{"id":447,"date":"2026-06-10T11:05:30","date_gmt":"2026-06-10T11:05:30","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=447"},"modified":"2026-06-10T11:05:30","modified_gmt":"2026-06-10T11:05:30","slug":"did-a-chatbot-write-a-prize-winning-story-does-it-matter","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=447","title":{"rendered":"Did a Chatbot Write a Prize-Winning Story? Does It Matter?"},"content":{"rendered":"
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In early May, the Commonwealth Foundation announced the five regional winners for its influential Short Story Prize, which recognizes unpublished short fiction. One of the awardees, a Trinidadian writer named Jamir Nazir, was accused of A.I.-assisted cheating by a broad array of social-media users who seized upon his story\u2019s synthetic tics, glitchy metaphors, and general unreadability. (\u201cThey called her Zoongie,\u201d one passage from the story goes. \u201cMaybe it was a name; maybe rain took a shape and decided to keep it.\u201d) In a statement, Razmi Farook, the director-general of the Commonwealth Foundation, said that contestants had confirmed to the Foundation that they had not used A.I., and that the authors of the short-listed stories had made this attestation twice. The next day, on a call with the Times<\/em>, Farook allowed that the moment had perhaps come to \u201clook at ourselves internally to see if we feel that our process to date has been robust enough.\u201d<\/p>\n

Read more Kareem Rahma and the Tyranny of Web Video Shows<\/a><\/p>\n

Shortly after Nazir\u2019s story, \u201cThe Serpent in the Grove,\u201d appeared online, in the British magazine Granta<\/em>, Ethan Mollick, a professor at the Wharton School, ran it through the A.I.-detection platform Pangram, which flagged one hundred per cent of the text as likely to have been A.I.-generated. Two of the other winning entries, by the Maltese author John Edward DeMicoli and the Indian author Sharon Aruparayil, were similarly implicated. (Aruparayil denied using A.I. to write her story \u201cMehendi Nights,\u201d calling the allegations \u201can entertaining witch-hunt.\u201d) In an interview with the Observer<\/em> responding to the scandal, Nazir said that his writing process consists largely of speech-to-text dictation on an Android phone. (He cited chronic-health conditions that make sustained typing impossible, and he\u2019s published at least one poem about neuropathy to his Facebook page.) The publisher of Granta<\/em>, Sigrid Rausing, put out a statement noting that the team had asked the A.I. program Claude about the provenance of \u201cThe Serpent in the Grove\u201d but couldn\u2019t say for sure whether \u201cthe judges have now awarded a prize to an instance of A.I. plagiarism\u2014we don\u2019t yet know, and perhaps we never will know.\u201d<\/p>\n

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What We\u2019re Reading<\/strong><\/span><\/p>\n

Discover notable new fiction, nonfiction, and poetry.<\/em><\/p>\n<\/div>\n\"\"<\/picture><\/div>\n<\/div>\n

Epistemically, there is something a bit wobbly about using chatbots to determine whether a piece of prose was written by chatbots. A Stanford study found, in 2023, that A.I.-detecting algorithms tend to be biased against non-native English speakers. Still, as Mollick put it on Bluesky, \u201cCome on, if you know you know.\u201d According to internet lore, A.I.-generated writing can be recognized by a handful of tells, memorably enumerated by Sam Kriss in the Times<\/em> magazine in 2025. These include anaphora, when words repeat at the beginning of successive clauses, and epistrophe, when words repeat at the end of successive clauses. Nazir\u2019s piece features both. \u201cNo fan, no bulb, no hum,\u201d one line begins. \u201cBush kept it, snakes liked it,\u201d another starts. And: \u201cWater took her and would not return her.\u201d<\/p>\n

