I decided to go in for a new head shot recently. It’s been over six years since my most recent head shots, and not only have I gotten more wizened over that time, but I also have a new book coming out in the next few months.
As with my last photos, my new head shot is he work of the incomparable Pat Rose. You can check out her amazing work here: she’s an institution of Portland portraiture. Having my photo taken by her feels a lot like I imagine sitting for a painted portrait would feel, and at the end of it all she produces an image that is wonderful and painterly as though Jan Van Eyck had painted me.
So, in honor of the coming Exit Black (and of my advancing age), I give you “Portrait of Joe Pitkin, aged 52”. . .
Followers of this blog are familiar with my deep Dungeons & Dragons nerdity. I certainly felt the nerd in me rising over the last couple of weeks during my first ever trip to Spain: it’s hard not to be reminded of D&D when there is an ancient castle on every hill and a painting of knights in every church.
But one of the greatest D&D connections on this trip was unexpected to me. We managed to spend two glorious, sweltering days in Seville, “the frying pan of Spain,” and I was brought face to face with the literary roots of the thieves’ guild.
Skyline of Seville from the Giralda Tower. Photo Carlyn Eames
Many people, even non-D&D players, are aware of how many ideas from D&D were lifted whole cloth from Lord of the Rings: elves, dwarves, orcs, halflings, rangers. But the idea of the thieves’ guild–which is so central to D&D’s concept of the rogue–has no antecedent in Tolkien’s work. So far as I know (and please correct me, fantasy nerds, if you have a better story) the original thieves’ guild in fantasy comes from the work of Fritz Leiber, one of the titans of swords and sorcery fantasy. (By the way, I far prefer Leiber’s gritty, noir-ish vibe of swords and sorcery fantasy to the Wagnerian bombast of high fantasy–but that’s a subject for another post). Leiber’s odd-couple duo of Fafhrd and the Gray Mouser often had to tangle with the thieves’ guild of Lankhmar, and so many of the details of that story made their way into D&D (and into Terry Pratchett’s Discworld, and The Elder Scrolls, and Assassin’s Creed, and a thousand other fantasy franchises). By the way, Dark Horse is publishing a new omnibus of Fafhrd and the Gray Mouser in early 2024–I’m very excited to get my hands on it!
But where did Leiber’s concept of the thieves’ guild come from? I don’t know, and it may be impossible to know, but it’s almost certain that Leiber pulled the idea from earlier literature rather than from any historical criminal organization (which were generally gangs rather than guilds in the D&D sense).
The earliest literary treatment of the thieves’ guild that I am familiar with is Cervantes’ delightful story “Rinconete and Cortadillo,” which follows two likeable young rogues to the city of–you guessed it–Seville, where they get recruited into a hilarious (and oddly pious) thieves’ guild. Seville was, in Cervantes’ day, a kind of boom town and very much a city on the make, swollen with silver that the Spanish crown had plundered from the Americas. For about a hundred years or so, it was probably the wealthiest city in Europe (as well as a pretty gritty place).
The Seville tomb of a far less likeable rogue. Photo Carlyn Eames
When we visited, it was just charming and hot. But everywhere we looked, there were plaques memorializing events that appeared in Cervantes’ life and in “Rinconete and Cortadillo,” from Cervantes’ years in debtor’s prison (ironically, there’s a bank on the site now) to the spot on the cathedral steps where Cortadillo steals the sacristan’s handkerchief. We had our hotel room in the Casco Antiguo, right in the neighborhood where Rinconete and Cortadillo had their territory in the story. The whole experience lined up Cervantes with Leiber with Dungeons & Dragons in my soul like a wonderful convergence of nerdly planets.
Hello, literarians and assorted (and beloved) fellow weirdos!
I received an email from my publisher, Blackstone, yesterday with a publication schedule for my second novel, Exit Black. I’m excited to announce that my little bundle of joy is due to come out in February of 2024 (or, to use Cesare Emiliani’s Holocene Calendar, February 12024). I promise not to pester you about it every day for the next eight months!
I also promise not to ever refer to Exit Black as “my little bundle of joy” again. But it sure is a little bundle of something–little bundle of action? Little bundle of thrills? Little bundle of artfully strung-together words? That last one feels a little too on-the-nose.
