Chapter 1 The Provocative Nature of Writing

If you, like me, subscribe to the New Humanist, you might remember an essay by Philip Pullman from nearly a decade ago titled "Writing is Despotism, but Reading is Democracy." In this thought-provoking piece, the acclaimed author intertwines themes of philosophy, censorship, and the responsibilities writers hold towards their audience.

Pullman's title is undeniably confrontational, a hallmark of stimulating intellectual discourse. Such provocations challenge our thinking, and while his assertions may seem absolute or dogmatic, there is much to unpack beneath the surface. Many of his insights resonate, although some may leave us questioning.

I find merit in Pullman's claim that "the arts possess values that cannot be quantified financially." His reference to Oscar Wilde’s belief that books are neither moral nor immoral, only good or bad, aptly illustrates this point.

The crux of Pullman's argument—contrasting the writer's authoritarian role with the reader's democratic experience—is compelling at first glance. When an author writes a book, they create a personal space that intimately connects them with the reader. This is the special bond I seek when selecting a book from my shelf, settling in with it on my lap, and immersing myself in its pages, momentarily shutting out the world. While I acknowledge the authoritative nature of the writer, I hesitate to fully embrace the notion of the reader's democracy.

Readers can be just as demanding as any author. This intensity of expectation is especially pronounced among devoted fans. Like literary addicts, we eagerly await the next installment, filling ourselves with each crafted word until we feel satisfied. If we find ourselves disappointed, we may never return to that particular "dealer"—the writer. Thus, one could argue that "reading is tyranny" might just as well have been a fitting subtitle to Pullman’s essay.

However, not all readers fit this mold. While some may react intolerantly to a genre shift from their favorite author, others exhibit an understanding of growth and change, even if it comes at the cost of traditional structure. In these cases, the benefits often outweigh the drawbacks.

Section 1.1 The Economic Reality of Writing

Pullman touches on the financial aspects of writing, albeit briefly, and appears somewhat dismissive of their significance. I take a different stance. During my time in the cultural and creative industries (CCIs), we consistently emphasized the economic contributions of the arts. Without highlighting this, it was nearly impossible to persuade local authorities, funding organizations, and community groups of the value of sectors like print and design.

Unfortunately, writing often falls into a category where many struggle financially. Thus, when someone cites Pullman—who himself quotes another in his essay—stating that "the arts are vital because they contribute billions to the economy," they are not being mercenary but rather attempting to position creative industries alongside banking or manufacturing. It’s crucial to recognize that Britain is primarily a "service" economy today, meaning that the service sector is pivotal in driving economic recovery.

Subsection 1.1.1 The Motivations Behind Writing

Where I find common ground with Pullman is in understanding what drives a writer to create. The interaction with language that frees the writer's imagination is what produces literary giants like Dickens and Munro. Beyond the author-reader dynamic, it is this engagement with the medium that embodies a blend of despotism, democracy, and chaos. Despotism arises as the writer wields complete control; democracy is evident when this authority is shared with agents, editors, publishers, and the public; and anarchy surfaces in the unpredictable, often unstructured nature of writing itself, which should ultimately respond first to the writer and then to all others.

Chapter 2 The Role of Influence in Writing

This video, "China's Great Leap Forward and Cultural Revolution," explores the significant political upheaval in China, illustrating how these events mirror the dynamics of power in creative expression.

In "The Real Agenda Of Those In Power," Rob Henderson delves into the hidden motivations behind authority, shedding light on how these themes resonate within the realm of writing and creativity.

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