Prompted by Lily Hoang’s ‘On the Limits of Empathy, or, the Universality of Grief’

What struck me immediately after my dad died is that the grief I felt seemed simultaneously the most and the least unique feeling in the world: in its singularity no one could understand it; yet in its universality, to some extent, everyone could. I was comforted by this; by this sense that millions and millions of people have been in this situation and got through it. Time rolls on.

I find it interesting that in the therapy I’ve had since he died uniqueness and originality are subjects I’ve returned to again and again. Primarily, it has to be said, I’ve spoken about these subjects in terms of disappointment at realising that aspects of my personality I’d always thought were just completely my own are not really, after all, so unique. I don’t know what it might mean; perhaps it’s some sort of accounting I’m carrying out: what’s me; what was him etc? Perhaps, as well, I may just have sublimated the wanting of an original grief; that desire then emerging in another form? I find a possibility of truth in that. I realise I have a problem with grief: I feel guilty about indulging it. My dad dying was the terrible thing and that anything else might come close to causing me an equivalent level of pain – I mean even my grief over him dying – feels like something awfully hard to accept.

Last Thursday it was exactly four months since he died. I went to work; I sat at my desk; I talked to my colleagues; and I checked Facebook and my Gmail. I left at half five for an appointment with my therapist. The beginning of the week I’d felt very focussed on the coming Thursday; I’d expected it to be a tough day. As it turned out, for the biggest part of the day, it wasn’t tough at all. After seeing my therapist though things seemed totally to fall apart. I don’t know how to describe what happened other than to refer to those times a person feels hyper: a lot of energy; and, I guess, a kind of excitement at the things you might be able to do whilst in this mood; with it only slowly dawning on you that this excitement is a waste of time as this energy is directionless and impossible to focus. Well I had kind of the opposite of all that. There seemed to be a hyper-ness about how I felt, sure; yet instead of excitement featuring it absolutely was a down mood. And even now, two days later, I still don’t feel certain what happened: either I’d accessed something I’d tried to deny or I’d given one thing the name of something else out of a sense of dutifulness or, perhaps, a mixture of the two.

I wanted to tell my friend on Thursday about the significance of the day. I didn’t though. I wanted to tell it just as news but I was concerned, rather, it might come out as some kind of plea for sympathy. I’m not in a position yet to be able to assess the rights and wrongs of this.

This time last year I was involved in a brief relationship with a woman I’d met, in all places, via Facebook Scrabble games. I’d been playing online Scrabble for months – not in the hope of meeting anyone; just because I liked Scrabble – and opponents always seemed to be from London or Australia or somewhere; anyway, places very far away from where I live; this woman was from Stockport – just round the corner, effectively. Anyway, her dad had died some years earlier and she missed him very much; and she got it into her head that she wanted to meet my dad. As time passed this seemed to become more and more of a preoccupation for her; yet, it began to seem to me, more a kind of theoretical preoccupation than an actual one. What I mean is she liked to discuss meeting my dad yet never wanted to make any actual plans to that end. So the meeting never happened. She would always ask though, often even before she’d asked how I was, if my dad was okay.  Since he died I’ve wondered on several occasions if I should get back in touch with this woman to let her know about my dad. I haven’t though. I think the occasions when I do consider this are times when I very much do want sympathy – and not necessarily perhaps for reasons connected to my dad. To use his death then as a means of acquiring that sympathy would feel very wrong to me.

Empathy is possible, absolutely. Regarding this idea of ‘genuine empathy’, well, if ‘genuine empathy’ is only possible between like and like I reckon it’s an idea that’s better off ditched. A person can understand and share another person’s feelings, sure; of course though they can’t access those same feelings in their particularity and uniqueness. Over these past four months I’ve been hugely grateful for the support of family and friends.

Since he died I have cried loads. The most recent time being last night at the thought of sorting through his clothes which I knew I’d be doing today. So far I haven’t cried today.

