Once I started studying Elaine Castillo’s Moderation, a brand new American novel in regards to the psychological injury of on-line moderation, I needed to pause.
I’d learn novels that confronted tough materials earlier than, however this one blurred the road between bearing witness and re-enacting ache.
The guide follows Girlie, a content material moderator for a social media large whose work requires her to look at and delete the web’s most violent footage. Castillo threads this labour via a broader story of tech exploitation, immigration and the way in which empathy turns into a marketable ability.
I put it down, deeply uncomfortable, but additionally alert to the query: the place is the road between vital confrontation and pointless hurt?
Overview: One Story – Pip Finkemeyer (Ultimo)
That query lingered as I turned to Australian novelist Pip Finkemeyer’s One Story, a novel focused on energy and efficiency that levels its discomfort via satire reasonably than shock. If Moderation shows to readers the brutality of what’s seen, One Story unsettles by exhibiting us how violence can disguise behind language – in self-branding and the efficiency of care.
Set between Silicon Valley, Bali and the digital ether of on-line mythmaking, One Story unfolds as a collage of interviews, transcripts, on-line threads and recollections from those that knew – or thought they knew – its central determine, Dot van Jensen.
Dot is the CEO of the eponymous storytelling platform. One Story is an app that guarantees to unify world narratives right into a single each day story, “a kind of algorithmic scripture capturing the emotional pulse of the world.”
She can also be a grasp manipulator, narcissist, lover and mom: half tech visionary, half public scandal.
Tech’s golden lady
The novel opens, characteristically, in self-mythologising mode.
“I used to be tech’s golden lady with golden hair,” Dot boasts. “CEO is my blood sort.”
In a couple of pages, she establishes herself as one among Finkemeyer’s most unreliable creations – a girl who, just like the platform she builds, believes narrative is each forex and confession.
Her voice is slick with the idioms of self-optimisation: “Effectivity is significant,” she tells a lover mid-kiss. “My no-phones coverage meant the one approach to discuss to me was face-to-face, however I didn’t establish as an individual who ought to need to go to conferences.” It’s the rhetoric of an individual who confuses boundaries with branding.
Finkemeyer’s satire is unrelenting. The early chapters, instructed in Dot’s personal voice, mimic the cadence of company keynotes and startup manifestos, however laced with absurd self-awareness. The absurdity works as a result of it’s so recognisable.
The slogans sound like motivational copy taken from LinkedIn posts: “We make know-how for human our bodies;” “We’re not asking for extra of your time – we’re asking for much less.” However behind the polished aphorisms, there’s one thing genuinely sinister: the commodification of intimacy.
When One Story is launched, the disclosing feels extra like a sermon than a product demo. Dot’s lover and co-founder, Rae, takes the stage in San Francisco to current the gadget – a handheld coronary heart, glowing with textual content – declaring:
One story a day. All it’s essential to know of the world, proper within the palm of your hand. Then the reward of your life again.
The pitch guarantees connection however enacts discount, compressing the world’s chaos right into a single paragraph. Finkemeyer’s writing right here is sharp and rhythmic, the prose echoing the tech-world fetish for readability whereas exposing its ethical vacancy.
Need turns into technique
Dot’s narcissism may simply have develop into one-dimensional, however Finkemeyer provides her depth via contradiction. She is a Dutch-born immigrant who as soon as cleaned prepare station flooring in Spain and raised her son, Jon, alone. She’s additionally a queer girl who weaponises appeal and sexuality as types of dominance.
When she remembers her early relationships – “We had met within the rain on the bus cease […] we had been fourteen” – her tenderness is all the time filtered via the language of transaction. Love turns into labour and want turns into technique.
Even her erotic creativeness folds again into ambition. “I noticed that it was my job to convey the female to the tech world,” she claims, “to unfold my femme vitality throughout everybody inside, with out them suspecting a factor.” This conflation of seduction and messianic mission underpins the novel’s satire.
Dot treats intimacy as one other medium for management. The passages depicting her affair with Rae are particularly uncomfortable of their precision. Rae yearns for real connection, however Dot instrumentalises her affection.
“I may give her companionship, stewardship, mentorship,” Dot displays, “even, when she desired it, sexual intimacy. However it could all the time be fleeting, within the moments between when the true work was being carried out.”
The bluntness of this confession – half self-awareness, half sociopathy – crystallises the guide’s ethical core: the concept emotional labour has been subsumed by the logic of productiveness.
The novel’s construction reinforces this unease. Every half shifts perspective, from Dot’s self-narration, to Rae’s testimony in a damning documentary, to Jon’s retrospective reflections and at last to the collective voice of “We/Us,” the staff of One Story.