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Then there is zeugma, when a verb takes two objects, one literal and one figurative. Throughout the story, air is \u201csweet with cane and forgetting\u201d and the mouth of a well is \u201cboarded with ply and chance,\u201d as if a magnet is pulling the sentence away from material reality. Finally, negative parallelism, the \u201cnot x but y\u201d construction, which is much reviled by human L.L.M. detectors for its ubiquity in A.I.-generated prose, is all over \u201cThe Serpent in the Grove\u201d: laughter is said to \u201ccut a hush, not cure it,\u201d and Nazir writes that \u201cbush took him in\u2014not like a mother, like a judge.\u201d These rhetorical devices exploit our learned associations between certain types of repetition in prose and heightened meaning; they also create a pulse we feel in our bodies. If they recur in automated text, it\u2019s because they recur in human writing, but in the fake stuff they\u2019re decoupled from content.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cThe Serpent in the Grove\u201d is about a farmer, Vishnu, who tricks his wife, Sita, into falling down a well. The story has its share of glaringly nonsensical phrases that should have tipped off anyone paying an iota of attention\u2014for instance, when Vishnu spies a sexy visitor, we learn that the woman \u201chad the kind of walking that made benches become men.\u201d But most of its failures are subtler, more insidious. Sita\u2019s survival is a fact \u201cthat felt like a small warm animal in her hands\u201d; the problem isn\u2019t that a reader can\u2019t picture a fact being cradled like an animal\u2014it\u2019s that the image and the thought behind it is maudlin.<\/p>\n

Likewise, a comparison of \u201csilence in a village\u201d to \u201csmoke\u201d that \u201csneaks from something burning\u201d tracks perfectly; the lines are grating not because they\u2019re semantically wonky but because of the ostentation and portentousness with which they dress up a mundane observation. (It\u2019s too quiet outside.) Most of the descriptions aren\u2019t guilty of incoherence\u2014though the L.L.M. discourse sometimes seems to discount how much opacity or illogic readers will forgive under the banner of poetic license\u2014so much as sentimentality or triteness. \u201cFirst good rain after dry is a forgiveness the sky gives itself,\u201d we\u2019re told. When a child \u201cwith cheeks sticky sweet\u201d sees his injured mother, \u201chis face did a thing with no name\u2014opened, broke, opened.\u201d It\u2019s the kind of clumsy grasping at cosmic truths that many human writers also lean on.<\/p>\n

Maybe the most fascinating aspect of the story\u2014fascinating because it feels inhuman in a plausible and almost endearing way\u2014is what seems like a fundamental confusion about the kinds of behavior, agency, or interiority that one might expect from inanimate objects, body parts, or concepts. \u201cThe grove remembered,\u201d we\u2019re told. \u201cWater is jealous.\u201d \u201cWood complained.\u201d Online, commenters mocked the description of Vishnu\u2019s fellow-villager, Marsha, who is \u201cbig in the way of women who never apologize to furniture.\u201d They lampooned the sentence: \u201cHard living lays itself on a man like wet sacking; it never asks permission.\u201d Yes, these lines are inelegant, but part of what makes them so strange is what they presume about the inner lives of things and abstractions. How, after all, would \u201chard living\u201d ask permission? Why would you apologize to furniture?<\/p>\n

A surreal machine-generated piece of writing entirely centered on the hopes and dreams of overlooked objects would be entertaining, if nothing else, but Nazir\u2019s story couples the personified benches with human characters of generic blandness. Several embody the mustiest clich\u00e9s of post-colonial melodrama: a pathetic husband driven to violence, a maternal village woman, a subjugated young bride. (\u201cNineteen and brown like dust after rain, she turned roti dough with a rhythm that came not from joy but from endurance.\u201d) Backstories are barely sketched in\u2014\u201cOrphan was too kind a word\u201d\u2014and often in the second person, implicitly assigning them to the reader rather than the character: \u201ca house where people forgot to see you.\u201d Statements tend to be axiomatic rather than descriptive of particular individuals. A character in the story doesn\u2019t shrug. He shrugs \u201cthe way men shrug when feeling places a hand on the neck and says be still.\u201d The result feels like a statistical approximation of many lived experiences that resembles no single lived experience.<\/p>\n

