A colleague and I were discussing the changing meaning of the word “literature”, given the rapid rise of interactive, responsive and collaborative media. This led to a conversation with another colleague and a gradual awareness on my part that a lot of people are grappling with many of the same ideas.
The Merriam-Webster dictionary defines “literature” as:
“writings having excellence of form or expression and expressing ideas of permanent or universal interest.”
There is always some debate as to what gets to be included in this amorphous canon of cultural artifacts, but Shakespeare and Goethe usually make the cut, as well as a few hundred other authors, poets and playwrights down through the ages whose works have stood the test of time.
Just what new works might end up in the canon is a very tricky question, because artists generally create for a contemporary audience. In Elizabethan times a new Shakespeare comedy was not thought of as literature, but rather as pop entertainment. There is a long tradition of pop entertainment being reclassified into literature. The early works of Bob Dylan managed to make the transition fairly quickly, whereas Leonard Cohen still seems to be in some sort of in between state.
Part of the problem lies in the difficulty, when you are in the midst of a cultural moment, of being able to see what works will outlast that moment. Does your work speak only to your own generation, or to all generations? The works of the Beatles seem to be standing the test of time, whereas the works of many of their contemporaries now seem quaint and frozen in their own era. The best Marx Brothers comedies are just as funny today as they were seventy five years ago, whereas many comedies from the same period are so out of date as to be almost impossible to watch.
One reason it is useful to define “literature” is so that we can offer a meaningful liberal arts curriculum to young people. But now there’s a new wrinkle in the equation: interactive media.
Will The Sims become part of the canon? Myst? Half Life? Weisenbaum’s Eliza program? When it comes to new interactive media, it can very difficult to disentangle long term meaning from contemporary tastes, particularly when the medium itself is undergoing such enormous transformations every few years.
Some might argue that the entire question is absurd. After all, we are talking about games. On the other hand, a century ago it would have been equally absurd to talk about cinema as literature. Yet along came “Birth of a Nation”, “Nosferatu”, “Greed”, and an enormous flowering of experiments and genres in a remarkably short period of time.
We seem to be entering an equivalent phase in the creation of interactive games and narratives. In the Scratch community alone, several hundred thousand children around the world are creating interactive games and stories. As these children grow up, they will continue to apply the skills and ways of communicating that they are now learning.
So while it may be early to comfortably include this or that interactive work in the literary canon, it is essential that we start now to rethink how we define that canon. We must accept that interactive literature as an expressive form is already here. Rather than treat this collection of works as a cultural oddity (eg: creating a ghettoized “games curriculum”), we must prepare now for a changing literary world, and appropriately expand our definition of liberal arts.