Comments Off on I review Netflix’s recent series, Altered Carbon, on Splice Today . . . | tags: Altered Carbon, central casting, cyberpunk, derivative, Netflix, science fiction, William Gibson, zombie culture | posted in central casting, derivatives, Netflix, review, science fiction, William Gibson, zombie culture
At the age of 25 most people were finished. A whole god-damned nation of assholes driving automobiles, eating, having babies, doing everything in the worst way possible, like voting for the presidential candidate who reminded them most of themselves. I had no interests. I had no interest in anything. I had no idea how I was going to escape. At least the others had some taste for life. They seemed to understand something that I didn’t understand. Maybe I was lacking. It was possible. I often felt inferior. I just wanted to get away from them. But there was no place to go.
– Charles Bukowski
No one says what they’re really thinking: there is no escape. || Michael Davis
Source: The Debate Did Not Take Place
Comments Off on The Debate Did Not Take Place | tags: Climate Talks, Clinton, Paris Agreement, politics, Power, Presidential Debate, Trump, zombie culture | posted in politics, Power, Writing Expedition
Today, there was flooding in London. I was supposed to be there. But because I have no cartilage in my knees, I often wake up in agony on barometrically improvident days. Dark days of lying on the bed, focusing on my breathing. Days in which it’s hard to think, much less write. Days of codeine and jasmine tea and misanthropy. Walking from room to room is difficult and leaving the house is out of the question when I’m feeling like this and Port Meadow is up to 22C with 95% humidity.
Strangely, this never happened when I was living in Bangkok, one of the hottest, most humid places on the planet. Only here in the UK will the muscles in my legs tighten overnight, pulling the bones of my knees into each other, slowly, like a form of medieval torture. As with most manifestations of extreme pain, the experience transcends words. Maybe if I brushed up on my German, I could describe it. German seems like a good language for articulating suffering. At my current level of fluency, I can only say things about rain: schließlich, regnet es auf der Wiese. Or something like that. Maybe that’s all I need.
This condition has been going on regularly since 2003 when an orthopedic specialist gave me the option of surgery (resulting in no more pain but having to walk with a cane for the rest of my life) or occasional pain and my normal range of functionality on all the other days. I chose the second option, of course, which I still think was right. But goddamn, son, it hurts.
It’s a shame she won’t live – but then again, who does?
So it’s late afternoon. I’ve been trying to get meaningful writing done all day and a personal blog post is as good as it’s going to get. Lots of painkillers, tea, and sheer meanness seem to have worked such that I can at least get these words down. Lord knows I can’t allow a day to pass without producing some kind of manifesto, story, novel segment, editorial, white paper, or media rant. But, sitting here in my bathrobe, feeling like I’ve been put to the question by the town fathers for leading a black mass in the woods, I’m close to just dosing up, crawling back into bed, and moaning myself to sleep.
Nevertheless, I’ve been thinking. I know. Bad idea in my current state of mind. Still, I keep seeing the image of Deckard and Rachael making out in Deckard’s apartment, which admits of no rational explanation other than I associate rain, flooding, and climate change with the Blade Runner aesthetic. Blame PD James and Alfonso Cuarón for linking those together in my head via Children of Men.
Anyway, Blade Runner‘s about halfway over and Rachael’s been sitting at Deckard’s piano, talking about her dreams. And we feel bad for her because even though she’s sensitive and beautiful, we suspect she’s just some high-end Real Girl noir sexbot insinuated into Deckard’s life to distract him from the real nefarious shit that is likely going down over at the Tyrell Corporation. And every time I watch the movie, I read the moment they kiss in a different way.
Sometimes, I read it as Deckard giving in to the illusion. He knows she’s a replicant and doesn’t really care at that point because they’re both lost souls in a world where the distinction between natural and artificial has ceased to have any meaning—so forget about the fact that you’re lost and come over here.
Sometimes, I read it as Rachael giving in to the illusion that what she’s feeling for him is more than just an algorithm written into her synthetic gray matter by proto-Elon Musk Eldon Tyrell. Giving in because she wants to and maybe wanting is enough or everything.
