From the Editor's Notebook

Erica Goodkind

When compiling pieces for this issue, it became apparent that amongst the piles of stories gathering in our inboxes was a remarkably higher share of submissions seeming to have been conceived from darker threads than usual. They seemed to entertain more ill-fated characters, more distressing themes, and noticeably bleaker situations.

The question naturally arose at one point as to why this was. Certainly as writers and creative people, we don’t want to shut ourselves off from any shade in the spectrum of life, whether it is noticeably upbeat, melancholy, or neutral—or that lovely hazy world of gray which often makes up the best moments in our writing. To shut one’s self off from anything as a writer is to close valuable doors of possibility, to limit imaginative resources. But are we sometimes more susceptible to lingering about in the dark too long because of this? When most “normal” people cautiously lock the doors and windows, we may find ourselves stepping directly in front of theoretical trains, opening up Pandora’s Box knowingly, and diving headfirst into tumultuous and unforgiving oceans of taboos.

This is not to suggest that the goal of writing is ever to try to offend – it is easy enough to do that without trying. I remember reading somewhere that if your writing hasn’t offended at least one person, you’re being too cautious. Even if you peg yourself as a “good” citizen and political correctness is as essential to you as your morning cup of organic shade grown coffee, you are bound to offend somebody at some point. Trying to offend is seldom less than overkill.

But perhaps this affinity for darkness is merely a reflection of the times. Given the state of the U.S. and world economy, fears about the future, dwindling retirement savings, melting icecaps, war, foreclosure, and the rising cost of living, undoubtedly the collective unconscious is littered with juicy material even the most removed, bubblegum sectors of society can’t avoid by merely tip-toeing around.

But arguably, it is one’s interpretation of the times that is defined through art rather than the circumstances of history which determines those perspectives. You just have to watch a few recent episodes of SNL to appreciate that humor and lightness have an equal chance at arising from history’s bleakest equations. Besides, when times are “good” we still enjoy our war programs, Al Pacino movies, and horror novels.

In the end, it is not by a piece’s degree of emotional buoyancy or fear of dark (or light) by which our editors gauge a piece. It’s our belief that story, clarity, distinctiveness, forward momentum, cohesion, detail, and to a lesser but nonetheless important degree editorial logistics are more important factors and should supersede whether a piece radiates happiness, gloom, creepiness, comedy, or any other range of sentiments possible under the sun.

-EG

Erica Goodkind is the creator and editor of Under Hwy 99.