19 votes

How Twitter can ruin a life: The story of Isabel Fall

4 comments

  1. [3]
    kfwyre
    Link
    This is a heartbreaking read. There are several gut punches throughout, in particular when Fall talks about her own experiences. She's clearly a writer, as she is very good with words: This...

    This is a heartbreaking read. There are several gut punches throughout, in particular when Fall talks about her own experiences. She's clearly a writer, as she is very good with words:

    “The powerful want to say that we are entering a dangerous new era where ‘people disliking things en masse’ has coalesced into some kind of crowdsourced [weapon], firing on arbitrary targets from orbit and vaporizing their reputations,” she wrote to me in an email. “The use of mass social sanction gives the less powerful a weapon against the more powerful, so long as they can mobilize loudly and persistently. This is not new. Shame and laughter are vital tools for freedom.”

    She cautions, however, that “like all weapons, it will do the most damage when aimed at the least defended, the isolated, those with no one to stand up for them, publicly or privately. And we must be careful with the temptation to use it inside our own houses to destroy shapes we think are intruders.”

    This article also introduced me to the idea of paranoid versus reparative readings, which puts a name to something that has bothered me for a long time but that I didn't have the vocabulary to express. The linked article here hits on some of the problems I have with a lot of modern internet media criticism:

    Art does not exist to be evaluated on a scale of “harm” to “uplift,” and if we want to talk dog-whistles, that right there is a huge one: it’s deeply anti-intellectual, and it centers a form of toxic individualism that evacuates solidarity/difference in favor of moral purity.

    8 votes
    1. [2]
      vektor
      Link Parent
      Combine this with the tendency for internet hate mobs to either not get off the ground at all (not every rallying cry is followed by a rallying) or to get big to the point of noise blocking out...

      “like all weapons, it will do the most damage when aimed at the least defended, the isolated, those with no one to stand up for them, publicly or privately. And we must be careful with the temptation to use it inside our own houses to destroy shapes we think are intruders.”

      Combine this with the tendency for internet hate mobs to either not get off the ground at all (not every rallying cry is followed by a rallying) or to get big to the point of noise blocking out almost all signal - and we get a weapon that is basically impotent against the powerful people we should be aiming at, while being absolutely devastating for anyone undeserving of the level of ire. There is no feedback loop limiting the size of the mob, as the individual doesn't perceive the size of the mob they're in, no mechanism telling the individual "no need to pile on, this knucklehead's gotten what he deserved". This concept of not realizing the size of the crowd you're in (whether it be the amount or the kind of company you keep) is a vital one of why internet discourse can be so shit - lack of a shared contextual space. An individual using words that are associated with bad faith actors looks like a bad faith actor without realizing it. In real life we don't rely on those clues.

      This article also introduced me to the idea of paranoid versus reparative readings

      Haven't gotten to that part yet - is that what I think it is, about reading in good faith by assuming good faith, vs. assuming bad faith and consequently finding it? I've heard the term "charitable listening" before. If it is, then allow me to feel a bit smug, because I told you so. (I've beaten that drum on here and elsewhere whenever internet communication turns to shit)

      3 votes
      1. kfwyre
        Link Parent
        It’s kind of about good vs. bad faith, though I think it’s more than that: I don’t think paranoid readings are fundamentally bad faith readings, and I think they can be incredibly valuable,...

        Haven't gotten to that part yet - is that what I think it is, about reading in good faith by assuming good faith, vs. assuming bad faith and consequently finding it?

        It’s kind of about good vs. bad faith, though I think it’s more than that:

        The delineation between paranoid and reparative readings originated in 1995, with influential critic Eve Kosofsky Sedgwick. A paranoid reading focuses on what’s wrong or problematic about a work of art. A reparative reading seeks out what might be nourishing or healing in a work of art, even if the work is flawed. Importantly, a reparative reading also tends to consider what might be nourishing or healing in a work of art for someone who isn’t the reader.

        This kind of nuance gets completely worn away on Twitter, home of paranoid readings.

        I don’t think paranoid readings are fundamentally bad faith readings, and I think they can be incredibly valuable, especially for identifying problematic or representations or themes. I’ve made a number of paranoid readings of texts myself.

        I do think it’s possible to make a paranoid reading in bad faith, however, and I think that paranoid readings, especially particularly forceful ones, and especially en masse, have a way of taking the oxygen out of the room, giving reparative readings no room to breathe. If someone gives a thorough rundown of why something is, say, homophobic, someone following that up with “yeah, but here’s why it’s valuable to me!” tends to come across as inconsiderate at best and deliberately shitty at worst.

        If that piece of media genuinely is homophobic garbage then not much is lost, but I think most media is at minimum somewhat complex and the surface area for evaluating them is multi-dimensional. Unfortunately, I feel a lot of paranoid readings attempt to reduce media to a single focus as a way of discarding it, which is exactly what happened with Fall’s story.

        4 votes
  2. an_angry_tiger
    (edited )
    Link
    I ended up vaguely hearing about this a while ago, and ended up reading the short story yesterday (it's archived here https://archive.is/oXDEt , the link can be found on wikipedia so it's not too...

    I ended up vaguely hearing about this a while ago, and ended up reading the short story yesterday (it's archived here https://archive.is/oXDEt , the link can be found on wikipedia so it's not too hidden).

    It's pretty good, it was a good read, sad to see it end this way and all that. The other thing that becomes apparent is that I think very few people speaking out about the story had actually read it.

    Like, aside from it being written by a (unknown at the time) transgender person expressing their experiences, it's a decently long prosaic intimate story about a dystopian climate-change-apocalyptic future where the state has appropriated gender to improve helicopter pilot's ability to destroy and murder, in an effort to wage a war against an AI called the "Pear Mesa Budget Committee". It's not a fly by night hastily-written Breitbart piece about bathrooms, or a lame copypasta -- it's a well written and edited, complex and nuanced expressive short story. Is the concern that the ~ ~ vulnerable youth ~ ~ are going to sit down and read an 8,000 word short story published in an obscure online magazine, on what gender feels like and how it can be felt differently, and they'd get turned corrupted in to evil transphobes? I would at least be content seeing people read something that takes some focus and investment, that wasn't pumped out by a clickbait media company in an effort to get the headlines retweeted and discussed endlessly with no one actually reading the article body.

    But again, it's not really about that is it,

    On January 17, commenting on Fall’s decision to withdraw in a now-deleted Twitter thread, the bestselling science fiction and fantasy author N. K. Jemisin said she was “glad” the story was taken down, stating “Not all art is good art. Sometimes art causes harm. And granted that marginalized creators end up held to a higher standard than others, which is shit, but… that’s bc we know what that harm feels like, up close and personal. Artists should strive to do no (more of this) harm.” She also noted the author’s extreme stress and its health effects as part of the harm “Attack Helicopter” had caused.

    it's like I said before:

    In subsequent tweets, however, Jemisin admitted that she hadn’t read the story.

    4 votes