I experienced a weird constellation of three events last week. First, my editor, my agent, and I hashed out the jacket copy for my upcoming novel, Exit Black. It was weird to realize that I was basically helping write ad copy for a book that I labored over for two years. Second, I sent out a query to a literary agent for the book I drafted after Exit Black, called Pacifica. (My current excellent and extant agent, Scott, works on film and TV projects, and Pacifica definitely isn’t movie material, so I am looking for a bookish agent as well).
And third, I was driving down Broadway in Portland when I saw this bumper sticker ahead of me:
Millennials and Zoomers–and their parents who might have watched Spongebob Squarepants with them twenty years ago–will recognize this as Squidward Tentacles’ self portrait, “Bold and Brash.” I was happily shocked to see it on a bumper sticker. And I realized when I saw it that this publication process I am experiencing with my books is drawing up all of my deeply Squidwardian impulses: my vanity, my hunger for approval, my inner conflict about how art intersects with commerce. Squidward, c’est moi.
If you need a blast from the past, or you somehow never saw the original, here is a clip of me Squidward from the episode “Artist Unknown:”
I’m late bringing this news to The Subway Test–a sign of the recent moribunditude of my blog. But last year I entered the Aura Estrada Short Story Contest at Boston Review and…I didn’t win. But my story, called “Nomenclator of the Revolution,” was a finalist for the award, and that means the story will be appearing in Boston Review soon!
One of the reasons I feel so proud to have “Nomenclator” coming out in Boston Review–besides the obvious, that Boston Review is an excellent publication which has hosted writing from titans like Rita Dove, John Updike, Susan Sontag, and Saul Bellow–is that “Nomenclator” had been rejected by 26 other magazines before it was accepted at Boston Review.
Which is another way of saying don’t invest too much meaning in any particular rejection of your work. When a story of mine is rejected a few times–say, half a dozen rejections or so–I do need to look hard at what I’m sending out. Maybe the piece isn’t ready. Maybe it’s not as good as I would like to believe it is. But once in a while, I scrutinize the much-rejected story and it still looks good to me. It’s hard to assess my own work honestly. But if I really believe the story is good, then I’ll keep sending it out until I find someone who agrees with me.
One of my formative memories as a writer was seeing the great poet William Stafford read at the end of his career. He would have been 75 or 76 years old at the time–a wizened, kindly fellow who I appreciated only later as one of the most important poetic voices in the 20th century. At one point in the reading, he introduced one of his poems by reciting the names of all the magazines and journals that had rejected it. The list was long–I don’t remember how many publications were on it–but, journal names being what they are, the list sounded like a poem of its own. I didn’t have the courage to tell Stafford how important his reading had been to me, and he died mot much later. But thank you, William Stafford, for reading that list when I was 19 years old.
But the novel I’m working on now, Pacifica, begins each of its 74 chapters with an epigraph. Much like the computer game Civilization, each chapter is named after one of the technologies that have made modern humanity possible. And, much like Civilization, each technology is accompanied by an apposite quote. Leonard Nimoy was the gold standard narrator for those quotes in Civilization IV (though Sean Bean has his moments in Civilization VI).
One of the most fun parts of drafting Pacifica has been finding the right quotes for each chapter. I picked from books and poems that I love (as well as a few books that I hated) to put together what I imagined as a kind of collage or mosaic of human knowledge. I imagined the task as something like a literary version of the cover of Sgt. Pepper’s Lonely Hearts Club Band, where The Beatles assembled a photo-collage crowd of their favorite thinkers and artists and goofball influences.
Many technologies were easy to find quotes for. Especially for early technologies like pottery, masonry, and currency, there are a thousand great writers who had something pithy to say. Mostly I would page through books in my office, or CTRL-F through digitized books in Archive.org, to find quotes that spoke to the technology in question and also, hopefully, to the action of the chapter. Sometimes I had to draw the connections myself, in which case the quote turned into something of a writing prompt; other times the quote fit the chapter in deep and unexpected ways that I couldn’t have engineered if I tried.
Some of the later technologies were much harder: for instance, no one from Homer to Virginia Woolf seems to have much to say about the superconductor. Who could I quote for a tech like that?