And yes, if we look at that scene after reading Through a Scanner Darkly, we will have an emotional meltdown because Philip K. Dick was no fool and he understood something when he wrote:
But the actual touch of her lingered, inside his heart. That remained. In all the years of his life ahead, the long years without her, with never seeing her or hearing from her or knowing anything about her, if she was alive or happy or dead or what, that touch stayed locked within him, sealed in himself, and never went away.
So I do this. I think of this. And I listen to “Wish You Were Here” sipping my tea and breathing through the pain while I look at the meadow. And that last stanza, “We’re just two lost souls/ Swimming in a fishbowl/ Year after year/ Running over the same old ground/ And how we found/ The same old fears” means a lot to me; though, I have never felt more alien in this world.
The Voight-Kampff Empathy Test
Sometime back in 1993, William Gibson is supposed to have said, “The future is already here — it’s just not very evenly distributed,” which is a saying that seems wise, then obvious, then wise again the more you think about it. But 23 years of hindsight later, the obvious part seems far more dominant than whatever might have proven insightful. It’s 2016. Has the sheer science-fiction-horror-dread of this moment in time caught up to us from the back end of the 20th century yet? The future is not evenly distributed, at least the good parts where someone like me can get bionic knees. In 1982, Blade Runner gave the world a vision of rebirth after decay instead of the unadulterated Kali Yuga we’re entering now.
Ridley Scott wanted to show us how replicants just want to be loved and how those replicants are really us. Instead, we’re seeing how we’ve failed to evolve beyond the dystopian Reagan-era cyberpunk automatons we fantasized about in the 1980s. We never got past Terminator. Now, all we can say, with any degree of sincerity, is: blame the drugs. But not the ones people were on in the eighties when they handed us the trickle-down theory. Blame the nasty synthetic street drugs that made the best story of the last two decades have to be about a high school chemistry teacher dying of cancer who starts cooking meth to pay his bills. Yeah. Debt. Meth. Drones. Endless war. Doesn’t it add up? Time for your meds.
All our dreams of machine salvation, online utopia, and some vague transhumanist singularity depending on an equally flimsy brain-as-hard drive metaphor became loud, stupid, self-important Neo from the Matrix—our savior, here to make us feel better about being consumers and take away our pain. The fridge logic singularity of Matrix Revolutions was merely the last cynical whimper.
But I’m in a bad mood today. Don’t listen to me. Now we have Trump and Hilary. Now the sweaty holographic fetish reel of decadent and naïve Reagan-era consumerism obviously didn’t work, but we’ve taken too much fluoxetine hydrochloride to care. It was never going to work. It wasn’t built to work. And it was always going to be ugly beyond words.
“And, for an instant, she stared directly into those soft blue eyes and knew, with an instinctive mammalian certainty, that the exceedingly rich were no longer even remotely human.”
– Count Zero, William Gibson
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America I’ve given you all and now I’m nothing.
America two dollars and twenty-seven cents January 17, 1956.
I can’t stand my own mind.
—Allen Ginsberg, America
If there is such a thing as a formula for success in life, it might go something like this: don’t complain, get results, and watch your back. Notice I said success, not happiness. We can determine metrics for success relative to a given line of effort in a given context—even if such achievement must therefore be contingent and temporary. Still, we can develop certain best practices for success within those parameters. But we have no idea how to determine happiness.
Since 1964, smart people have agreed with Paul that you cannot, under any circumstances, buy love. Clever people (who probably like John’s “Watching the Wheels” a lot more than anything on A Hard Day’s Night) say you may not be able to buy love, but you can certainly buy the conditions most favorable for finding it. However philosophers, especially mathematicians and rhetoricians, respond that “favorable conditions” mean very little when dealing with a binary (love / not love). And playing even-money odds is still a losing game. In other words, correlating a certain quantity and quality of conditions will not necessarily cause a particular outcome. So put your raggedy wallet back in your pants, eh?
