Going to Court over Fiction (NY Times)

The New York Times, June 15, 2007

Cloaking one’s identity while writing — to hide, in other words, in order to reveal — is an old literary tradition. Mary Ann Evans used the gender-crossing pseudonym George Eliot to publish “Adam Bede” in 1859, when female authors still struggled to be taken seriously. Charlotte Bronte released “Jane Eyre” in 1847 under the name Currer Bell.
What, then, of the complex case of JT Leroy, the pseudonymous writer with the titillating past, a supposed child of a truck-stop prostitute who rocketed to fame in 2000 with the publication of “Sarah,” a novel of poverty and sexual abuse set among the grease-stained highway rest stops of West Virginia?
Mr. Leroy seemed at first to be a hot commodity in today’s biography-obsessed literary world, a gifted writer with a grotesquely compelling story that only enhanced the value of the work. After years of celebrity that included friendships with Winona Ryder and Madonna, articles in The New York Times and Vanity Fair, and many other gaudy trappings of early 21st century fame, JT Leroy was revealed to be the name not of a writer — in fact, not even of a person — but of the fictive alter ego of Laura Albert, a mother and otherwise obscure young novelist from Brooklyn Heights.
This intricate game of hide-and-seek with its interlocking issues of identity, fame, money and the healing power of art has now leapt from the media to what is arguably the culture’s second most obsessive arena: the courts. A film production company has sued Ms. Albert for fraud, saying that a contract signed with JT Leroy to make a feature film of “Sarah” should be null and void, for the simple reason that JT Leroy does not exist.
At its heart, the case revolves around the contract, signed by Antidote International Films Inc. (producer of, among other movies, “Laurel Canyon” and “Thirteen”) and Ms. Albert’s company, Underdogs Inc., to option the film rights to “Sarah” in 2003. Underdogs was paid $15,000 under the contract, which was renewed, at the same rate of $15,000, for each of the next two years. Antidote is suing for its money back.
Along with tales of commerce, the jury was treated yesterday to a bit of culture: A lawyer for the defendant referred in his opening remarks to the O. Henry story “The Last Leaf” moments after the plaintiff’s lawyer played a recording of Terry Gross interviewing someone posing as JT Leroy on NPR’s “Fresh Air.” The trial, in Federal District Court in Manhattan, promises to be an Escher-like convergence of the movies, literature and journalism with references to sex in truck stops thrown in and a documentary filmmaker, considering a project on the case, sitting quietly in back.
Gregory Curtner, a lawyer for Antidote, opened the trial by painting a broad picture of JT Leroy’s supposed rise from Appalachian misery to stardom. The son of a truck-stop prostitute, the jury learned, JT Leroy (according to the stories concocted on his behalf) would sit in parked cars or at a diner while his mother turned tricks. He himself eventually turned to prostitution and, after finally picking up a pen to describe his ordeal, tried to peddle his early works to agents, publishers and the like by sending faxes from gas station bathrooms.
It was this hardscrabble “life” that caught the attention of a director, Steven Shainberg, who wanted to work with Antidote and blend elements of JT Leroy’s biography into the narrative of “Sarah” in what Mr. Curtner called a film about “how art could emerge from a ruined childhood.” The trouble was there was no ruined childhood from which art could actually emerge.
Or at least not one that belonged to the imaginary JT Leroy. Ms. Albert’s lawyer, Eric Weinstein, began his own remarks with the memorably understated line, “Laura is a complicated person.” He said she was physically and sexually abused as a child. He said she was institutionalized in psychiatric wards and in a group home as a ward of the state. He said she was in therapy for 13 years with a psychiatrist whom she spoke to by telephone while posing as a teenage boy named Jeremy, an embryonic version of JT Leroy.
By the time the psychiatrist advised her to write, the persona of the teenage boy had become engrained as Ms. Albert’s alter ego, what Mr. Weinstein called her “bridge to the world.” Ms. Albert herself, in conversations before the trial, called JT “her respirator,” an unreal, though entirely necessary, entity that allowed her to breathe.
As movie people say, the “inciting incident” of the lawsuit came with the publication in late 2005 of an article in New York magazine that questioned JT Leroy’s identity. The Times followed with an article in February that identified Ms. Albert as the true author of “Sarah.”
The producers at Antidote were stunned; they were also worried that the commercial prospects of their project might crumble. As Mr. Curtner put it: “The whole autobiographical back story aura that made this so attractive was a sham.”
Mr. Weinstein told the jury that the contract with Antidote was for a book, not a back story, and that the film company could have made the movie no matter who wrote the novel. He then went on to suggest that the project was in freefall (a bad screenplay) and that Antidote had used the excuse of disputed authorship as an escape hatch.
It was at this point that the sort of lemonade-from-literary-lemons notion that can exist only in Hollywood was introduced. Mr. Weinstein said the director, Mr. Shainberg, decided he would now make a new film, something in the vein of “Adaptation” or “Being John Malkovich,” a “meta-film” that mixed the novel with the lives of its real and purported authors in a project touted in-house as “Sarah Plus.”
But that required obtaining the rights to Ms. Albert’s story — a story of such apparent darkness that she herself had required a literary dopplegänger to tell it.
She refused to grant the rights. “And that,” Mr. Weinstein said, “is why we find ourselves here.”

Writers Imagination and National Security

Reposted from: http://www.writerswrite.com/wblog.php?wblog=531071

Science Fiction Writers Help Out Homeland Security Department

USA Today reports that the U.S. Department of Homeland Security is turning to science fiction writers to help avoid future terrorist attacks. Why turn to writers? The government says it need s people with wild imaginations.

"We spend our entire careers living in the future," says author Arlan Andrews, one of a handful of writers the government brought to Washington this month to attend a Homeland Security conference on science and technology. Those responsible for keeping the nation safe from devastating attacks realize that in addition to border agents, police and airport screeners, they "need people to think of crazy ideas," Andrews says. The writers make up a group called Sigma, which Andrews put together 15 years ago to advise government officials. The last time the group gathered was in the late 1990s, when members met with government scientists to discuss what a post-nuclear age might look like, says group member Greg Bear. He has written 30 sci-fi books, including the best seller Darwin's Radio. *****

Although some sci-fi writers' futuristic ideas might sound crazy now, scientists know that they often have what seems to be an uncanny ability to see into the future. "Fifty years ago, science-fiction writers told us about flying cars and a wireless handheld communicator," says Christopher Kelly, spokesman for Homeland Security's Science and Technology division. "Although flying cars haven't evolved, cellphones today are a way of life. We need to look everywhere for ideas, and science-fiction writers clearly inform the debate." Bear says the writers offer powerful imaginations that can conjure up not only possible methods of attack, but also ideas about how governments and individuals will respond and what kinds of high-tech tools could prevent attacks. The group's motto is "Science Fiction in the National Interest." To join the group, Andrews says, you have to have at least one technical doctorate degree. "We're well-qualified nuts," says Jerry Pournelle, co-author of the best sellers Footfall and Lucifer's Hammer and dozens of other books. Authors who are thinking out of the box in the name of national security also include Greg Bear, Sage Walker and Larry Niven. We've read their work and know the kinds of amazing things they can dream up. And we are very glad that they are all law-abiding citizens.