Tonight I will drink two cans of lager. Two because it’s that there are only two in the fridge. In the days and weeks following his death I drank loads and I drank all manner of stuff. The main reason for my drinking was, I think, because I just didn’t want to be at home – the home I’d lived in all my life with my dad. Drinking took me to the pub. It put me amongst people – alright, most of the time not people I was talking to (generally I’d be in the pub alone with just a book for company); it made that period between getting into bed and falling asleep last probably just minutes; drinking had a lot going for it. Today, mentioning to my aunt about the two cans I’d had last night as well, I realised something had changed: recently I’ve been drinking less.

About a month after my dad died the mothers of two friends at work died. Then the month after that the mother of a third friend died as well. I don’t think there were sky high expectations of me being able to prove particularly empathetic given what I was going through myself; and that was perhaps fortunate for me. Mike said to me though that people he would have expected a lot from at that time had, he felt, let him down; whereas people he didn’t expect so much from had really delivered. The reason for me saying this – I assume it’s clear – is that he felt I’d delivered. He meant, I think, I’d said stuff to him which was appropriate and which was useful. I’d found that easy to do though. As I said to him, perhaps I knew what to say because I’d so recently gone through this stuff myself. And that easiness is something I just don’t trust. It feels like due to it being so easy for me to know what to say what I said can’t have meant too much. Really, I mean, how useful are words? And I feel my sense of their uselessness takes something away from them even as I’m saying them. Still though, at such times words are often all we have to give.

How do we learn about death?  We can learn about it from books, sure; but from books we’ll only take the generalities. Death in its horrible particularity is something we can only begin to learn about as we see those around us we love die.

***

Richard Barrett lives and works in Salford, UK. His poetry collections are Pig Fervour (Arthur Shilling Press, 2009); Sidings (White Leaf Press, 2010); A Big Apple (Knives Forks and Spoons, 2011); # (zimZalla, 2011); The Shangri Las (erbacce, 2013); with, forthcoming, Free (Blart Books, 2014). His work has been widely anthologized; most recently in Philip Davenport’s The Dark Would. He is a co-organiser of the Manchester based reading series Peter Barlow’s Cigarette.

Random / 1 Comment
January 13th, 2014 / 10:05 am

Best Covers of 2013

As 2013 came to an end, everyone made lists of the best books of the year. Sadly, most of the lists published in popular sites (again, I said most, not all) focused on whatever came from the Big Five during the year and left out the gems that came from indie presses. Then the same thing happened with covers. I read/saw best lists covers at places like Flavorwire and The New York Times, and none of my favorite covers were there. Sure, there were a few good ones, but most were unoriginal, unbalanced, mediocre, etc. You know, fake ripped paper, bad photography, a few birds. I held a lot of covers in 2013, and most came from indie presses, so I decided to make my own list of best covers. Here they are in no particular order.

Sociopaths in Love by Andersen Prunty. The cover image by Dorothy Bhawl is great. Plus, a naked man riding an old stationary bike while wearing an elephant mask has to be on any cover list you make. Grindhouse Press publishes outré literature, and their covers let you know what you’re getting into.

sociopaths

Bizarro superstar Carlton Mellick has made wise decisions throughout his career, and working with artist Ed Mironiuk is one of them. You don’t need to see Mellick’s name on a cover to know you’re looking at one of his book. As every year, Mellick released a few novels and they all had good covers. However, Clusterfuck gets the top spot because it reminds folks of Apeshit‘s cover, pays homage to all things 1980’s and gory, and because no one else out there has the guts to make underboob a recurring element in his or her cover art.

clusterfuckcover

Michael J. Seidlinger is writing fantastic novels and editing/publishing top-notch literature over at Civil Coping Mechanisms. With whatever time he has left, he designs great covers. CCM covers are always different, and this year the best one was the cover for Heiko Julien’s I Am Ready to Die a Violent Death. It’s fun and wild and dirty, like a weekend in Vegas. Seidlinger is giving alt lit a look, and with the upcoming (June 2014) release of CCM’s 40 Likely to Die Before 40, and anthology co-edited by Seidlinger and Lazy Fascist’s editor Cameron Pierce and featuring work by Sam Pink, Scott McClanahan, Ana Carrete, Richard Chiem, Heiko Julien, Chelsea Martin, Megan Boyle, and many others, it looks like he will be doing it for a long time to come.