Thinking you can beat the system by “bettering your chances” is sloppy, unnecessarily mystical, and prone to failure. It also happens to be in our nature and one of the emotional drivers of post-industrial culture. Part of us may be secretly relieved that we can’t buy love in a Tokyo vending machine, but an even deeper, more pathological part assumes there’s some morality always-already implicit in winning.
We despise the weak, the downtrodden, the unfortunate. We’d prefer that our Bentley be polished by a former office manager recently hoovered into the service economy, not by the mentally ill bearded man who’s been sleeping in the bus station. But we shouldn’t blame ourselves for feeling this way. We know what we like, even if all of heaven’s angels think we’ve grown into monsters.
Max Weber identified this justification-by-success 111 years ago when he wrote that:
the peculiarity of this philosophy of avarice appears to be the ideal of the honest man of recognized credit, and above all the idea of a duty of the individual toward the increase of his capital, which is assumed as an end in itself. Truly what is here preached is not simply a means of making one’s way in the world, but a peculiar ethic. The infraction of its rules is treated not as foolishness but as forgetfulness of duty. That is the essence of the matter. It is not mere business astuteness, that sort of thing is common enough, it is an ethos. (The Protestant Ethic and the Spirit of Capitalism, 16-17)
In our present economy, this pathological faith seems to have mutated into an ethos blind to pervasive redundancy, obsolescence, dehumanization, and systemic violence so toxic and transpersonal as to make one long for a time machine. No one actually believes he or she is secure anymore or will be in the foreseeable future. No one believes (or even likes) the baby boomers, but everyone wants to believe what they say about things naturally improving.
We could argue that western economic systems have been in decline at least since the state of the “special relationship” in the Reagan / Thatcher administration. The modernist concept of empty-at-the-center radiant socioeconomic decay is now a legitimate way of describing our post-modern reality. Gordon White puts it well in his book on chaos and economics: “By refusing to adjust your strategy from the recommended life offered to the baby boomers forty years ago, what you are saying is that you have every confidence in the system; the current challenges are just temporary, and someone will come and sort it all out for us” (The Chaos Protocols). Right. I have yet to find someone willing to identify this messiah without having to listen to incoherent bellowing about making America great again.
So maybe if we’re not as successful as we think we should be, we can at least remind ourselves that we are trying to avoid being completely evil, that the morality of winning is a hollow and damaging ideal, and that we’re doing our part to bear witness to this:
I’m just sitting here watching the wheels go round and round,
I really love to watch them roll,
No longer riding on the merry-go-round,
I just had to let it go.
Personally, I’ve done what I could to disconnect from what a professor of mine once called the “cant of success,” but I still get suckered by the likes of Malcolm Gladwell and four-hour work weeks and the undergrad-in-communications-level presentations on TED and Big Think. I still read too many articles about “lifehacking” designed to make me a more efficient self-propelled office mechanism. But I read a lot of Allen Ginsberg, too. Like, America:
America why are your libraries full of tears?
America when will you send your eggs to India?
I’m sick of your insane demands.
When can I go into the supermarket and buy what I need with my good looks?
America after all it is you and I who are perfect not the next world.
Your machinery is too much for me.
You made me want to be a saint.
I want to be a saint, but I’m afraid. I want to love everyone, but I’m afraid. I want to tell the truth, but I’m worried that I don’t know what I’m doing. And I worry that we are all actually perfect and have nowhere to go. As a real life saint once said to me: “There’s nothing to be done. There’s nothing to achieve.” This breaks my heart a little bit more every time I think of it.
Who am I to say what is good or bad? The bad parts are as integral to my life as the good parts. Sartre said that, and I think I agree. I’m told to want certain things. I feel like I have desires and pains. But if I’m going to be honest with myself, I have to accept that desire and pain are both are necessary for a full life. This, too, breaks my heart in unforeseen circuitous patterns.
Because I know happiness will remain as distant and ephemeral as the next world, until it comes.
