Publication promiscuity
Every writer has to make decisions about where to publish. Not just where she would like to be published, but also where she would be willing to be published. All publications have a certain flavor or character, a back catalogue of writers, an ideological bent, an editorial slant, a reputation with readers and other writers.
I often get asked about why I publish with X or Y. I’m not nearly as well or as widely published as others, but here’s what I say in reply.
I am utterly promiscuous in my publishing habits. I would allow something I’d written—taking for granted that I wrote it, I was happy with it, and nothing more than the usual editorial oversight and revising was involved—to be published just about anywhere.
“Just about” rules out a tiny sliver of obviously objectionable venues: nothing, say, that calls or stands for armed rebellion, or racial supremacy, or some philosophy or politics so worthy of contempt that one could not possibly be associated with it or its adherents, much less aid and abet its cause. So if there’s a local chapter of some terrorist militia group with in-house literature, then no, I won’t answer any of their calls.
But beyond that, I’m very likely to say yes, and not with a tortured conscience but with a shrug. Moreover, even my definition begs for clarification. Because whether or not a viewpoint is contemptible is itself baked into the question of where to publish.
For precisely that reason, though, I think writers (and academics and journalists more broadly) shouldn’t worry so much about publication purity. Here’s why.
First, because there is no publication free of error. There’s always going to be some argument or position on offer in the venue with which you would take issue—perhaps serious issue. That’s just called writing in public.
Second, because every publication has skeletons in the closet. No magazine or journal has a blameless, infallible history. They’ve all issued corrections, errata, and apologies. Every one. (Those that haven’t, if they exist, should have; and the episode of their not having done so probably remains a stain on their reputation.)
Third, because no publication knows the future of any writer it publishes at the time of publishing him. So he goes on to be a wicked public personage, infamous for this opinion or that behavior. Editors don’t see the future. All they have to go on is the past in making judgments for the present.
Fourth, because writers are all wicked anyway. My tongue is in cheek, yes, but the claim also happens to be true, in more ways than one. Great writers are often awful people. More to the point, we Christians know that anyone you’ve ever read was a sinner. Every beautiful poem or essay or novel you’ve loved came from a wretched and damnable mind and heart. This doesn’t make the artifact any less lovely, nor does it excuse anyone’s actual sins (great or small). But it puts things into perspective.
Fifth, because publications don’t have cooties. Writing for X won’t infect you; reading Y isn’t contagious. You don’t contract uncleanness by reading or writing for a certain magazine. That’s not the way reading and writing work. Such a mindset is all too common among writers and intellectuals, but it’s childish and unwarranted. It’s the high school cafeteria all over again. Don’t fall for it.
Sixth, because writing for a given venue is not an endorsement, either of the venue’s usual views or of the particular views of any one of its writers or editors. I have no idea why anyone would suppose this, but many do, although typically only selectively—that is, with the “bad” outlets, whichever those may be. Such unthinking (often unreading) guilt by association isn’t worth a second’s thought.
Seventh, because great writers are themselves promiscuous. Some of my favorite writers today are fantastically diverse in where and with whom they will publish, including the most successful and respected. Off hand, I’m thinking of folks like Eve Tushnet and Phil Christman, Christopher Caldwell and David Bentley Hart, George Scialabba and Samuel Moyn, B. D. McClay and Paul Griffiths, or Wendell Berry and Christopher Hitchens in their younger days. Part of the discipline of publishing promiscuity is that it requires you, the writer, to be interesting enough and independent enough that editors at a bewildering variety of venues would kill to feature you, even though you “might not quite fit” with the norm there. Well done then. That means you’re doing something right.
Eighth and last, because writing wants to be free. It wants to get out. If someone wants to publish you, take them up on it. It’s unlikely you’ll regret it. Nor, if you do regret it, do you have to do it again; look elsewhere. But you’ll never be a writer if you don’t get your writing out in the world. Take some chances and don’t be picky, certainly not with active suitors.
In fact, go ahead and consider this post as good as giving you my card: if you want to publish me, you already know my answer.