ready

Chances are you haven’t heard of Dynatox Minitries yet. In 2014, you probably will. Author Jordan Krall started it as a project to publish limited edition books by neo-beat, neo-noir, horror, surreal, bizarre, and just plain weird authors he thought deserved a chance and weren’t getting one. It worked. Besides writing, editing, and publishing, Krall also does most of the covers, and some are as wild as the words inside. My favorite for 2013 is based on a painting by Krall and was designed for Randy Cunningham’s short story collection The Man With the Donald Sutherland Face.

theman

It seems Two Dollar Radio is doing everything right these days, and covers are not the exception. I loved the image on the cover of Scott McClanahan’s Crapalachia, but the best one this year has to be Jeff Jackson’s Mira Corpora. The color is unique and the art is eye-catching with a touch of creepy. Also, kudos to artist Michael Salerno for proving that with enough talent and drive, great things can be done with something as simple as a Flickr image.
mira

Reading those rigged lists everywhere was hard for many reasons, but not seeing a Matthew Revert cover anywhere was insulting. Revert, who besides an outstanding designer is one of the best authors out there and whose novel Basal Ganglia made my list of best reads of the year, is the go-to man when it comes to eye-catching covers. Broken River Books, Lazy Fascist Press, Copeland Valley Press, Grindhouse Press, Dark Coast Press, LegumeMan Books, Swallowdown Press, and Raw Dog Screaming Press are some of the outstanding indie presses that regularly turn to revert for the kind of designs that sell books. Remember that famous cover that resembled a whisky’s brand and made Patrick Wensink a viral sensation? That was a Revert cover. Have you seen those recent books by authors like Jedidiah Ayres and Stephen Graham Jones that made Broken River Books the best thing to happen to crime fiction in 2013? All of them had Revert covers. All of Revert’s work deserves to be on this list, but I’ll give you the one for Pearce Hansen’s Street Raised and suggest you check out the rest of his work on your own:

street
***

Gabino Iglesias is a writer, journalist, and book reviewer living in Austin, TX. He’s the author of Gutmouth (Eraserhead Press) and a few other things no one will ever read. His work has appeared in The New York Times, Verbicide, The Rumpus, HTMLGiant, The Magazine of Bizarro Fiction, Z Magazine, Out of the Gutter, Word Riot, and a other print and online venues. You can reach him at gabinoiglesias@gmail.com.

Random / Comments Off on Best Covers of 2013
January 13th, 2014 / 10:00 am

Let’s overanalyze to death … Bonnie Tyler’s “Total Eclipse of the Heart”

So far in this very irregular series, we’ve scrutinized Gotye’s “Somebody That I Used to Know” and Macaulay Culkin eating a slice of pizza—preparation for tackling one of the greatest and most beguiling music videos ever made.

“Total Eclipse of the Heart” was a single from Bonnie Tyler’s fifth album, Faster Than the Speed of Night (1983), and her biggest hit. It was written by Jim Steinman, Meat Loaf’s once and future collaborator. Steinman also planned out the video, which was then directed by Russell Mulcahy, a man responsible for numerous ’70s and ’80s music videos,  as well as the films Highlander, Highlander II: The Quickening, and Blue Ice. So that’s the aesthetic world we’re dwelling in. (In a single word: overblown.)

The video itself is pretty broad, and rather easy to read—broadly. Simply put, Tyler plays an instructor (or an administrator) at an all-boys boarding school. (I will refer to her character as “Tyler” throughout, for convenience’ sake.) Extremely sexually repressed, Tyler endures a long night of the soul fantasizing about her young charges; this constitutes the bulk of the video. Come morning, she (and we) are returned to restrained, repressive reality. But we’re left with the hint that A.) at least one of her students has magically become aware of her fantasy, or B.) her fantasia has caused Tyler to become mentally unhinged. (I lean toward B and will defend that reading below.)