Comments Off on I Just Had to Let It Go | tags: economics, success-bots, Wisdom of the ancients, your author, zombie culture | posted in economics, Freedom, Philosophy, success-bots, Wisdom of the ancients, your author, zombie culture
Holding a cup and overfilling it
Cannot be as good as stopping short
Pounding a blade and sharpening it
Cannot be kept for long
Gold and jade fill up the room
No one is able to protect them
Wealth and position bring arrogance
And leave disasters upon oneself
When achievement is completed, fame is attained
This is the Tao of Heaven
– Chapter 9, The Tao Te Ching, translation by Derek Lin
The discipline has three steps. It begins at home.
You want to do something–paint, write, act, play the hammered dulcimer, whatever–because it calls to you. It’s more than just a passing interest and you’re aware of this (I think hammered dulcimers are kind of cool, but I feel no compulsion to start taking lessons down at Jim’s Dulcimer Academy). This thing calls to you more deeply than it does to the dilettante. You think about it when other things aren’t distracting you. Then it becomes the distraction. You love and even idolize existing practitioners of the art. You read their interviews, their Wikipedia pages, the pretentious Rolling Stone pieces that treat them like geniuses or flops. You fantasize about that being you.
So you take a step and get some training. Lessons. You pay for a class at the Gotham Writers’ Workshop. Extension courses at the local community college. Don Webb’s class at UCLA. Maybe you get a method book or join a group that meets in the back of a bookstore once a month. Maybe you hit the pawn shop and buy that beat-to-hell Mexi Strat in the window with some Dylan tablature. Maybe you just get some paper, a pen, a stack of your favorite Stephen King novels, and start imitating. The point is that your brain is a learning computer and, whether you’re aware of it or not, you’re learning.
So it goes: you produce a lot of bad material that you soon come to recognize as such. Then maybe you make something small and good. Then a few more small good creations like it. Things begin to seem possible. Your teachers (if they’re ethical) encourage you and suggest possible directions. You start to calibrate your “built-in, shockproof, shit detector.” You’re at the door of the Shaolin Temple. Again, whether you know it or not, you’re standing there looking for admittance with your duffel bag and $300 in personal burial money. You are not coming into fame and fortune at the top level with connections, Aspen lift tickets, and a sugar daddy to introduce you to literary agents or casting directors. You’re doing it yourself. And you’re probably starting to get pushback from those who now identify you as competition and want to end the threat before it begins.
As soon as people start trying to stand in your way–friends, family, other practitioners, teachers, coworkers–you know you’re moving forward. This is also the moment when you truly have to apply “the discipline.” Here it is as I have formulated it for myself. This is a theme that runs throughout my writing on this blog and, in a more subtle way, my fiction. The two things I care about most in life are helping people find their “thing” (bliss / true will / highest actualization–whatever you want to call it) and being able to follow my own path as a creative writer. This has led me into teaching, which I love, and a lot of philosophical / sociological / life-hacking explorations.
Step 1: Mental Discipline: orienting all ambitions toward your art but expecting nothing in return save the art itself. Just as publishing houses care primarily about volume of sales and production companies about box office returns, see commercial art for what it is. In exchange for the freedom to make the art you want to make (if you’re not a commercial artist–if you are, you have a different set of problems than I’m addressing in this post), accept that “industry values” come from a vastly different universe than those of fine art and never think commerce cares about art beyond its baseline profitability.
You can’t control whether someone wants to buy your work. You can slavishly imitate the trends, hoping that there will be room for one more clone. Or you can recall what inspired you to start doing art in the first place–the possibility and texture of self expression. So if you want to be authentic and original, save yourself a lot of pain and disappointment by accepting that your work may or may not be appreciated by those who seek to profit by the creativity of others. By all means, submit your creations for publication and consumption. But make that peripheral to your emotional center as a practitioner. Make the work come first and the marketing come second.
