Sarah Brouillette - Böcker

This book contends that mainstream considerations of the economic and social force of culture, including theories of the creative class and of cognitive and immaterial labor, are indebted to historic conceptions of the art of literary authorship. It shows how contemporary literature has been involved in and has responded to creative-economy phenomena, including the presentation of artists as models of contentedly flexible and self-managed work, the treatment of training in and exposure to art as a pathway to social inclusion, the use of culture and cultural institutions to increase property values, and support for cultural diversity as a means of growing cultural markets. Contemporary writers have tended to explore how their own critical capacities have become compatible with or even essential to a neoliberal economy that has embraced art's autonomous gestures as proof that authentic self-articulation and social engagement can and should occur within capitalism. Taking a sociological approach to literary criticism, Sarah Brouillette interprets major works of contemporary fiction by Monica Ali, Aravind Adiga, Daljit Nagra, and Ian McEwan alongside government policy, social science, and theoretical explorations of creative work and immaterial labor.

People looking for works in cities are immersed in English as the lingua franca of the mobile phone and the urban hustle - more effective instigations to reading than decades of work by traditional publishers and development agencies. The legal publishing industry campaigns to convince people to scorn pirates and plagiarists as a criminal underclass, and to instead purchase copyrighted, barcoded works that have the look of legitimacy about them. They work with development industry officials to 'foster literacy' - meaning to grow the legal book trade as a contributor to national economic health, and police what and how the newly literate read. But harried cash-strapped audiences will read what and how they can, often outside of formal economies, and are increasingly turning to mobile phone platforms that sell texts at a fraction of the price of legally printed books.

While much has been said about the democratization of publishing through the rise of platforms like Amazon’s Kindle Direct Publishing, little attention has been paid to the broader effect these technologies have had on writers, readers, and the publishing industry. In Content Machines, Sarah Brouillette considers how short-form, platform-based, and social media writing on digital mediums like Wattpad and TikTok has reshaped modern publishing, reading, and writing. Brouillette identifies three mutually reinforcing processes that platform capitalism entangles in the publishing industry: the marked feminization of book work; the rise of a bibliotherapeutic vocabulary that grounds reading and writing as self-care work; and the growth of platform-based processes that cheapen content and intensify the pressure to engage in self-promotion and entrepreneurial strategizing. She breaks down the business models that have been key to this transformation and traces the social conditions that make online self-published fiction, especially young adult, romance, and fantasy stories, into spaces for community while, conversely, signaling how these publishing practices depend upon undervalued and feminized labor from marginalized groups. Content Machines is a much-needed survey of the contours of the modern reading and writing landscape.

While much has been said about the democratization of publishing through the rise of platforms like Amazon’s Kindle Direct Publishing, little attention has been paid to the broader effect these technologies have had on writers, readers, and the publishing industry. In Content Machines, Sarah Brouillette considers how short-form, platform-based, and social media writing on digital mediums like Wattpad and TikTok has reshaped modern publishing, reading, and writing. Brouillette identifies three mutually reinforcing processes that platform capitalism entangles in the publishing industry: the marked feminization of book work; the rise of a bibliotherapeutic vocabulary that grounds reading and writing as self-care work; and the growth of platform-based processes that cheapen content and intensify the pressure to engage in self-promotion and entrepreneurial strategizing. She breaks down the business models that have been key to this transformation and traces the social conditions that make online self-published fiction, especially young adult, romance, and fantasy stories, into spaces for community while, conversely, signaling how these publishing practices depend upon undervalued and feminized labor from marginalized groups. Content Machines is a much-needed survey of the contours of the modern reading and writing landscape.

This book contends that mainstream considerations of the economic and social force of culture, including theories of the creative class and of cognitive and immaterial labor, are indebted to historic conceptions of the art of literary authorship. It shows how contemporary literature has been involved in and has responded to creative-economy phenomena, including the presentation of artists as models of contentedly flexible and self-managed work, the treatment of training in and exposure to art as a pathway to social inclusion, the use of culture and cultural institutions to increase property values, and support for cultural diversity as a means of growing cultural markets. Contemporary writers have tended to explore how their own critical capacities have become compatible with or even essential to a neoliberal economy that has embraced art's autonomous gestures as proof that authentic self-articulation and social engagement can and should occur within capitalism. Taking a sociological approach to literary criticism, Sarah Brouillette interprets major works of contemporary fiction by Monica Ali, Aravind Adiga, Daljit Nagra, and Ian McEwan alongside government policy, social science, and theoretical explorations of creative work and immaterial labor.

A case study of one of the most important global institutions of cultural policy formation, UNESCO and the Fate of the Literary demonstrates the relationship between such policymaking and transformations in the economy. Focusing on UNESCO's use of books, Sarah Brouillette identifies three phases in the agency's history and explores the literary and cultural programming of each. In the immediate postwar period, healthy economies made possible the funding of an infrastructure in support of a liberal cosmopolitanism and the spread of capitalist democracy. In the decolonizing 1960s and '70s, illiteracy and lack of access to literature were lamented as a "book hunger" in the developing world, and reading was touted as a universal humanizing value to argue for a more balanced communications industry and copyright regime. Most recently, literature has become instrumental in city and nation branding that drive tourism and the heritage industry. Today, the agency largely treats high literature as a commercially self-sustaining product for wealthy aging publics, and fundamental policy reform to address the uneven relations that characterize global intellectual property creation is off the table. UNESCO's literary programming is in this way highly suggestive. A trajectory that might appear to be one of triumphant success—literary tourism and festival programming can be quite lucrative for some people—is also, under a different light, a story of decline.

A case study of one of the most important global institutions of cultural policy formation, UNESCO and the Fate of the Literary demonstrates the relationship between such policymaking and transformations in the economy. Focusing on UNESCO's use of books, Sarah Brouillette identifies three phases in the agency's history and explores the literary and cultural programming of each. In the immediate postwar period, healthy economies made possible the funding of an infrastructure in support of a liberal cosmopolitanism and the spread of capitalist democracy. In the decolonizing 1960s and '70s, illiteracy and lack of access to literature were lamented as a "book hunger" in the developing world, and reading was touted as a universal humanizing value to argue for a more balanced communications industry and copyright regime. Most recently, literature has become instrumental in city and nation branding that drive tourism and the heritage industry. Today, the agency largely treats high literature as a commercially self-sustaining product for wealthy aging publics, and fundamental policy reform to address the uneven relations that characterize global intellectual property creation is off the table. UNESCO's literary programming is in this way highly suggestive. A trajectory that might appear to be one of triumphant success—literary tourism and festival programming can be quite lucrative for some people—is also, under a different light, a story of decline.

Far from suggesting that we replace theories of an omnipresent ‘end of history’ with a traditional, single, diachronic timeline, this book encourages the development of such a timeline’s rigorous inverse: a synchronic, multi-faceted and multi-temporal history of the contemporary in literature, and thus of contemporary global literatures.