Shared posts

08 Jun 07:41

Weekend Words: Shark

by Weekend Editors

John Singleton Copley, “Brook Watson and the Shark” (1778), oil on canvas, 182 x 230 cm, National Gallery of Art, Washington (image via Web Gallery of Art)

Today is Damien Hirst’s 50th birthday.

There isn’t any symbolism. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The sharks are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.

—Ernest Hemingway, on The Old Man and the Sea in a letter to Bernard Berenson

What Wall Street and credit card companies are doing is really not much different from what gangsters and loan sharks do who make predatory loans. While the bankers wear three-piece suits and don’t break the knee caps of those who can’t pay back, they still are destroying people’s lives.

—Bernie Sanders

There are no true friends in politics. We are all sharks circling, and waiting, for traces of blood to appear in the water.

—Alan Clark

See the shark with teeth like razors
All can read his open face
And Macheath has got a knife, but
Not in such an obvious place

—Bertolt Brecht, “”Moritat von Mackie Messer,” translated by Ralph Manheim and John Willett

I am not a demon. I am a lizard, a shark, a heat-seeking panther. I want to be Bob Denver on acid playing the accordion.

—Nicolas Cage

Anything I wanted was a phone call away. Free cars. The keys to a dozen hideout flats all over the city. I bet twenty, thirty grand over a weekend and then I’d either blow the winnings in a week or go to the sharks to pay back the bookies. Didn’t matter. It didn’t mean anything. When I was broke, I’d go out and rob some more. We ran everything. We paid off cops. We paid off lawyers. We paid off judges. Everybody had their hands out. Everything was for the taking. And now it’s all over. That’s the hardest part. Today everything is different. There’s no action. I have to wait around like everyone else. Can’t even get decent food. Right after I got here I ordered some spaghetti with marinara sauce and I got egg noodles and ketchup. I’m an average nobody. I get to live the rest of my life like a schnook.

—Henry Hill

There is a fence of chicken wire along the dock
Where, glinting like little plowshares,
The blue-gray shark tails are hung up to dry
For the Chinese-restaurant trade.
Some of the little white boats are still piled up
against each other, or lie on their sides, stove in,
and not yet salvaged, if they ever will be, from the last bad storm,
like torn-open, unanswered letters.

—Elizabeth Bishop

Louie was furious at the sharks. He had thought that they had an understanding: The men would stay out of the sharks’ turf – the water – and the sharks would stay off of theirs – the raft. That the sharks had taken shots at him when he had gone overboard, and when the raft had been mostly submerged after the strafing, had seemed fair enough. But their attempt to poach men from their reinflated raft struck Louie as dirty pool. He stewed all night, scowled hatefully at the sharks all day, and eventually made a decision. if the sharks were going to try to eat him, he was going to try to eat them.

—Laura Hillenbrand

I do not believe that all books will or should migrate onto screens: as Douglas Adams once pointed out to me, more than 20 years before the Kindle showed up, a physical book is like a shark. Sharks are old: there were sharks in the ocean before the dinosaurs. And the reason there are still sharks around is that sharks are better at being sharks than anything else is. Physical books are tough, hard to destroy, bath-resistant, solar-operated, feel good in your hand: they are good at being books, and there wil always be a place for them.

—Neil Gaiman

08 Jun 07:41

Nebula Award Winners, 2015

by John Scalzi

Cutting and pasting from the official release. Congratulations to the winners; this is a fabulous slate.


The Science Fiction and Fantasy Writers of America are pleased to announce the winners of the 2014 Nebula Awards (presented 2015), as well as the Ray Bradbury Award for Outstanding Dramatic Presentation, and the Andre Norton Award for Young Adult Science Fiction and Fantasy.