That’s the basic outline. The devil, however, sits in a straight-backed chair, clutching a dove. He’s also in the details, so let’s delve deeper …

READ MORE >

Craft Notes & Film & Music / 7 Comments
January 13th, 2014 / 8:01 am

Sunday Service

Sunday Service: Matthew Henriksen

I Don’t Get Home Much Anymore

Cancer stink on interstates through Missouri and Illinois
No dreams induce sleep

Home
the word

represents
what’s closer to grass and trees
a mind away from smoke

The home I lived in
all the streets coordinate
paralysis in a shot of strychnine

Now I prefer stoned mountain roads
I live in a box in the mountains, yes
but my parents don’t cry in
their words there

I broke their mouths against my door
I locked myself inside with my daughter and her laughter
the shotgun I hold to my head

My light-crazed head
grins in the trees
shining through the window

I’ve been told to stop talking about light
To think money language
To think military-industrial complex squid children shudders
To drop drones everywhere

But light, friends, enters through the windows without breaking anything
Light makes the trees and light makes my daughter laugh

Not a weapon
my daughter
when the world is made of light

guns and money made of light, too
and everything made of light dissolves in light
salt in salt water
glows a thick light

Mind glows its own solution
Mind not like moon, not reflecting

But origin, a child
laughing when her daddy laughs

one bird laughing after another

I don’t go home
What fire alights has burnt out
What has resolved in its ash foundations hardly holds anything

A house will not stand after emptying

Places away from the disasters
let me breathe out

I open the door and let my daughter
run down sidewalks full of commerce

bio: Matthew Henriksen is the author of Ordinary Sun (Black Ocean, 2011) and a few chapbooks, most recently “Latch Down the Dark Helmet” (Wildlife Poetry, 2013). Recent poems appear in Toad Suck Review, N/A, Apartment, and Yalobusha Review. For Fulcrum #7 he edited “Another Part of the Flood: Poems, Stories, and Correspondence of Frank Stanford.” Since 2003 he has with Adam Clay co-edited Typo, an online poetry journal. He runs The Burning Chair Readings and works at the Dickson Street Bookshop in Fayetteville, Arkansas.

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Daniel Beauregard Release Day Interview Party!

BeauregardCoverWeb-251x300Today, my new press, 421 Atlanta, releases Daniel Beauregard’s debut chapbook, Before You Were Born. First things first: you can order it here, or here if you want to get a great deal on both it and Publishing Genius’s newest chapbook release, The Kids I Teach by Andrew Weatherhead and Mallory Whitten. Speaking of Publishing Genius, I thought I’d take a page from PGP man (& BYWB designer) Adam Robinson’s playbook and post a quick but savory Q&A with my author so that HTMLGiant readers can get to know him a little better! It was really interesting to think about Daniel’s poetry as an interviewer instead of as a publisher, and I was very excited to see his thoughtful and candid answers to my questions. And here they are!

How did dreams, objects, and found texts interplay with your process in writing the poems in your new chapbook?

Dreams played a very large role in writing the poems found in “Before You Were Born.” In a way I feel many of the poems were dictated to me through my subconscious—at times I woke in the middle of the night after a dream and the dream became the poem. Other times, things came more sporadically, a line at a time. When I added the lines together they made sense. Or they didn’t. I have a dry erase board next to my bed and if something comes in those hours between waking and dreaming that is important to me, I straggle out of bed and write it down usually without turning on the light. Then I go back to bed or, if the lines keep coming, I’ll turn the light on. Objects played a large role in writing the poems as well. I was obsessed with the way things can be continuously broken down then built into something new. Like an atom bomb or a pulsar. I didn’t rely on found text in these poems as much as I have in my more recent work. However, there are a lot of bits and pieces I’ve picked up along the way that have wedged their way into the poems—conversations, arguments, emails.

And how about The Simpsons?

