Canadian author and educator, Kate Pullinger visited my university last week, and since then I have been thinking about ‘the book’ and where it is going in the digital future.
Pullinger says that stories are an important teaching tool for teachers of all subjects. How true. As a writer and lecturer in creative writing and new media at Bath Spa University in the UK, Pullinger believes that ‘the way that we read and interact with text and stories may well have changed fundamentally in 20 years’ time’ (1) , and that the ebook is only a small change in that evolution.
However, her experimentation with digital fiction and the future of the novel is of increasing interest. Her digital works include, e.g. Inanimate Alice and Flight Paths . The text is sparse and the format relies on the integration of text, image, sound and animation.
Her work with digital story telling and school students is clearly influencing the direction she is pushing the traditional novel. For example in 2011 she was involved with 5 secondary schools and 5 digital writers in a collaborative arts-in-schools project called Ebb and Flow.
And an interesting outcome of her digital story venture, Inanimate Alice, is that school students are now adding to her published ‘novel’ online. She is intrigued herself that students at a US school began adding a fifth chapter to her four-chapter, pre-teen/teenage digital work. The students’ classroom teacher encouraged the kids to contribute text and images to the story and create a new adventure for Alice, which they loaded up onto the Internet, challenging notions of authorship, and demonstrating that fiction can evolve imaginatively, textually and collaboratively. Teenagers are reading books after all.
Live creative writing: ‘Memory Makes Us’
While in Brisbane, Pullinger also took part in an IF:Book Australia event, on 9 July at the State Library of Queensland. The project was called ‘Memory Makes Us’ . Pullinger explored memory as a collaborative and creative event, connecting and combining memories contributed by members of the public with her own experience to create a new work. This included text and images. As she wove together her own and others’ stories, the creative work was streamed live on the Internet and broadcast on the big screen at Federation Square in Melbourne.
Strange as it seems, to me it was more exciting to know that as the story evolved it was projected live into a living breathing city, than that it was simultaneously projected on the Internet. Why? What is the difference? It’s all out there. Is it because I can imagine Federation Square and people reading the screen as they pass by? Is it that I can imagine the particular but imagining the complexity of worldwide participation is too much? Does knowledge of a place make up for anonymity of place?
(1) Pullinger, Kate. (2011). Education: Classroom innovation: Strategy/Comment: Comment: Educators need to utilise the explosion in digital writing. The Guardian, London, UK, 11 Jan, p. 5.