Alas and Rejoice @entropygrapple - Tumblr Blog

anime-to-the-t

The Zodiac by Junko Mizuno

dottchy

an agreement of your bombast tablet has deserted me so xperimenting w/ trad/dig mix

noirnil

demon

entropygrapple

i have the same hatred for mechsploitation that i do for puppygirls

oh you think abdicating your responsibility is cute? you think it's fun to deny your personhood in order to not have to deal with the weight of reality? shut the fuck up and start organising a mutual aid network in your area right now. you're not a cute brainless animal you are a 20-something year old woman & your continued existence is perpetuated solely by the suffering of the global majority.

[this post only applies to those living in the imperial core]

entropygrapple

this post has been brought to you because i was catching up on my messages & saw the worst take ever by a woman i hate in a group chat i'm in if you think this applies to you & you're reading it here, it doesn't this blog is purely my own private frothing rage outlet

i have the same hatred for mechsploitation that i do for puppygirls

oh you think abdicating your responsibility is cute? you think it's fun to deny your personhood in order to not have to deal with the weight of reality? shut the fuck up and start organising a mutual aid network in your area right now. you're not a cute brainless animal you are a 20-something year old woman & your continued existence is perpetuated solely by the suffering of the global majority.

[this post only applies to those living in the imperial core]

noodledesk

i really liked this essay on why literary fiction is sounding so much Like That these days, especially work by asian american authors:

This entire process selects for homework-doers, personal entrepreneurs, and individualistic bureaucrats. It's why, like I said, the oracular outsiders, the Pauls of the world, who can't conform to society's expectations to check boxes and become legible to the powers that be, aren't in these programs and aren't getting the opportunities that are downstream of them. It's why you end up with tons of fiction about "my white boyfriend" and "everyone online is mad at me" or "anxious strivers in NYC" or "my annoying polycule." These are the obstacles this class encounters. You can't spend time, like Cormac McCarthy did, living in an unheated cabin in the Smokies, or embedding with the Mujahideen like William T. Vollman, or working as a psychotherapist like Olga Tokarczuk. You must move from strength to strength, always turning in your homework on time, and certainly never suffering a psychotic break.

-- Trip, Estragon News, The Oracular Outsiders and the Homework Doers

symbolicinteractionism

i quite liked the conclusion to the piece:

Maybe it's because that fiction is being written for the people already bought in. Art that is made for the purpose of institutional legibility and approval is dead on arrival. Writing must stand on the outside, viewing the world at a tilt. Our world is being eaten by word machines that can imitate us perfectly. Unless American letters find the courage to welcome back in the oracular, it will disappear, replaced by machine that can conform to the demands of institutional legibility—really, the demands of capital—better than any human ever could.

entropygrapple

this is such a cutting and apt take on the world of publishing. i remember back when I was studying it (before myself suffering a psychotic break & becoming addicted to various drugs lol) we attended a talk by various crime writers & their publishers as part of a very cynical move to try and push us towards submitting work to one of the course tutor's personal friends.

i distinctly remember asking the writers & the publishers how they felt their work reflected & in some ways was responsible for the view (positive or negative) of the police force in the UK i wasn't gunning for a political angle at the time, just genuinely interested in a naive kinda way about how they viewed their own work as interacting with society & for the most part they just didn't. (with one exception) they were a bunch of middle class people who did not interact with the brutality of policing in any meaningful capacity. peckham, probably not more than 10 miles from where they lived, had recently been rocked by multiple police assaults on squats, homeless people & general street harassment from a known right wing unit operating out of peckham police station. meanwhile they worked on their next plot-a-minute crime thriller, another murder mystery which had a marketing scheme submitted alongside the first draft.

& nothing. we lived in entirely different worlds. people like me were neither reader nor author to them, an anomalous blip who'd somehow slipped in through the backdoor.

entropygrapple

read thru this very quickly & only just noticed the asian american point @ the top. & i think this is also interesting to comment on.

america has entirely succeeded in its cultural hegemony. there is nothing that is not passed through the great babylon & it's maw. the UK also exists as a bit of a hanger on to cultural relevancy, the rags of empire billowing from its emaciated body. i can't say i've engaged with any asian-usamerican work to the degree that i have an opinion either way. i think mentioning a minority is probably reductive & denigrates the point made later which is that there is a structural issue in publishing.

regardless, America has annihilated the ability for anything other than american (& english sometimes) work to be global. the cultural colonisation of literature as a field is so thorough and complete that access to an audience for those in the global majority may as well be a vertical cliff to scale. When was the last time you read a novel from Ossetia? Or Algeria? Or Sudan or Chechnya or anywhere that wasn't western Europe/USAmerica?