The Simpsons is always somewhere inside me D’oh. There aren’t many references to the show in “Before You Were Born” but I did steal a line from Superintendent Chalmers. It’s from a scene when Chalmers and Principal Skinner are walking in the parking lot and Chalmers shows Skinner his new car. Skinner says: “It gets me to from A to B—and on weekends, point C.” I do have several other poems that reference the show though.

There’s something about the poems in Before You Were Born that seems, not personal exactly, but private. How do you think about audience and the reader?

There is something that’s a little private in those poems because, in a way, it’s asking the reader to take a step into my mind—to see the things that I obsess over; the things I rant about. Tiny particles. Dust being bits of skin. Swamp lights and the souls of dead children. I don’t like to think about the audience and the reader too much. I like the idea of the reader looking into a glass house. You can throw whatever you want at it but the house will stand or melt into something else, all the while a part of me will remain. These poems are an exercise in understanding myself—they are very much selfish.

What are you working on now?

Lately I’ve been interested in how caves can be used as a larger metaphor for language. I haven’t thought too much about it yet but I’ve begun studying caves via various texts and hopefully over the next few months I can visit some caves myself. I’m interested in how life can thrive in the depths of these caves without any sunlight—bacteria, viruses, extremophiles—not exactly sure where it will go but I’ll continue playing with the idea of desiccation, dissolution and creation. I’ve also got another project titled “HELLO MY MEAT” that I finished recently. It’s a series of loose sonnets created from words and phrases found in various anatomy texts, letters from sea, captain’s logs, butcher manuals and sea diaries from the early 1900s.

Author Spotlight / 1 Comment
January 10th, 2014 / 2:01 pm

u mad bruh?

ppl seem mad

i am so not mad

like, at all

like, this is the most fun the lit scene has had in minutes

i mean, have you ever been to a poetry reading?

long live mellow pages!

who do you want to see step in to fill the gap and sponsor mellow pages?

here are my top choices:

1. Hot Topic #teen #mellowgoth
2. Haliburton
3. Red Lobster
4. CHANEL
5. ‘Bojangles Famous Chicken n Biscuits’
6. Sephora
7. Anshan Heavy Duty Mining Machinery Co Ltd
8. Fuddruckers

THE GOOD GHOSTS OF SNAPCHAT

acura-sent-100-followers-a-snapchat

I don’t know if you have realized it, but if you look carefully at The Dick Van Dyke Show, you might notice that the star-couple does not share a bed. In fact, married couples did not sleep in the same bed until 1952 on American television, which is totally ridiculous. [1]

Things change in our culture and many weird things we are unsure we want to welcome suddenly become our reality. Here comes the Verysmartphone 5.3, with all of the internets for you to have and carry with all the time! The facebooks, the twitters!! Everything. And ew, you have Snapchat? What are you, a weird pedophile or, like, a huge slut?

Well I am neither, and I love Snapchat.

My entire immediate family lives in a country far, far away, in a small place called “Greece.” I don’t get to see them often, so it was great to have my mom and sister come visit over Christmas. We fought so much! It was amazing. But also, I made my sister download Snapchat. This has been the best thing for our relationship since I have emigrated from Greece and away from my family.

My sister is the kind of person who does not use social media the way I do. It is not a place for her to bitch about how adulthood is probably when you start washing your french press before you need to reuse it. We have a different sense of what is publicly acceptable as an extension of one’s self. This is where Snapchat comes in, I think. She is no longer preoccupied with appearing a certain way, even to me. There is a vehement liberation from the anxiety or stress some feel over the perfection a “permanent” record of a picture or note “must” leave; it is a weird empowering liminality that arrives with the immateriality of the Snapchat application.

An important detail to emphasize is that my sister is also not the kind of person to gchat or verbally engage with me meaningfully online. She might be more of a visual communicator. I do not know for sure, but that is what the past month has shown me. And I am so happy in this little unimportant—yet so, so important—discovery. I can look at the video she sent me of her walking towards her boyfriend’s Ducati, and I can feel close to her. I still haven’t met her boyfriend, but I kinda know how he makes her feel and this technology has given me a sense of intimacy I didn’t know was possible. (Sister’s boyfriend is also the President of the Ducati Club in Greece, and for that alone, from my standpoint, they’re meant to be!)