Annihilation, Jeff VanderMeer (FSG Originals; Fourth Estate; Harper Collins Canada)

Yesterday’s Kin, Nancy Kress (Tachyon)

“A Guide to the Fruits of Hawai’i,” Alaya Dawn Johnson (F&SF 7-8/14)

Short Story
“Jackalope Wives”by Ursula Vernon (Apex 1/7/14)

Ray Bradbury Award for Outstanding Dramatic Presentation
Guardians of the Galaxy, Written by James Gunn and Nicole Perlman (Walt Disney Studios Motion Pictures)

Andre Norton Award for Young Adult Science Fiction and Fantasy
Love Is the Drug, Alaya Dawn Johnson (Levine)

2015 Damon Knight Grand Master Award
Larry Niven

Solstice Award
Joanna Russ (posthumous), Stanley Schmidt

Kevin O’Donnell Jr. Service Award
Jeffry Dwight

08 Jun 07:41

SEK on his adventures at the Dallas Comic Con

by SEK

karen gillan comic con kristen lucas-smith

As those of you who follow me on Facebook know, this is a sanitized version suitable for public consumption, but I’m damn proud of it anyway. (It still reads to me like someone took a 5,000 word draft and chopped it down to 1,500, but since that’s what I actually did, I’m sure I’ll always feel that way.)

08 Jun 07:41

Used the wrong method, with the wrong technique.

by Sophia, NOT Loren!

I guess I’m just weird in my ability to just not give a fuck about so many things.

I drink — and enjoy — Coke and Pepsi, and diet versions of both, as well as plenty of other colas and other flavors of soft drink. I use Windows on my main computer, but I’ve used — and had both good and bad to say about — multiple versions of Mac OS, Linux, and a handful of other less-known and less popular operating systems. I don’t drive, but I also don’t see the sense in zealously clinging to one manufacturer and the bloodlust for anyone who doesn’t drive the same kind of vehicle. Sports team rivalries, fights about which genre of music is “the right kind of music,” or about which band is “actually good” within a certain type of music, seem strange to me.

And then there’s all the other false dichotomies I watch people set up, seemingly so that they have something to be “right” about (and so that those who disagree can be “wrong.”) Like, the completely bullshit division between “good” herbs and “natural” medicine on one hand, contrasted against “artificial” pharmaceutical drugs and “manufactured” treatments — or, if you’re on the “other side” of the made-up argument, the “benefits” of modern medical technology and the “backwards” attitudes of the people who “still use folk cures.” And similar to that is the artificial dicide between “good” medicine versus “bad” drugs / “fun” drugs versus “Big Pharma’s” pills.

Guess what, though? It’s all bullshit! You can totally take ibuprofen or Vicodin in the morning to help with your headache, if you partied hard the night before with lots of drinking and other drugs. Recreational use and therapeutic use work together just fine. You can boil some willow bark in the evening for a pain-killer tea, and take your prescription blood-pressure pills with it. Modern medicine and herbal remedies can go hand in hand. Or maybe, like I said, maybe I’m just a freak because I have no interest in picking an artificial “side” to stand on, and I’m happy doing whatever work in any given situation.

And I see the same thing play out in other areas, too. Articles crying about how “we’re addicted to technology” and how we need to start interacting with other people face-to-face “the right way” before it’s “too late!” Other people talking about how it’s critical to “move fully into the future” and how being able to connect digitally is essential, that we should strive to transcend the “limitations of” physical interaction as a thing of the past. I’ve heard passionate arguments about how “games with physical components” like boards and tokens are so much better than “those stupid techno-gadgets” and how we need to “get kids off of the computer” to play “real games” instead. And I’ve heard equally passionate arguments for “immersing kids in tech” from the earliest ages, making sure that they can “adapt to the new world” so that they don’t get “left behind.”

Again, bullshit. And I don’t understand why it is so absolutely critical for some people to cut themselves off from possibilities in order to fashion an enemy for themselves to hate. I’ll pick up my e-reader sometimes, and other times I’ll grab a paper book. I can enjoy shooting aliens on an Xbox, and have plenty of fun with Cards Against Humanity too. I can appreciate Carcasonne whether it’s played with physical tiles or digital ones. I can get out and take a long walk, smelling the flowers and trees… and taking some amazing photos of them with the camera/computer/communications device in my pocket. I can go play frisbee golf in the park, and use Facebook to organize a group of people to play… or I can play digital golf online, and happen to do so with some of the friends I was in the park with a few days before.