This is the first step of the discipline because there will be enormous pressures levied against you for even thinking that you have the right to be original. The publishing industry, like the movie industry, does not run on originality. It runs on predictability. Taking chances can be disastrous for them in the worst, career-wrecking sense. You will be told a version of this in 1000 different implicit and explicit ways: try to imagine your audience and write to their expectations. The serious artist will be following something else in her work than trend and established taste–something industry professionals may not even believe exists. Two different sets of values. Different universes. Thus, the serious artist must be disciplined in what she believes, how she lets herself be influenced, what choices she makes about the integrity of her work. The best way I know to do this is to embrace the real possibility of being ignored while continuously putting your work out there. It can be emotionally difficult at first.
Step 2: Financial Discipline: keeping survival (but not respectability) always within your peripheral vision. The second wave of pushback comes with the very real threat of extreme poverty. Staying away from the infectious and materialistic mechanisms of the business world, status jobs, job trends, upward corporate mobility, and attendant notoriety is essential. At best, these things are distractions from your daily commitment to furthering your art. At worst, they will lead you into value systems that are openly antagonistic to serious, non-commercial productivity. The same attitude behind “A BA in philosophy? What are you going to do with that?” is the one that will frame you as an unrealistic dreamer who is certainly crazy and misguided, possibly stupid in a number of hidden ways, and someone we don’t want our daughters dating.
But these worlds and their inhabitants will be more than willing to ignore you if you ignore them–if you do not ask them for a handout or add to their unabated misery, jealousy, and covetousness by showing them the contrast between your values and theirs. Rather, the second step in the discipline involves smiling and waving good-bye to middle-class ambitions; practicing “cheerful retreat”; and going your own way. Being non-threatening (actually invisible) to those who hold status and money as the highest good will allow you to (1) avoid being influenced by their values; (2) avoid having to defend yourself against them; and (3) the space and time to simplify your life financially. You are not a threat–so the fact that you are living humbly and frugally is a non-issue for them.
Simplifying your life is easier said than done. And it may not seem like others would have a problem with this, but people will actively try to prevent you from simplifying and reducing your levels of consumption if they feel threatened by this. However, you must arrange it so that the bulk of your personal responsibility can be shifted toward your art.
Because it’s good to live in human society–because that, too, provides fuel for your work–accept that “shifting personal responsibility toward your art” will entail a certain amount of discipline. You may have to take the kids to football practice. You may have to do what seems like an all-consuming job as a psychologist or a Zamboni driver or an IRS agent or a drug lawyer or a hot dog vendor in the mall. All of these can be scaled down. Take fewer hours. Accept two (or three?) part-time jobs instead of a full-time job if that will build in greater flexibility. Plead your health, your ailing family life, your grandmother’s lumbago, but reduce, reduce, reduce. Become a freelancer. Become a contractor. Become a minimalist in everything but your work (and even in your work if that’s where your creativity leads you). Read and apply The Four-Hour Workweek, Choose Yourself, How I Found Freedom in an Unfree World, Possum Living, The Shoestring Girl, Working, The Outsider and Gordon White’s brilliant blog, Rune Soup–especially “Apocalypse Timeshares: Radical Strategies from Inside the OAT.”
Step 3: Be Determined / Take Your Lumps. Do not think that frugality means limited options in any sense. This is another cruel fiction propagated by the industries that depend on a manufactured, highly misleading, and unhealthy post-WWII middle-class will-to-respectability. As a person practicing this discipline, you can do anything you want to do as long as you are willing to approach it in a transactional way (ironic, given the degree to which I inveigh against zero-sum materialism, but this is not always synonymous with transactional thinking as I use it here–see Browne’s book linked above).
In other words, if you want to, say, study herbalism in Shanghai, you can. You may have to become a dishwasher, an ESL teacher, a private tutor, a person who carries pipes in a shit field, a dog-walker, a nanny. You may have to cut costs by mostly eating rice, thin broth, and yam cakes. You will have to learn a version of Chinese to a practical extent. You will have to sharpen your social skills in order to get along and get what you need. All of this takes energy. All of this is disruptive and sometimes painful. All of this can be done while functioning as an artist. But you will have to pay for these experiences through a degree of chaos, stress, effort and the disapproval of others. There will be dreadful moments. But if you want to lead a different life–one that includes art and new experiences, you will accept the trouble as a necessary payment for doing what you want to do. The discipline means taking your lumps and eternally paying dues. Nothing comes for free but sometimes the payment is fun and sometimes it doesn’t even matter.
