked-up beings can once again ignite the language of our spiritual unconscious.
Avant-Pop artists continually ask themselves these questions. Those tied to the stream-of-self-importance Modernists will forever want answers, answers that show the way to unity, to final solutions. Avant-Pop artists, on the other hand, accept the loose threads of our persistent posting and ride the dissolution wave.
Out of necessity: we are survivalists first and foremost.