It just so happened that by the time I got to the superconductor chapter of the book, everybody was talking about ChatGPT. At my college, the discussion revolves entirely around students’ using ChatGPT to plagiarize their essays, an issue which seems to me as trivial, in the grand scheme of dangers that ChatGPT represents, as the crew of the Titanic arguing about a shortage of urinal cakes in the men’s rooms of the Saloon Deck.
So I asked ChatGPT to find me some quotes about superconducting. It suggested some quotes from Larry Niven’s Ringworld and Niven’s and Jerry Pournelle’s The Mote in God’s Eye. They weren’t bad references, exactly–those books do mention superconducting–but none of them resonated with me. So I asked about Arthur C. Clarke, a fave of mine: surely, I thought, Clarke must have written somewhere about superconducting.
According to ChatGPT, Clarke has written about superconducting: of the two references ChatGPT gave me, the one which jumped out at me was this one: “Clarke’s short story ‘The Ultimate Melody,’ published in 1957, briefly mentions the use of superconducting materials in the construction of a futuristic musical instrument called the ‘ultimate melody.'” Now that’s a resonant quote–that would work perfectly for Pacifica!
So I looked up the story and read it (like 90% of Clarke’s short fiction, I had never read it before). Here’s the thing, though: there’s absolutely nothing about superconducting in that story! (For that matter, the futuristic musical instrument is called “Ludwig;” the ultimate melody was the ideal music the instrument was designed to find).
And here’s the other thing, which I discovered later: Arthur C. Clarke did write a short story, called “Crusade,” in which superconductivity is a central plot point. ChatGPT didn’t think to mention it (because ChatGPT doesn’t think yet). I tracked that story down with a simple DuckDuckGo search for “Arthur C. Clarke superconducting.” It’s an excellent story, by the way–very Arthur C. Clarke. And that story had the perfect quote, which fits both Pacifica and the life I feel I am living lately: “It was a computer’s paradise. No world could have been more hostile to life.“
So, for now, I agree with John Scalzi’s excellent assessment: “If you want a fast, infinite generator of competently-assembled bullshit, AI is your go-to source. For anything else, you still need a human.” That’s all changing, and changing faster than I would like, but I’m relieved to know that I’m still smarter than a computer for the next year or maybe two.
I’ve had a long spell away from this blog while I was drafting my third novel, Pacifica. But now that Pacifica is (finally, after a thousand sighs) drafted, and as I prepare for the publication of my second novel, Exit Black, by Blackstone this year, I’m able to give a little more attention to this space. I’ve missed being here, and I’ve missed interacting with you through The Subway Test. I hope to connect with you a little more frequently in the coming months!
So, feel free to call me Mr. Gravity for the rest of 2022. Or Professor Gravity if that appeals to you more. On second thought, don’t call me that: a name like Professor Gravity suggests that I might actually understand gravity, and as my physics teacher said long ago, gravity is harder to understand than you think. Just keep calling me Joe.
Many thanks to Brad and Rob for their fine publication, Center Field of Gravity, which I hope you will check out.
I’m pleased to announce that my story “Before Concord” has been chosen as a finalist for the 2022 Gravity Award by the fine folks at Center Field of Gravity. As they say on the Oscars, it’s an honor just to be nominated.
“Before Concord” is a favorite of mine: it’s my first satisfactory attempt at a hard-boiled detective story (though, because I’m me, it’s set on the University Republic of Mars at the end of the 22nd century). With all the novel work I have been doing lately, I’m very happy to see one of my shorter pieces get picked up.
The winner will be announced this Tuesday the 17th of May, and you can read the story in all its nominated glory here.
I’ve known that community college teaching was my calling almost from the moment I knew what a community college was. Working at an open door institution–that is, offering an education to anyone who comes through the door–spoke to something deep in my moral DNA.
But it didn’t take many years of actually working in a community college for me to see how far the reality falls short of the dream: there are many community colleges, including the one where I teach, where students are likelier to default on their student loans than they are to graduate on time. And, as with just about every other institution in the United States, there are serious equity gaps between how easy it is for middle class, traditional age (usually white) students to navigate the system, compared to how many roadblocks exist for first generation and other “non-traditional” students, who are disproportionately people of color.
