an epithet, a good one. a bell tower is foal
– hobbling over a century turn, over
the proverbial hill / if the boy knew
to gnaw and kick; to keep to yr pedestal,
to better judgement / what gets u a rosebush jaw.
never did finish that vase. no one knows
if it’s Bruegel’s, but they care
like hammered papyrus.
New poetry by Alison Graham.
Tom: Chocolate donuts
Drake: ….Chocolate donuts
Bruce: ……..Chocolate donuts. It’s true.
“You mean like chocolate covered? Or chocolate cake donuts.”
Tom: Chocolate covered
Bruce:…………….Chocolate … both probably
Chapter 17 of EJ Spode’s novel The Oddity
She tells me to
make small fists so they can find the blood flow,
and with each river that bubbles up I feel sparks of forgotten aggression. Swallow the needle. Search for a strength of tide.
They couldn’t find a vein; the body’s deserted.
Discard the needle and come forward with the axe.
You have permission to break open
the treasure chest.
New poetry by Katie Fanthorpe.
Since it might be extremely important for us to do something difficult, we can have excellent practical reasons to do it even if we don’t have evidence in light of which we can rationally predict that we will follow through with our decision. In those cases, we can rationally believe against the evidence: We can believe that we will do something difficult, even though we have evidence that there’s a significant chance that we will fail to follow through. If, however, we look to our evidence to settle the question of what we will do, when matters are up to us, we deny our freedom and we exhibit something akin to bad faith.
Continuing the End Times series, Richard Marshall interviews Berislav Marušić.
In 1968, at the height of a renewed political engagement in all areas of social life, Jean-Luc Godard stated: “There are two types of militant films, those we call ‘blackboard films’ and those known as Internationale films. The latter are the equivalent of chanting L’internationale during a demonstration, while the others prove certain theories that allow one to apply to reality what has been seen on screen” (La Gai savoir).
Louis Armand explores options for radicalised cinema.
All knowledges are an attempt to bring order to noise—to forcefully organise the chaos continually fixing everything together in an asymmetrical block of concurrent becoming. We can call this instantaneous zigzag a fractal ontology—a set of concepts and categories that show the properties and relations between them. The following is an introductory exploration of some of the phenomenological implications of such an ontology—of the vital mutations of becoming that operate as a material intensification of existentialism, a thorough going-beyond of Martin Heidegger, an exploration of Friedrich Nietzsche’s maps, as well as declaration of war on Aristotle, Descartes, and Kant.
AT Kingsmith introduces a Fractal Ontology.
Like Zarathustra’s donkey, cynical comedians choose to carry weight they are no longer required to carry, even if that weight is just the ruins of institutional Christianity or any other grand narrative. Maybe they don’t have a choice and their slimy, miserable Will to Power makes it impossible for them to appreciate or show reverence for anything. Either way they are – unlike Christians and others who subscribe to grand narratives – doubly condemned to both freedom and the inability to enjoy that freedom.
Will Johnson riffs on Deleuze and some.
The American unreality is dizzying: a seeming endless barrage of incredulously unconstitutional leaks, official statements of Orwellian media denial, dimension-ripping institutional obfuscation, and high-level, anti-meritocracy stupidity. Social media humor in the face of such maddening horror can be resilient, instructive– transcendent even: building networks and like community. Good things can be said to come out of satire when Harvard builds a resistant “Bowling Green Massacre” pop-up bookstore gallery, or when the ridicule of gross official ignorance during Black History Month results in a renewed interest in the white nationalism of American history, 308 people retweeting—and more seeing—a real-life public monument of insistence to the record of Frederick Douglass at Maryland’s iSchool.
Jennifer Seaman Cook on satire and the new stupid.
Youssef Rakha is an Egyptian writer; he has been in Switzerland to attend a literary festival and write about refugees. But what if Youssef Rakha doesn’t actually exist? What if in reality I am a Syrian refugee separated from my family – unsure of my future now that my hometown has been gutted and unable to step in Syria without incurring the wrath of war lords – stranded indefinitely in a German-speaking European airport: in Zurich, Vienna, perhaps between the two?
Youssef Rakha on seven Swiss encounters.
‘We greet our elders where they’ve waited all year for us, sitting black and white on the shelf, and at first they make us pay our distance, their deep cold frowns as unmoveable as if they’d been set in concrete. But the mood – the mood then is of full, incorruptible glee, and sometimes it seems like the rosy peach flowers the houses are filled with are the divine, physical manifestation of this, a bloom fertilised by the national bliss.’
By Armel Dagorn.