A Twist in This Year’s Strangest Literary AI Scandal - The Atlantic

Jamir Nazir has become the face of the AI-writing crisis. In May, the largely unknown 62-year-old Trinidadian writer was named a regional winner of the prestigious Commonwealth Prize for his short story “The Serpent in the Grove.” But after it was published in the literary magazine Granta, signs began to emerge that the story—about a cocoa farmer who cheated on his wife and then tried to kill her—may have been AI-generated. Among other indicators, Pangram, an imperfect but industry-leading AI-detection tool, flagged the story’s text as 100 percent artificial.

Inscrutable lines plucked from Nazir’s dense prose were mocked and memed. A young woman in the story “had the kind of walking that made benches become men.” Another “smiled like sunrise over a sink.” Soon, other winners’ stories came under suspicion. The Commonwealth Foundation defended the authors, saying that all had testified that their work was original, but it pledged to investigate further.

On Tuesday, the Commonwealth Foundation announced that “The Serpent in the Grove” had been chosen from among the regional winners as this year’s overall prize winner. “The team worked hard to understand Jamir's creative process and learn how he shaped his story over time,” a spokesperson for the Commonwealth Foundation told me in an email. Razmi Farook, the organization’s director general, had previously issued a statement on the results of its probe: “After a thorough consultation with our judges and careful consideration of all available information, we are satisfied that AI was not used to write the winning stories.” He noted that the investigation did not make use of Pangram or other AI-detection tools, because of their inability to provide conclusive evidence as well as “concerns regarding artistic ownership and consent.” Instead, the foundation said that it had held “detailed discussions” about the regional winners’ creative process and examined “working drafts, time-stamped documents and notes” that showed how they developed their stories.

In a phone interview on Tuesday afternoon, Nazir told me that he feels vindicated—and relieved. “Look, I didn’t use it!” he said about AI. Now that he has won the prize, Nazir said, he is free at last to explain his process and clear his name.

We talked for more than an hour about his writing process, his health (he referenced complications with both diabetes and cancer), and his views on technology. On several occasions, he seemed to avoid answering my questions directly; when he did, some of the answers were circuitous. I was surprised to hear him opine that AI-generated writing will soon be widely accepted in literature, even as he maintained that he didn’t use AI tools in creating his story. He seemed bullish on AI overall, viewing it as a revolutionary technology, though he worried about the repercussions of saying so. Although he couldn’t name any works by Derek Walcott, a writer he cited as one of his main literary inspirations, he said that he had prepared a collection of short stories in Walcott’s style, which he hopes to publish soon.

This conversation has been edited for length and clarity.

Will Oremus: How did it feel to win this award after all of the controversy you’ve endured since you were named a finalist?

Jamir Nazir: Yes, there’s been a lot of controversy preceding this win, and it’s been really hard. To hear people smearing me, and reading all of the crap. They didn’t know there was a real human and a real family behind the story.

One of my most joyful moments in receiving the news that I won the award was sharing it with my mother, who will be 82 in August. My nephews have kept her informed on lots of the negative things. I didn’t take a sword and plunge it into her side, but I felt as though I supplied the sword by entering the competition. So it made me feel so good when I could tell her that I had won despite all the nonsense that they were seeing.

Oremus: I know you’ve said you didn’t use AI while writing this story. But I’m interested to hear more about your writing process. People were curious how you produced this work that was so dense that it almost reads more like poetry than prose.

Nazir: I was born with diabetes. And as a result of that, conventional typing on a keyboard—it’s extremely difficult for me. As I’ve gotten older, the neuropathy has gotten worse. Sitting for long periods of time at a desk gives me some back problems. So what happened is I decided: Look—no better place to write than the couch. And as a result of that, I found out that I can use the speech-to-text function of the Google keyboard on my Android phone …That’s what’s actually producing words, and then I edit them and so on.

That has given me the opportunity to significantly polish text. Because you know, on an Android phone, when the keyboard comes up, you only have a very small space, about three and a half inches, to see the writing....