More than anything, isn't it fucking boring reading the same shit again and again?

noodledesk

i really liked this essay on why literary fiction is sounding so much Like That these days, especially work by asian american authors:

This entire process selects for homework-doers, personal entrepreneurs, and individualistic bureaucrats. It's why, like I said, the oracular outsiders, the Pauls of the world, who can't conform to society's expectations to check boxes and become legible to the powers that be, aren't in these programs and aren't getting the opportunities that are downstream of them. It's why you end up with tons of fiction about "my white boyfriend" and "everyone online is mad at me" or "anxious strivers in NYC" or "my annoying polycule." These are the obstacles this class encounters. You can't spend time, like Cormac McCarthy did, living in an unheated cabin in the Smokies, or embedding with the Mujahideen like William T. Vollman, or working as a psychotherapist like Olga Tokarczuk. You must move from strength to strength, always turning in your homework on time, and certainly never suffering a psychotic break.

-- Trip, Estragon News, The Oracular Outsiders and the Homework Doers

symbolicinteractionism

i quite liked the conclusion to the piece:

Maybe it's because that fiction is being written for the people already bought in. Art that is made for the purpose of institutional legibility and approval is dead on arrival. Writing must stand on the outside, viewing the world at a tilt. Our world is being eaten by word machines that can imitate us perfectly. Unless American letters find the courage to welcome back in the oracular, it will disappear, replaced by machine that can conform to the demands of institutional legibility—really, the demands of capital—better than any human ever could.

entropygrapple

this is such a cutting and apt take on the world of publishing. i remember back when I was studying it (before myself suffering a psychotic break & becoming addicted to various drugs lol) we attended a talk by various crime writers & their publishers as part of a very cynical move to try and push us towards submitting work to one of the course tutor's personal friends.

i distinctly remember asking the writers & the publishers how they felt their work reflected & in some ways was responsible for the view (positive or negative) of the police force in the UK i wasn't gunning for a political angle at the time, just genuinely interested in a naive kinda way about how they viewed their own work as interacting with society & for the most part they just didn't. (with one exception) they were a bunch of middle class people who did not interact with the brutality of policing in any meaningful capacity. peckham, probably not more than 10 miles from where they lived, had recently been rocked by multiple police assaults on squats, homeless people & general street harassment from a known right wing unit operating out of peckham police station. meanwhile they worked on their next plot-a-minute crime thriller, another murder mystery which had a marketing scheme submitted alongside the first draft.

& nothing. we lived in entirely different worlds. people like me were neither reader nor author to them, an anomalous blip who'd somehow slipped in through the backdoor.

noodledesk

i really liked this essay on why literary fiction is sounding so much Like That these days, especially work by asian american authors:

This entire process selects for homework-doers, personal entrepreneurs, and individualistic bureaucrats. It's why, like I said, the oracular outsiders, the Pauls of the world, who can't conform to society's expectations to check boxes and become legible to the powers that be, aren't in these programs and aren't getting the opportunities that are downstream of them. It's why you end up with tons of fiction about "my white boyfriend" and "everyone online is mad at me" or "anxious strivers in NYC" or "my annoying polycule." These are the obstacles this class encounters. You can't spend time, like Cormac McCarthy did, living in an unheated cabin in the Smokies, or embedding with the Mujahideen like William T. Vollman, or working as a psychotherapist like Olga Tokarczuk. You must move from strength to strength, always turning in your homework on time, and certainly never suffering a psychotic break.

-- Trip, Estragon News, The Oracular Outsiders and the Homework Doers

symbolicinteractionism

i quite liked the conclusion to the piece:

Maybe it's because that fiction is being written for the people already bought in. Art that is made for the purpose of institutional legibility and approval is dead on arrival. Writing must stand on the outside, viewing the world at a tilt. Our world is being eaten by word machines that can imitate us perfectly. Unless American letters find the courage to welcome back in the oracular, it will disappear, replaced by machine that can conform to the demands of institutional legibility—really, the demands of capital—better than any human ever could.