I know that people have their preferences, and that those preferences often not only inform their actions but dictate their worldviews. I just don’t get why so many people insist on creating such arbitrary and artificial distinctions, and adhering so closely to one “side” while loudly declaring how they abhor the other “side” of the division they’ve created…

Filed under: General
08 Jun 07:41

VNGRAVITY - DreamhouseOnline exhibition built with Unity...

VNGRAVITY - Dreamhouse

Online exhibition built with Unity features top net artists work in a reconstruction of ‘Casa Blanca’ (a Mexican presidential home):

This is an architectonic digital reconstruction of a place called “Casa Blanca ” in Mexicothis place (the house of the mexican president Enrique Peña Nieto) had international rosonance as a postcard about illicit luxury, thug practices of the elites. But the satiric tone makes it not a local issue, but a global view of squandering.
For this show Vmgravity is featuring the work of artists from USA, México, Sweden, Austria and Australia  wich works deal with this conceptual universe

- Katie Torn katietorn
- Birch Cooper [birchcooper]
- Alfredo Salazar-Caro [salazarcaro]
- Víctor Barragán [ytinifninfinity]
- Martin Onassis [martinolsson]
- Aoto Ooouchi [aotooouchi]
- Rachael Archibald [rachaelarchibald]
- Alejandro García Contreras [alejandrogarciacontreras​] + Josée Pedneault
- Edgar Silva
- Matthew Hillock

You can view the 3D exhibition online here

08 Jun 07:41

Won’t Someone Please Think of the Rich Guys In Suits?

by Scott Lemieux


I was going to write something longer about this Ruth Marcus column, but Atrios largely beat me to the punch here and here. The obvious problem is that her argument relies on prosecutorial discretion, but then retreats into formalism to become selectively blind to factors it is perfectly reasonable for prosecutors to take into account.

If Marcus was arguing that the FIFA or Hastert prosecutions could not be squared with the letter of the law, I’d have no problem with that. Due process really does apply to everyone. If Jeffrey Skilling is convicted under an unconstitutionally vague statute, his conviction should be thrown out.  But that’s not Marcus’s argument. Her argument is that prosecutors should not, in these cases, choose to go after behavior that is in fact illegal under federal law. If that’s the road you’re going down, then it’s entirely reasonable for prosecutors to take particularly bad behavior and consequences into account. The fact that FIFA’s network of bribes and kickbacks produces results like “let’s hold the World Cup in a country where facilities will be built with slave labor, resulting in thousands of deaths” absolutely does matter in this context — if you’re ever going to apply these criminal sanctions, this would seem to be the case. Similarly, using bank reporting laws to indirectly go after a child molester is considerably more defensible than the more typical use of the laws — i.e. indirectly going after people involved in the drug trade. The idea that prosecutors should exercise discretion by declining to pursue particularly egregious offenders is very strange.

Are there too many criminal statutes? Yes. Is mass incarceration a serious problem? Yes. But showing concern for these problems only when rich guys are involved is counterproductive, and it’s even more problematic when said rich guys are guilty of genuinely bad acts with serious material consequences to other people. (This goes triple for Hastert, who bears more direct personal responsibility for the underlying problem than all but a handful of people.) One way to make sure that the problem of mass incarceration will never go away is to apply criminal statutes only to the relatively powerless and not to the powerful. If you don’t think Hastert’s behavior merits an arrest, get rid of the law rather than instructing prosecutors only to use it against less powerful people guilty of behavior that isn’t as bad.

08 Jun 07:41

Corporate Control Over Museums

by Erik Loomis


I visited the Smithsonian U.S. history museum last week and was amazed at how corporate-controlled it has now become. I am working on a larger article on this topic that I’m hoping gets published somewhere with a larger audience, but in general, with major museums lacking the government funding they once had, the turn to corporate donors severely affects the stories they tell and undermines challenging visitors in any way. As the rest of the English-speaking world seems determined to follow the United States into a world of corporate-dominated right-wing government, it’s not too surprising to see corporate influence in those nations’ museums as well.