This multi-voiced design mirrors the saturation of mediated storytelling within the digital age, the place each narrative is filtered via one other. Finkemeyer makes use of these shifting kinds to check the reliability of voice itself.
Rae’s part, offered as a transcript from the exposé that topples Dot, captures the collapse of authenticity into efficiency.
“Dot seduces everybody,” Rae says. “She’s a grasp of seduction … humorous bizarre, however not humorous ha-ha.”
Her recollections oscillate between admiration and repulsion, revealing how charisma features as a type of coercion. When she describes the early prototypes of One Story – jokes fed into an algorithm to generate “content material” for the wealthy – the satire feels painfully believable.
Finkemeyer understands that what we now name “innovation” usually originates in cringe.
Essentially the most chilling flip within the guide comes when the collective voice of the corporate takes over. “We had been all the time watching the three of them,” the staff recall, “attempting to determine who beloved whom probably the most.”
Their admiration transforms into complicity. They converse like a Greek refrain, euphoric and self-justifying:
All of us subscribed to the concept the world was turning into a greater place. And since we labored at One Story, we had been on the suitable facet of historical past.
Finkemeyer renders this company refrain voice with disturbing precision, exposing how ideology seeps into syntax.
Confession as violence
All through, the novel performs with the concept confession itself is usually a type of violence. When its Campana Analitica scandal breaks, the corporate’s PR machine deploys the identical placid, tech-bro tone used to explain their mission.
Requested by a documentary producer in regards to the human value of their information leaks, Rae replies with deadpan sincerity: “We take consumer privateness significantly and have arrange a taskforce …” The irony lands onerous as a result of it’s so acquainted, in its absence of feeling and routinisation of hurt.
(Campana Analitica is a thinly veiled parody of the Cambridge Analytica scandal, during which a political consulting agency harvested Fb consumer information to control voter behaviour.)
In its closing chapters, One Story turns into more and more self-reflexive, blurring the road between the documentary’s gaze and Dot’s personal try to narrate herself. As fragments of her story proliferate on-line, hypothesis replaces fact. Finkemeyer lets the noise construct to an nearly comedian pitch, exhibiting how, in a world saturated with storytelling, the self can vanish beneath its personal narration.
But the novel resists pure cynicism. Beneath its biting humour and relentless irony is a sustained enquiry into what it means to stay ethically in a tradition that monetises empathy.
Dot’s firm guarantees “one story a day” as if emotional consideration may very well be quantified. However the narrative that emerges from the novel’s fragments – Dot’s childhood poverty, her fraught relationship along with her son, Rae’s idealism corroded by proximity to energy – suggests one thing extra tender. Finkemeyer’s satire by no means forgets that these performances of self come up from eager for recognition and for management over one’s story.
Finkemeyer’s expertise lies in her capability to make narcissism really feel each grotesque and magnetic. The novel’s humour – its deadpan send-ups of startup jargon, its parodies of TED-talk sincerity – is so attuned to the rhythms of up to date speech that it usually feels documentary itself. Studying it’s like scrolling via a feed that’s equal elements confession and commercial.
Nonetheless, there are moments the place the novel’s polish threatens to clean over its emotional stakes. Finkemeyer’s management is so deft that her irony often blunts the ethical drive of the work.
The narrative’s self-aware commentary on storytelling as capital can really feel overbearing. However maybe this, too, is deliberate. The exhaustion we really feel studying Dot’s voice, the repetition of slogans and spin, mimics the burnout of inhabiting digital life. Finkemeyer doesn’t simply symbolize the eye financial system; she recreates its seductions and its fatigue.
One Story is a novel type of satire: one that’s amusing, but additionally profoundly unhappy. Its characters are trapped not by villains however by financial, technological and emotional methods that reward efficiency over sincerity. Dot, Rae and Jon every mistake narrative for connection. Their tragedy just isn’t that they’re monstrous, however that they’re unusual.
As Dot says early on, defending her personal fantasy: “The one factor I’m responsible of is turning into the individual they so desperately needed me to be.”
Finkemeyer brings us to a spot of uneasy recognition. The cringe we really feel at Dot’s vanity, at Rae’s complicity, on the staff’ blind devotion is the heartbeat of the novel. It measures how completely our lives have develop into entangled with the equipment of story.
I didn’t end Moderation. But I completed One Story with an identical unease: not at what it depicted, however what it revealed.
Finkemeyer exposes how energy hides behind aesthetics and the way empathy will be algorithmic. On the earth of One Story, every little thing – together with discomfort – is materials.
- Caitlin Macdonald, Physician of Philosophy (English) / PhD graduate / Researcher, University of Sydney
This text is republished from The Conversation underneath a Inventive Commons license. Learn the original article.