Compare Nazir\u2019s story to a piece of writing by a human: \u201cA House for Mr. Biswas\u201d (1961), by V.\u00a0S. Naipaul, which was also set in Trinidad. In an early scene, the narrator describes Mr. Biswas\u2019s first impressions of a house on Sikkim Street that he will go on to buy, for more than he can afford, from an unscrupulous legal administrator:<\/p>\n

Read more Could Switzerland Become the First Country to Cap Its Population?<\/a><\/p>\n

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What a change from those backyards, overrun with chickens and children, to the drawing-room of the solicitor\u2019s clerk who, coatless, tieless and in slippers, looked relaxed and comfortable in his morris chair, while the heavy red curtains, reflecting on the polished floor, made the scene as cosy and rich as something in an advertisement!<\/p>\n<\/div>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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It\u2019s hard to imagine an L.L.M. demonstrating comparable mastery over the tangible details of a physical space. It\u2019s harder still to picture it infusing its output with such envy, aspiration, or simple bewilderment at the varieties of human fortune. When Nazir\u2019s story reaches for a similar effect\u2014portraying how a young child has been changed by his parents\u2019 ordeal\u2014we get: \u201cYears did what years do. Puttie grew and learned to widen his narrowed eyes by choice \u2013 for tenderness, for beauty. He climbed cocoa trees without bruising pods. He learned to hear his mother coming by the weight of her good foot and the mercy of her bad.\u201d<\/p>\n

For many commenters, these rhapsodically expressed banalities are less offensive than the fact that a group of cultural gatekeepers rubber-stamped the story\u2014that the serpent got into the grove in the first place. As the novelist Will Self and others have written, Fazir\u2019s success suggests an unhealthy literary culture, one that was deteriorating long before the A.I. asteroid hit (and maybe since the dawn of literary culture). Some X users said that the winning entry embodies the tendency of M.F.A. programs to promote a kind of stylistic polish at the expense of substance. One of the judges, Sharma Taylor, praised Nazir\u2019s story in terms that, to many readers, sounded suspiciously bot-like, remarking on his \u201cprecise yet richly evocative\u201d language, which conveys \u201cvivid, lush imagery with remarkable economy.\u201d That Taylor\u2019s statement also conforms to the conventions of creative-writing-seminar plaudits is part of the problem.<\/p>\n

Others take the story\u2019s recognition by the Commonwealth judges as evidence that the literary establishment is guilty of condescending to the Global South. A Substack parody of Nazir\u2019s tale by the Mexican-American writer John Paul Brammer ridiculed the aestheticized representations of poverty and feints at mysticism that prize committees have been charged with rewarding. Brammer\u2019s spoof, which he set in \u201cThese Parts,\u201d a cheeky mockup of \u201cOklahoma or maybe Kansas\u201d, contains the line, \u201cShe was the potholes and the boarded-up arcade and the meth and the steepled church and the notion that things used to be better but aren\u2019t so good anymore.\u201d The emulation is spot on, though the satire is somewhat weakened by the fact that, as J.\u00a0D. Vance can verify, writing in this vein itself garners plenty of praise from patronizing gatekeepers.<\/p>\n

