Review
America
Culture
Film & TV
Race
4 min read

What do we want from our stories?

New film release American Fiction satirises storytelling and the expectations placed on authors. Jamie Smith records his reactions to watching the movie.
A man sitting at a restaurant table turns and looks aside.
Jeffrey Wright as Thelonious "Monk" Ellison aka Stagg R. Leigh.
Orion Productions.

This article was first published on the author’s Substack Quid Amo, December 16 2023. 

On a recent visit to Los Angeles, my wife Deanna and I went to see Cord Jefferson’s new satire, American Fiction, playing in only seven theaters nationwide right now. The film is a smart, beguiling adaptation of Percival Everett’s novel, Erasure

Part of the fun of watching movies in L.A. is being reminded what a company town LA still is. We were slightly puzzled when, as a production company splash screen opened the film, a ripple of hoots and applause bubbled up from the audience. When, at the end of the movie, we saw an entire group video-recording the rolling credits, we realized a production team was in the house, seeing their work on the public screen. 

Watching this particular movie in L.A. was especially entertaining because of its meta commentary on our storytelling industries, including film. The winks & nods about screenwriting, adaptation, and philistine studio executives occasioned knowing guffaws in the audience. 

The movie asks important, uncomfortable questions about the stories that “we” (scare quotes will become obvious in a second) want to hear today, and why. 

What’s supposed to be a farce is embraced by white marketing executives as the latest Black trauma porn for awards season.

The key facet of the plot is relatively simple: a Black novelist (Thelonious “Monk” Ellison, played cagily by Jeffrey Wright) has published several works of deft, critically-celebrated literary fiction. But he can’t sell his latest novel. His agent informs him why: “It’s not Black enough.” The Black novelist is puzzled (“But I’m Black!”) until he wanders into a reading from a new bestseller, the latest by a Black novelist celebrated by some famous white woman’s Book Club. Written in dialect, with flat characters and tired tropes, the novel panders to and perpetrates horrendous stereotypes dusted with a hint of redemption. But it does so with just the right dose of guilt-induction for white readers to feel morally assuaged just by reading the book. The publishing industry has seized upon the mad, pretzeled formula: You can sell a lot of books to white people by offering them the thrill of a little enlightened guilt that actually depends on their continued racist stereotypes. 

In a fit of disgust, rage, and desperation, “Monk” begins banging out just such a novel, determined to play a kind of Sokal-hoax on the publishing industry. Just one problem: the market clamors to buy this dreck and even turn it into a movie. What’s supposed to be a farce is embraced by white marketing executives as the latest Black trauma porn for awards season. You can imagine the comedic possibilities here. It’s a funny movie. 

As a white viewer of this movie, if I laugh at all the right points and get all the inside jokes, am I being offered a little absolution?

But it is also tender. What’s playing out on screen—the story surrounding the creation of the novel’s story—is a very different kind of Black story. Monk, it turns out, is the black sheep only because he’s a PhD in a family of MDs. Here is a Black family with a massive Victorian home in Boston and a beach house on the Cape—which is just to say, they are a family of accomplished professionals like so many others. Are we surprised? Like any human family, of course, their life is not without pain, loss, heartbreak, and animosity. But like any human family, there is also achievement, pride, joy, connection. 

Here’s a Black family. Here’s their story. Is this a “Black story?” Is it “Black enough?” What do we want from our stories? 

Jefferson’s endeavor here is fraught, and he knows it. The last part of the movie “goes meta” as a way to concede that there’s no “clean” way to raise these questions without slipping back into being part of the problem. As a white viewer of this movie, if I laugh at all the right points and get all the inside jokes, am I being offered a little absolution? To his credit, Jefferson never quite lets a viewer like me off the hook. Something about this story will, and should, remain unavailable to me. 

But also to his credit, Jefferson had me thinking of the Roman poet Terence when we walked out of the cinema. Homo sum: humani nihil a me alienum puto. “I am human: nothing human is alien to me.” Jefferson tells a story that, in this climate, is willing to risk a claim to human solidarity. 

Article
Attention
Culture
Digital
5 min read

Let me level-up about playing games on my phone

Like all art, there's no standard for 'good', but good art doesn’t leave you puzzling over how you wasted an hour.

Mark is a research mathematician who writes on ethics, human identity and the nature of intelligence.

A gamer plays on a phone.
Onur Binay on Unsplash.

