I’m 10,000 feet above the ground right now, on my way to NYC, and Google has been kind enough to offer free Wi-Fi on flights over the holidays. It’s the perfect time to treat you all to the thoughts that have been mulling in my brain the last couple of days on the relationships between play and literature. (and four hours later, I’m stuck in the middle of the country waiting for a standby seat to miraculously open.)
I’ve been reading Dolezel’s Possible Worlds of Fiction and History (2010) and he makes some delightful comparisons between postmodernism and play. At one point, he states “Postmodernism creates a wonderland where each thing can morph into another, a ludic world free of conventions, rules, and traditions.” At first glance, it’s a utopian fantasy, but does this mean that postmodernism does away with a serious exploration of literature and history, replacing it with a nonchalant denial of authority and boundary?
On the contrary, the playfulness postmodernism has brought to our perspectives on literature is a creative one. Games are one place I find to be a particularly productive petri dish for these kinds of narrative explorations. It is here that stories can be told through not just text and/or visuality, but also through interaction, through choice. Here, stories are told that encompass multiple narrative paths, contradictory events, multiple worlds of possibility all telling the same tale, but different facets of it. What text changes (literally) each time you read it? Of course, every reading of a text is a new, never-been-done reading, but text itself is mostly static. Even those texts with healthy manuscript traditions are unchanging compared to the vast possible “readings” of many role-playing games. More