With Snapchat, my sister can have separate beds in a public sphere, and if that is what she wants it should be respected. But it is nice to no longer feel as away from her as I really have been.

Snapchat-20140110114704

[1] First shared bed thing was actually in 1947, but the couple was married IRL and it was before TV was really TV, just in case someone wants to split hairs.

Behind the Scenes & Haut or not / 2 Comments
January 10th, 2014 / 12:53 pm

Reviews

The Persistence of Crows

49347_632_persistence_cover_CMYKThe Persistence of Crows 
by Grant Maierhofer
Tiny TOE Press, 2013
173 pages / $12  Buy from The Open End

 

 

 

 

 

 

Coming of age narratives are usually as riddled with tropes as low-budget horror films. Sure, there are a few outstanding novels in the genre like Bret Easton Ellis’ Less Than Zero and Anthony Burgess’ A Clockwork Orange, but the list of must-reads grows at the speed of stalactites. Grant Maierhofer’s The Persistence of Crows, from Tiny TOE Press, has joined that short list with a story full of depression, too-beautiful moments, and kind of soul crushing realness.

Henry Alfi is a young man who’s recently stopped using drugs and alcohol. Sadly, his new unaltered state of consciousness has him feeling bored, lonely, and profoundly disenchanted by the people and institutions that surround his life in the Midwest: AA, friends, college, family, the women he dates, etc. One of the few things Henry enjoys is writing, so a trip to New York with his college newspaper seems like the perfect opportunity to get away from everything for a while and ponder the future. Surprisingly, the trip turns out to be more than an escape and Henry finds himself ready to move, eager to discover the world, sure that he wants to pursue a career in writing, and falling quickly in love with a woman who shares his view of the world.

The Persistence of Crows starts out as an unimpressive narrative about a young man about to embark on a trip to NYC. Despite the lack of an exciting start, Maierhofer manages to set the hooks in via his use of language and character development. The strategy is risky, but he pulls it off. The prose has a unique, somewhat offbeat rhythm and the dialogue is sharp. Also, he establishes early on that his main character is deeply flawed but also thought-provoking and the kind of individual you want to learn more about:

“It felt better to be walking by myself. I didn’t feel unsafe when I was alone. I didn’t care if some bum crept up to me. I would fight and what would happen would happen. It was when I was with others that I got nervous. It’s far easier for me to imagine defending myself than it is protecting the life of somebody else. Their life can be completely abstract even if they’re standing right next to you.”

Henry is the poster child for the broken/dissatisfied/irritated/Google generation. He feels alienated, gloomy, and deracinated despite being home. His life on drugs and alcohol was bad, but his life without them isn’t better. The story seems to be a character study for a few chapters because the dark past, recent troubles, and disturbed state of mind are all in place, but it changes drastically once Henry lands in New York. A bit of dark humor and pervasive dreariness quickly switch to a beautiful homage to the Big Apple in which Maierhofer’s knack for language and imagery take center stage:

“The rain beat down on all of us. These youthful faces soaked in the same Hudson River breeze as the old folks arm in arm enjoying the bright lights of the city. I was surprised to see that even in the afternoon the lights shone as brightly as all of the photographs I’d seen of the city at night. When I turned the corner, all breath was taken out of me. Any worry I had ever felt in my entire life up until that point turned into a sense of power as I stood there staring at the gray and red and silver world encircling me.”

The homage to NYC saturates the narrative for most of the middle third of the novel, which contains a few odd encounters between Henry and locals that deserve to be in film, and eventually bleeds into the brief but magical time Henry spends with Sara Lee Poe, a fellow journalist he meets at a panel. The duo allows the city to filter everything they experience together and they weave a cocoon of shared ideas and passion that blinds them from their imperfections. As soon as their time together is over, reality comes crashing in and Maierhofer uses it to destroy both everything Henry built and readers’ emotions.

