A controversy surrounding a prize-winning short story has raised questions over the use of artificial intelligence in fiction.
“The Serpent in the Grove” by Jamir Nazir was named the winner in the Caribbean category of the Commonwealth Prize, but “syntactical tics” alleged to be telltale signs of AI use, as well as “the verdict of an AI detection platform”, have caused an uproar in the literary world, said The Guardian.
Smelling a rat
The judging committee said the winning story was told in “a voice of restraint and quiet authority”, praising Nazir’s language as “sublime” and “precise yet richly evocative”. But soon “literary sleuths smelled a rat,” said LitHub.
“Off a hunch”, Ethan Mollick, a professor who studies AI, ran the story through Pangram, a program that claims to detect AI writing with 99% accuracy; the results came back with “100% red flags”. Writing on Bluesky, Mollick said: “Come on, if you know you know.”
Nazir has denied using AI to write the story, which he says was inspired by childhood memories. Granta, the magazine that published the winning story, said they were still investigating the allegations. The foundation that awarded the prize said that all entrants were required to confirm that their submission was their own work and not created with AI assistance.
The accusation is “another episode” in an “ongoing, frenetic conversation” about “whether artists and creators are passing off AI-generated work as their own” and whether publishers “will be able to reliably catch them doing it”, said The Guardian.
In April, Hachette pulled a novel called “Shy Girl” by Mia Ballard from bookshops after Pangram said it was 78% AI-generated, and in March, The New York Times cut ties with a freelance journalist after he admitted to having used artificial intelligence to write a book review. Such episodes have “fuelled discourse around the telltale signs of AI writing”, including frequent use of specific words (“delve” being one example), a “profusion of em dashes” and a predilection for “vague, soft intensifiers” such as “quietly powerful” and “deeply transformative”.
Detection industry
The “ideal” expressed by Razmi Farook, director-general of the Commonwealth Foundation, who said she places “complete trust in writers”, may not “be enough to stem the tide of AI slop” in “everything from high literature to scientific research”, said Wired.
Some writers have already admitted that they use AI. Steven Rosenbaum acknowledged that his new book “The Future of Truth”, which “grapples with the nature of veracity in the AI age”, itself contains AI-hallucinated quotes. The Nobel Prize-winning novelist Olga Tokarczuk “outraged her own fans” by admitting that use of LLMs is “part of her creative process”.
But the “biggest bummer is to come”, said LitHub, because although “winning a literary prize is one small step” for AI, it’s “sure to be catnip for the pushers touting the technology’s creative potential”.
Meanwhile, the row over the Commonwealth Prize and similar controversies have “generated energetic business” for a “new cottage industry” of AI detectors, said The Guardian. Researchers into the efficacy of the models predict that there will be “a continuous technical arms race” between the detectors, AI models and writers adapting their usage of them.