Earlier this year I got a bit too into a mobile phone game. In the game, I was master and controller of a small virtual grid of assorted shiny objects. By the flick of my finger on the screen, I’d swap the objects to try to match groups together. If I did this in the right way, then the matching objects would merge into shinier ones which would help me win the game. I’d want to know what the next shiny thing would be and how I could use it to beat the next level. 

I first started playing on my commute to work – usually I like to read or write and listen to music and sometimes to catch up on emails – but on that day I felt too tired for any of that. The puzzles started easy but got gradually harder. They were challenging enough to occupy the mind, but never felt too taxing, and the satisfaction-hit from each small win along with the visuals and sound-effects made me really want to keep playing. On the train home, it felt easier to just open the app and play a few levels than do anything else. I’d start the journey by telling myself I’d do a few levels and would do something else, but I’d easily spend the best part of the journey rearranging shiny objects. 

I knew this wasn’t ideal. I’ve come to see my commutes as a rare unfilled moment, each a scrap of time, a space to read and think, and I was filling this gift with a pixellated dopamine hit. I’d try to stop and bargain with myself – setting a limit of say five levels per journey, but knowing this to be an arbitrary number, I’d blow straight through it. There are other empty moments, waiting for the bath to run or once the children are in bed, but these other scraps are empty only in appearance, and I started to play in these too. 

My phone has a ‘sleep mode’ which tries to mitigate the by now well-documented negative effects of phone use on sleeping – lower sleep quality, duration and interference with circadian rhythms. In sleep mode, you choose a time – after this the colours of your phone will be replaced by black and grey. I started using this feature, thinking that at least if I dulled the bright colours to greys then I’d take the enjoyment out of playing and it’d be harder to tell the shiny squares apart. It was a good try, but it didn’t work. I learnt to tell the grey objects apart, and played on. 

Mainly, what I'm not doing when I’m glued to my phone is engaging with life.

You’ve heard it before, but our devices are not that good for us – excessive smartphone use fuels depression, anxiety and insomnia, and the average teenager spends seven to eight hours a day in front of a screen. Smartphones are closely related to social media - a recent study found one in six adolescent girls showed signs of social media addiction. Smartphone use has become a well-worn topic with a familiar set of talking points: How lucky we are to have all the world’s knowledge in our pocket; how bad we should all feel about being so distracted; how smug we can feel about the fools stuck to their phones. These discussion points aren't new - many of the concerns about smartphones and screen-time started decades earlier in response to TV and video games. 

These concerns are certainly valid, but I find it easier to consider what some of my smartphone habits are stopping me from doing. I'm not sure I'd advocate that we all stop using smartphones - having easy access to the Internet is a huge convenience, but I do pause to think about what I'm not spending time doing when I obsessively scroll or click. I'm also not convinced that all mobile games or even all social media use is bad. Computer games can be entertaining and thought provoking. Like all art, there's no globally agreed standard about what's good, but good art doesn’t leave you puzzling over how you wasted an hour. What differentiates social media and certain phone games is their business model – your time and attention is their revenue stream. 

Mainly, what I'm not doing when I’m glued to my phone is engaging with life. If I put the phone down, I could be more attentive to the people I'm with – be able to listen to all the subtle ways we tell each other how we are – in short, I could be more fully present. I could read books, and I could read whole magazine articles or news stories on my phone, actually stopping to read rather than scrolling from headline to headline. Or I could do nothing and just be, undisturbed. If I’m commuting, I could enjoy the scenery or just let my mind wander. And I can remember that even in the quietest moments I'm not alone - God is always alongside us, and we can always spend time and speak to Him in prayer. Even for a few short moments to lift up the joys and troubles of the day. 

“Well”, you may say, “That's all very nice hearing about these possibilities I could enjoy if I clawed back time from social media and freemium games. But how do I actually do it!?” Most of the answers I’ve found to this involve either stopping the habit completely – deleting the app or even not having a smartphone, or else they involve enforced periods away. Some have found that a digital detox of several days or weeks has helped to reset their relationship with tech, others set fixed times in their day when they can and can’t use their devices or certain apps, and some observe a “digital sabbath” where they intentionally avoid or reduce technology use for a full day each week. 

As for me, my only way out was to delete the shiny object game, losing all record of all 1,500 completed levels. Given that I rejected my own help by outsmarting “night mode”, I doubt moderation would have helped. Unsettlingly, my fingers and part of mind really seemed to miss it. As I unlocked my phone, I’d feel a tinge of absence, as though checking my emails or messages didn’t have the same grip as matching colourful blocks 

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