People enmeshed / immobilized in a fugue of “respectability” (in my opinion, a parasitic set of social mores and strictures that slowly consume the time and energy–life–of innocents whose only mistake was doing what they were told from an early age) will say you are crazy, unambitious, stupid, a loser. They will do this because you haven’t had the time and wouldn’t spend the effort to become a stakeholder in their hierarchy of values. I have experienced this firsthand and still do from time to time when the ripples of life-decisions I made in my late 20s come back to me. But I do not have regrets. I have largely overcome my personal demons, the emotional, familial, social fallout associated with owning my life. That’s why this is a discipline. You have to practice it. It’s not something you do once. It’s a way of life. And I want that for you if you want it for yourself.
Comments Off on The Discipline: In Your Head, Off the Street, and Away From the Club | tags: Arts, Discipline, Gotham Writers Workshop, Shaolin Temple, Writer Resources, Writing, Writing Life, your author, zombie culture | posted in Writing, Writing Expedition, writing life, your author, zombie culture
I write fiction and nonfiction for magazines, work as a freelance writer / editor / journalist, and teach composition and fiction writing.
This blog is mostly dedicated to travel essays, creative non-fiction, discussions about books, the MFA experience, publishing, and short stories I’ve already placed in magazines. But I might write anything.
“One of the functions of art is to give people the words to know their own experience. There are always areas of vast silence in any culture, and part of an artist’s job is to go into those areas and come back from the silence with something to say. It’s one reason why we read poetry, because poets can give us the words we need. When we read good poetry, we often say, ‘Yeah, that’s it. That’s how I feel.’” — Ursula K. Le Guin
Email me at:
or via my portfolio at Pressfolios
“If I were talking to a young writer, I would recommend the cultivation of extreme indifference to both praise and blame because praise will lead you to vanity, and blame will lead you to self-pity, and both are bad for writers.”
— John Berryman, The Art of Poetry No. 16, The Paris Review
“STEM, Scientism, and the Decline of the Humanities” – Splice Today – February 2018 (https://www.splicetoday.com/on-campus/stem-scientism-and-the-decline-of-the-humanities)
“The NRA Isn’t the Problem” – Splice Today – February 2018 (https://www.splicetoday.com/politics-and-media/the-nra-isn-t-the-problem)
“Altered Carbon’s Love Affair with Central Casting” – Splice Today – February 2018 (https://www.splicetoday.com/moving-pictures/altered-carbon-s-love-affair-with-central-casting)
“Cui Bono: the Latest Conspiracy Theory in the Ongoing Disintegration of the GOP” – Splice Today – January 2018 (https://www.splicetoday.com/politics-and-media/cui-bono-the-latest-conspiracy-theory-in-the-ongoing-disintegration-of-the-gop)
Cruel Stars – Thrown Free Books 2017.
