
But it had—crucially, to my theory of what makes great mass art—the powerful quality of being open-ended, vague at its borders. Onto its simple template of horses and apes and humans, of quest and pursuit across a simplified landscape, a kid could easily project himself and the world he lived in. In its very incompleteness, born of lack of budget, the loose picaresque structure, and even of cancellation itself, it hinted at things beyond its own borders. There was room for you and your imagination in the narrative map of the show. (80)
Michael Chabon, Manhood for Amateurs
Let’s get my Chabon fangirling out of the way at the top—aren’t we so lucky that one of the best writers I’ve ever witnessed is part of fandom and one of us? It totally makes up for that time Diana Gabaldon called us all white slavers. (As to why white slavery is worse than, say, black slavery, I haven’t the foggiest.) This quote comes from an essay in Manhood for Amateurs (I stupidly didn’t write down essay titles in my commonplace book) where Chabon discusses a show he and his friends watched as a child and expanded upon once it was cancelled. I remember immediately writing down “so this explains Firefly” in my notes upon reading it. Nobody quite knows what makes a fandom; for every Star Trek and The Lord of the Rings, whose fandoms probably outrank some countries by population, there’s a plaintive cry of “Where’s the fandom for this?” in anonymous posts. There’s no correlation to length of the work—the entirety of Firefly, whose fandom is still going strong, runs 749 minutes or 12 hours and 48 minutes, short enough that my campus hosts an annual marathon of it through one night. Even genre isn’t an indicator; contemporary fiction shows like How I Met Your Mother and House have fairly strong fandoms. Everyone comes to fandom for a different reason, but I think Chabon has hit upon something extremely important here.
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