The Persistence of Crows switches between a romance, a bizarre comedy, and something that pulls from most of Woody Allen’s early work. It is an exploration of loneliness, addiction, the construction/obliteration of love (or at least a reasonable facsimile), and disconnection. Maierhofer’s Henry thinks trying to pay attention to what others have to say can only lead to suicide, but he ends up contemplating suicide because of things that were left unsaid. Stories about falling in love in oh-so-magical New York are as old as the city itself, but Maierhofer has updated the premise to offer the honesty and ugliness that fans of authors like Tao Lin, Ana Carrete, and Sam Pink demand, and the result is worth a read.

***

Gabino Iglesias is a writer, journalist, and book reviewer living in Austin, TX. He’s the author of Gutmouth (Eraserhead Press) and a few other things no one will ever read. His work has appeared in The New York Times, Verbicide, The Rumpus, HTMLGiantThe Magazine of Bizarro Fiction, Z Magazine, Out of the Gutter, Word Riot, and a other print and online venues. You can reach him at gabinoiglesias@gmail.com.

 

1 Comment
January 10th, 2014 / 11:00 am

Reviews

GO TO WORK AND DO YOUR JOB. CARE FOR YOUR CHILDREN. PAY YOUR BILLS. OBEY THE LAW. BUY PRODUCTS.

18804337GO TO WORK AND DO YOUR JOB. CARE FOR YOUR CHILDREN. PAY YOUR BILLS. OBEY THE LAW. BUY PRODUCTS.
by Noah Cicero
Lazy Fascist Press, 2013
188 pages / $12.95 Buy from Amazon

 

 

 

 

 

 

Noah Cicero wrote a new book in 2013.

It’s called GO TO WORK AND DO YOUR JOB. CARE FOR YOUR CHILDREN. PAY YOUR BILLS. OBEY THE LAW. BUY PRODUCTS.

But I’m going to call it GO TO WORK.

GO TO WORK is a political thriller about a man who gets a job at a prison-treatment-center called NEOTAP (you never find out what this means btw) and, pretty much, wow—after that, things start to get crazy.

It’s like: WAITING FOR GODOT meets the second season of the television series LOST meets DAVID LYNCH meets BLAIR WITCH PROJECT meets the book 1984 meets IT’S ALWAYS SUNNY IN PHILADELPHIA meets the movie CUBE meets BRAVE NEW WORLD meets SVU meets ARCHER meets the book ANTHEM meets FIREFLY meets the play NO EXIT by Jean-Paul Sartre meets THE TRIAL by Franz Kafka meets the movie WHITE LIGHTNING meets the book THE POSSESSED meets LOCK UP.

There are two main characters: Michael Scipio and Monica Whitten.

The book is told in the first-person and third-person past tense in two parts: Part One and Part Two.

Part One is Michael. First person.

“I was nervous. I was wearing a nice pair of slacks and a button-down, long-sleeved dress shirt with a tie. The tie looked great. I looked great. Everything seemed wonderful. I was a man interviewing to get a job working for the government, but I was nervous.”

Also.

“I called my parents and told them I got the job. They were excited for me. They told me to come over and they could get pizza and cake. My parents were very big into positive reinforcement. When I scored my first goal in soccer when I was seven, they bought me pizza and cake. When I was in the eighth grade talent show, playing guitar very badly, they bought me pizza and cake. When I got straight A’s on my report card, I was for sure going to get pizza and cake. Pizza and cake are the ways Americans celebrate triumphs.”

Then Part Two. Monica. Third person.

“Monica walked into NEOTAP. She went into the office and said hi to Lawrence and Imad. She didn’t know Imad and Lawrence like Mike did. She didn’t have to interact with them on a power basis. She would say hi to everyone, have small talk about sports, computers, or random life things. Everyone knew that Monica loved Arby’s and would eat Arby’s at least three times a week. Sometimes people called her Arby’s girl.”

And.

“Monica considered herself a troubleshooter. Her life was about fixing problems. Her dad had taught her the joy of solving problems. When something broke, they fixed it together. When the care broke, they fixed it together. When the roof leaked, they fixed it together. When the water heater needed to be replaced, they took it out and replaced it together.”

