Several years ago, I was doing some archival research on the history of literary groups, associations, and the like in Richmond. At the time I was serving on the Board of Directors of James River Writers, the largest and most prominent literary organization in Central Virginia, and I’d gotten curious about where and how these groups preserve their histories. I didn’t expect to be personally attacked in the process, and yet—!
In the course of reading, I ran across a letter between two members of a bygone organization, talking about the value of different authors’ works. One said to the other that, in essence, people who publish academically are not real writers. An interesting claim, and one that makes more sense, given the letter was from many decades ago, back before creative writing put down… not merely roots, but taproots in the ivory tower.
To be fair, these correspondents weren’t discussing scholarship, much of which is just not created to be read for pleasure, with artistic goals in mind, or both. My publications over the last fifteen years have encompassed all of the above, though the last few years have seen a decrease in my fiction credits as I’ve turned my attention toward novels. For better or worse, that meant more careful allocation of my time, which led to less time reading and writing short fiction. It hasn’t, however, cut so much into my academic writing. Some of that’s professional stuff about my work as a librarian that is probably of no interest to most people reading this, but not entirely.
To wit, yesterday I got my (aforementioned) contributor’s copy of Fantastic Cities: American Urban Spaces in Science Fiction, Fantasy, and Horror. It includes my chapter “Olympia, Wilderness, and Consumption in Laird Barron’s Old Leech Cycle.” Viz:
This essay had a long gestation period, as is not uncommon in the humanities. I’m grateful to the editors that it’s out in the world, and I hope it finds readers! While I don’t have the same artistic ambitions with it that I do have with my fiction, I tried to write it well, and I tried to offer some perspectives that might be interesting to other readers of weird fiction, and Laird Barron’s fiction in particular.
Other than that? With March here, it seems like Omicron might be behind us, even if the world is unquiet. I’m still thinking about next steps on the novel I wrote about a couple posts back. In the meanwhile, I’m 10,000 words into a new novel, one that involved as detailed an outline as I’ve ever created, along with 25,000 words of preparatory character sketches. Sometimes new books need new methods, or so I’ve heard. Happy Spring!
Justine Schofield is the development director of 
J. T. Glover 