Behind these accusations\u2014that creative-writing seminars are vapid credential farms and that literary distinctions are a sham\u2014seems to lie a suspicion that those who prevail in the competitive world of literary fiction are more fashionable than they are honest. Must writers mean what they say? In a lot of ways, the prospect of L.L.M.s churning out prize-winning fiction chills us because it conjures up the spectre of the writer as hack or courtier\u2014someone who writes not out of any desire to express what they\u2019re thinking or feeling but because they want money, admiration, page views, etc., from the completed job. (By the standards of transcendent literary fiction, I\u2019m afraid that most of us working writers are hacks, courtiers, or both.) Externally motivated writers anxiously check on your reactions to their work\u2014\u201cwas this response helpful?\u201d \u201cdid you like my article?\u201d They flatter your preconceptions and absolve you of your prejudices. They move you by showing you romantic versions of yourself: now you\u2019re a sad child in a home \u201cwhere people forgot to see you\u201d; now you\u2019re a soulful type who\u2019s predisposed to discover \u201ctenderness\u201d or \u201cmercy\u201d in unexpected places. They don\u2019t test you by showing you who they<\/em> are, or could be, and who you could be by extension: small-minded, unrelatable, ridiculous, mad at the chickens and children, jealous of the solicitor\u2019s clerk.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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If \u201cThe Serpent in the Grove\u201d sounds like it was written by a bad writer, that\u2019s because the chatbot that appears to have extruded it was trained on a diet of bad writing. The chatbot would have been asked to produce a short work of post-colonial fiction worthy of a literary prize. It delivered an off-key imitation of the genre\u2019s worst tropes. Lina Abushouk, analyzing the imbroglio for the website Africa Is a Country<\/em>, observed that the story\u2019s stylistic quirks revealed the formal and expressive qualities that Euro-American publishers expect and demand from African and Caribbean authors. \u201cThe scandal is that the existing formulae for \u2018authentic\u2019 postcolonial prose are already so codified that a language model can reproduce them convincingly,\u201d Abushouk wrote. \u201cIn this way, AI does not disrupt literary taste so much as expose its furniture.\u201d<\/p>\n

The threat of A.I.-generated writing is particularly acute in forms such as romance and fantasy novels, which rely heavily on stock characters and sc\u00e8nes \u00e0 faire. Last year, the romance authors K.\u00a0C. Crowne and Lena McDonald were widely shamed for forgetting to remove A.I. prompts from their published work. In February, the Times<\/em> ran a piece about the novelist and writing coach Coral Hart, who teaches aspiring purveyors of happy endings how to craft stories with A.I. Her business, Plot Prose, has served more than sixteen hundred clients, she told the Times<\/em>, including authors who\u2019ve publicly spoken out against computer-generated fiction but have secretly signed up for her classes. A month later, the publisher Hachette revoked a forthcoming horror novel, \u201cShy Girl,\u201d whose author, Mia Ballard, was accused of using A.I. as part of her creative process. Many readers didn\u2019t seem to care whether the text was human-authored or not: \u201cShy Girl,\u201d which was self-published last year, maintained a three-point-three-nine-star average rating on Goodreads even after the controversy broke.<\/p>\n

The case for A.I. in fiction tends to be something like: Well, people have always written schlocky or formulaic books. For the past two decades, our reigning cultural ideology has been poptimism\u2014the idea that if a lot of people like a work of art, then it has to be good. Now we have sloptimism, which holds that if there\u2019s a lot of a particular type of art out there and people are engaging with it, and not complaining too much, then how bad can it be? The counterpoint, of course, is that readers deserve better and always have. An A.I. can\u2019t mean what it says, and indeed no human writer can mean what an A.I. writes on her behalf\u2014she can agree with it, she can aspire to it, she can hide behind it, but she can\u2019t mean it. The sloptimists are betting that writing devoid of an inner purpose can rival the stuff ripped out of an author\u2019s chest with a claw grapple. Any serious reader knows that it can\u2019t.\u00a0\u2666<\/p>\n

Read more Maine Primary-Elections Map: Live Results<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Katy Waldman writes on a prize-winning story by Jamir Nazir, published in Granta, suspected of being A.I.-generated, and what the public\u2019s response indicates about contemporary literary culture.<\/p>\n","protected":false},"author":1,"featured_media":446,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49],"tags":[],"class_list":["post-447","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-page-turner"],"yoast_head":"\nDid a Chatbot Write a Prize-Winning Story? 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