Semi-spoiler alert: After Part One, Michael goes missing—disappears—and Monica becomes the main character because she decides she needs to find out what happened to Michael.

Kind of interesting.

The book is set in 2011 and it’s about what it means—what it’s like—to live in the real world. In America. The United States. Right now. It’s about being young. About needing to find a job. About finding that job. About needing that job so you can have access to healthcare. About falling in love. About betrayal. About deception. Needing healthcare. About following orders. About forgetting what you’re supposed to be doing sometimes. About feeling like you need healthcare real bad. About wondering if what you are doing is the right thing. About meeting people’s parents for the first time. Healthcare. About doing something crazy because maybe you think you are in love. About taking prescription drugs because they make you feel good. H-E-A-L-T-H-C-A-R-E. And about disappearing too.

It’s a lot about disappearing.

In the chapter ‘Under a Bed,’ a NEOTAP resident, who is Mexican, disappears, and no one seems to care.

“I went to Imad’s office and closed the door. I said to Imad, ‘Armando disappeared.’

Imad looked at me. He didn’t have a facial expression. He listened like I was explaining something that didn’t matter to him.

Finally, he said, ‘Okay, I’ll fix it.’

I left the office. Armando disappeared and no one cared. I saw Imad leave his office and walk to Heidelberg’s office. No one rushed around. Everyone moved without purpose, without a sense of urgency. A human had disappeared and no one cared. What kind of job did I have?”

GO TO WORK is a departure, basically, from everything [else] Noah Cicero out there. It’s got, like, a  plot. And two main characters.

Remember: this is a political thriller by a guy who is known for writing alt lit!

There are so many beautiful characters and so many different layers to everything and so many cool things that happen; and so much super-philosophical stuff about life—it’s everything you love and know about Noah Cicero and the way he writes.

But GO TO WORK is also a very scary book. Or, I guess, if you want to look at it as something that can be scary—it’s scary. Noah Cicero discusses several important real-world issues. He looks at how things right now have changed from how they were in the recent past (and the ancient past). How things right now are probably going to become very bad very soon. How things are probably not going in the right direction for the world and the environment and the people in the world. How there are some people, right now, out there in the world, who are willing to do whatever it takes, basically, to change the world. And others, who want to keep the world the way it is, no matter what, at any cost. Noah Cicero also looks at how sometimes, where you work, you may not like where you work. How sometimes, you really don’t know what’s going to happen in the end. And how really, the world is just a scary place to be.

All these themes are pretty much classic Noah Cicero.

On Facebook, Noah Cicero said it might take 6 hours to read GO TO WORK. I agree. GO TO WORK—you could read all in one sitting. And everything is written in that very-easy-to-follow Noah Cicero prose.

Criminal Thought #1. I want to get a woman pregnant. I will find the fattest stupidest woman I can find. I don’t care what race she is, probably white. If you have been to prison, fat white girls are easy. All you gotta do is show them some prison tats and a fat white trash girl will fuck you. I will get the nastiest woman I can find. A woman I know for sure will not be responsible for the child. She won’t even talk to the child, she won’t even take the child to the park… she will scam the government out of every dollar she can… I won’t pay child support. I will do lots of drugs and never see my kid. It will be really funny.”

 

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Comments Off on GO TO WORK AND DO YOUR JOB. CARE FOR YOUR CHILDREN. PAY YOUR BILLS. OBEY THE LAW. BUY PRODUCTS.
January 10th, 2014 / 10:00 am

NOT SO #DTF, OH NO!!

 

 

 

 

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Do you ever think that universally all we have in common is our interest in food and sex?

Well in Japan they are over the sex, so check your hypothesis: http://i-d.vice.com/en_gb/read/think-pieces/863/i-sex-its-better-than-sex

What I actually mean though is: can you think about materiality today? But in a good way: like touch, not like technology. I will!

Behind the Scenes & Craft Notes / 4 Comments
January 9th, 2014 / 12:32 pm