“You Can Do Magic, Honey” – Splice Today – December 2017 (https://www.splicetoday.com/moving-pictures/you-can-do-magic-honey)
“As the Leopard, So the Coliseum” – Splice Today – November 2017 (https://www.splicetoday.com/politics-and-media/as-the-leopard-so-the-coliseum)
“Hurricane Dreams” – Splice Today – August 2017 (http://www.splicetoday.com/writing/hurricane-dreams)
“Burning Down the House” – Splice Today – August 2017 (http://www.splicetoday.com/politics-and-media/burning-down-the-house)
“My Friend Has Gone Nazi” – Splice Today – June 2017 (http://www.splicetoday.com/writing/my-friend-has-gone-nazi)
“Fatal Vision: The Precipitous Exile of James Comey” – Splice Today – May 2017 (http://www.splicetoday.com/politics-and-media/fatal-vision-the-precipitous-exile-of-james-comey)
“Money is Thicker Than Blood” – Splice Today – April 2017 (http://www.splicetoday.com/politics-and-media/money-is-thicker-than-blood)
“The End of the Hustle” – Splice Today – April 2017 (http://www.splicetoday.com/politics-and-media/the-end-of-the-hustle)
“The Crying of Lot 45” – Splice Today – April 2017 (http://www.splicetoday.com/politics-and-media/the-crying-of-lot-45)
“Planespotting and the Persistence of Facts” – Splice Today – March 2017 (http://www.splicetoday.com/writing/planespotting-and-the-persistence-of-facts)
“Sater, Cohen, and the Collapsing House of Cards” – Splice Today – February 2017
“Speak of the Devil” – Splice Today – February 2017
“Bora Bora” – Human Parts – Winter 2017 (reprint)
“Bora Bora” – Ink & Coda – 4.1 Winter 2017 (http://www.inkandcoda.com/issues/4-1/bora-bora/)
“A Good Day to Die” – Splice Today – November 2016 (http://www.splicetoday.com/politics-and-media/a-good-day-to-die)
“When The World’s Turned Upside Down” – Splice Today – November 2016 (http://www.splicetoday.com/politics-and-media/when-the-world-s-turned-upside-down)
“Mother Blackbird” – Student Voices – November 2016
“The Witch!” – ReVue – November 2016 (http://bit.ly/2fxuQw5).
“Year of the Bastard,” “October Plums,” and “Burying Terrance Jackson” – Literati Magazine – November 2016 (http://bit.ly/2frHVbC).
“The State of Emergency” – Splice Today – October 2016 (http://www.splicetoday.com/writing/the-state-of-emergency).
“The Debate Did Not Take Place” – Splice Today – September 2016 (http://www.splicetoday.com/politics-and-media/the-debate-did-not-take-place).
“Weirdo: Visions of Future Past” – The Blather – Summer 2016 (https://t.co/3NGZ0k6nTO).
“Harmful if Swallowed” – Ginosko Literary Journal – Summer 2016.
“Cruel Stars” – The Writing Disorder – Summer 2015.
“The Forbidden City” – Forge – 8.4 April 2015.
“Ex Inferis” – Small Print Magazine – Winter/Spring 2014.
Winner of Redline magazine’s 2014 Urban Fiction contest and will be featured in their “Best of the Year” annual issue.
“Far Tortuga” – Isthmus – Issue 1. (http://www.isthmusreview.com/current-issue-2/)
“Some Go Dancing” – Earlyworks Press Short Story Contest Anthology – Winter 2013, Earlyworks Press.
“Ghetto Fabulous” – Atticus Books (The Atticus Review – http://atticusreview.org/ghetto-fabulous/) (2013)
“The Catherine Wheel” – Painted Bride Quarterly Print Annual 6 (2013): 115-120.
“Truffaut died, and we all felt awful about it, and there were the appropriate eulogies, and his wonderful films live on. But it’s not much help to Truffaut. So you think to yourself, My work will live on. As I’ve said many times, rather than live on in the hearts and minds of my fellow man, I would rather live on in my apartment.” — Woody Allen
“I make the road. I draw the map. Nothing just happens to me…I’m the one happening.”
—Denis Johnson, Already Dead
“At the age of 25 most people were finished. A whole god-damned nation of assholes driving automobiles, eating, having babies, doing everything in the worst way possible, like voting for the presidential candidate who reminded them most of themselves. I had no interests. I had no interest in anything. I had no idea how I was going to escape. At least the others had some taste for life. They seemed to understand something that I didn’t understand. Maybe I was lacking. It was possible. I often felt inferior. I just wanted to get away from them. But there was no place to go.” — Charles Bukowski
“You could lose it, your right big toe, leave it here, in this mud, your foot, your leg, and you wonder, how many pieces of yourself can you leave behind and still be called yourself?”
— Melanie Rae Thon, First, Body
“After you finish a book, you know, you’re dead. But no one knows you’re dead. All they see is the irresponsibility that comes in after the terrible responsibility of writing.” — Ernest Hemingway
“When one is too old for love, one finds great comfort in good dinners.” — Zora Neale Hurston