In the twenty-plus years of my career, I’ve imagined the work of my college as analogous to the function of a large, overburdened public hospital: the community is glad that such places exist, but anyone who knows better takes their kids elsewhere if they can.
Yet the educational ecosystem of the US (indeed, of the entire world) is changing more rapidly, and more profoundly, than at any time in decades and perhaps in centuries. The ultimate driver of these changes is the internet: no information technology since the printing press has had such a seismic effect on people’s access to knowledge. And, if our society approaches the changes mindfully, I believe that this transformation will lift the stock value of America’s community colleges.
I am not speaking here of the wholesale move to online education that began to accelerate twenty-odd years ago and then sped up cataclysmically during the coronavirus pandemic. Years of teaching both online and face to face have convinced me that online learning is a pale substitute for the educational experience that many students are hoping for. But that’s an argument for another essay. For this post, I will say that the internet has done more than simply spur the growth of a million mediocre online courses; far more importantly, the internet has upended some of the fundamental assumptions of what school is for.
Before the internet, the central educational challenge for any society was access to content, whether that knowledge was locked up in books or in the experience of elders, who are limited in the number of people they can teach at one time. It is still the case today that where access to content is scarce, societies have difficulty in delivering even basic literacy to their citizens. Back in the pre-internet age, even where literacy was widespread it was hard out there for an auto-didact. Anyone who wished to know more than the barest rudiments of chemistry or mechanical engineering or ancient history or whatever had to have physical access to an institution of learning: a library, a museum, a university. Advanced knowledge in many fields was locked up in these ivory towers, preserved for the elect who had the social connections, the money, or the talent to access the lectures and the rare manuscripts, the academic journal subscriptions and the Erlenmeyer flasks. Thomas Hardy’s Jude the Obscure offers a poignant description of this state of affairs: Jude’s failed attempt to enter “Bibliol College” at Oxford because of his background as a stonemason was thought to have been drawn from Hardy’s real life experience failing to gain entry to Balliol College Oxford.
The Real-life Balliol College, photo by Steve Cadman. Note the literal tower.
The community college was conceived as a disruptor of this elitist system. It’s hardly the only one: the public library, Wikipedia, and the land grant university system were also developed to increase ordinary people’s access to educational content. But the community college has come to occupy a special niche in the educational ecosystem: unlike land grant universities, the community college is a truly open door institution. Pound for pound, the community college helps to lift far more people out of poverty than universities do, given the formal and informal barriers to entry at most universities. And yet, the community college is also unlike those other great open door institutions like the public library, Khan Academy, and Wikipedia: at a community college, whatever subject you hope to study, there is a knowledgeable guide there to speak with you personally, to offer you personal feedback on your writing, to help you frame your questions and offer suggestions for tracking down the answers. It is the personal relationship between teachers and students–what the parents of elite students pay tens of thousands of dollars for at small liberal arts colleges–that the community college can offer.
Of course, anyone who has actually studied at a community college knows that not everyone who works there is a knowledgeable guide: some community college teachers are lackluster, ineffective, or worse. Outside the classroom, the processes for getting academic advising or help in the financial aid office can be so byzantine that they would be at home in a Franz Kafka novel. And many college administrations mismanage their institutions with such energy that one can be forgiven for wondering whether there are saboteurs among them.
But despite these defects, many of which are the result of America’s decades-long disinvestment in public services, the community college remains one of the only institutions where an adult can walk in, without any prior credentials or letters of recommendation, and receive caring, personalized instruction in nearly any field from an experienced teacher. The community college aims to help those students who are most vulnerable to misinformation and disinformation; those most vulnerable to the predatory sales pitch of the for-profit university; those least likely to be able to afford an internet paywall, or the more consequential paywall of university tuition. The internet may have exploded many people’s assumptions about how education works. But here is one thing the internet hasn’t changed: most students still want to be seen, to be recognized, to be known by other human beings. Students with money can get those attentions at hundreds of prestigious universities. But anyone, rich or poor, young or old, neurotypical or not, can find teachers who see them, recognize them, and know them at a community college.
The Subway Test 