If you’d like to see how oil giant Royal Dutch Shell (one of the largest multi-national corporations in the world’s history) uses its corporate philanthropy to subtly change the core direction of potentially adversarial content at a renowned science museum educating millions, here’s your chance.

How Shell came to sponsor the London Science Museum’s “Atmosphere” program that, according to its director, emphasizes as much about what we don’t know about climate science as what we do know, is a story pulled straight from the well-established corporate public relations playbook.

When confronted with science, evidence and facts that aren’t especially helpful to your company’s bottom line – the playbook says to change the focus, or sow doubt about the certainty of the science. It worked for years for the tobacco industry. Big companies, like Shell, have clearly learned from its successes (and failures).


Science Museum and Shell officials talked about the need to agree on the “big changes” to the exhibit’s focus until it was finalized. “I’ve spoken to the (science) team and they will have a think about David’s comment,” a museum official wrote to Shell in one such exchange. “If there is a possibility of big changes, would you be in a position to indicate them now?” a museum official wrote to Shell in another instance.

In response to media coverage of its own internal documents on the Shell sponsorship, the museum’s director, Ian Blatchford, wrote in a blog post Monday that the public should be satisfied that it retained final editorial control over the exhibit. Shell made suggestions, yes, but museum officials made the final decisions.

But Blatchford’s response actually captures perfectly what Shell hoped it would achieve by paying for the exhibit. It talks about the science of climate change and what we know. But it also focuses on what we don’t know.

“Shell was a major funder of Atmosphere, our climate science gallery which provides our visitors with accurate, up-to-date information on what is known, what is uncertain, and what is not known about this important subject,” Blatchford wrote. “The gallery has been hugely popular since it opened four years ago and has now been visited by more than 3 million people.”

Naturally, if you are Shell, you are going to fund an exhibit that is beautiful and full of technology and over which you have editorial control that makes sure that visitors come away thinking there is so much we don’t know about climate change so why attack the oil companies. One can question how much influence museum exhibits have on shaping visitors beliefs, but for many visitors who do not follow the politics of climate change, this is one of the most intensive bits of exposure to the issue they will ever see. So of course Shell is going to target this exhibit to get its side of the story told.

08 Jun 01:14

Atlas Pizza, Division

Atlas Pizza, Division

08 Jun 01:14

keyframedaily: Catherine Deneuve in Jacques Demy’s Donkey Skin...

08 Jun 01:13

Why Is It So Hard to Track Police Killings?

by David A. Graham
Image Paul Sakuma / AP
Los Angeles burns in 1992, during riots after the Rodney King trial. (Paul Sakuma / AP)

The recent spate of highly publicized killings of black men by police officers has driven many people to wonder how common such police violence is. Incredibly, no one knows—not even FBI Director James Comey. The federal government doesn’t track it, and until this week, no one else did either.

Earlier this week, The Washington Post and Guardian set out to catalogue the number of times people are killed by police—the Post focusing on firearms deaths, while The Guardian looked at all fatalities. They got the data by poring over news accounts, police reports, and other records, trying to get a full picture. Because they use different methods and track slightly different things, they also come up with two different totals—385 so far this year in the Post, 470 for The Guardian.

The federal government could theoretically compel local law enforcement to produce the information, guaranteeing reliable and uniform reporting. So why hasn’t it done so? Tracking and reporting these numbers provides an empirical basis for political debate, and shifts the focus from documenting the problem to proposing solutions.

“It is the most important regulatory tool that the federal government now has for local police departments.”

Senators Barbara Boxer of California and Cory Booker of New Jersey announced a bill Tuesday that tries to solve the problem. The Police Reporting Information, Data, and Evidence Act of 2015 (the name creates a ghastly backronym, the “PRIDE Act”) is a fairly straightforward bill: It creates grants to states and in return requires them to record and report to the Justice Department every case in which an officer shoots or causes serious bodily injury against a civilian, and every case in which a civilian shoots or causes serious bodily injury to an officer. They would also have to report basic demographic data for all victims. The text is short and simple.

The PRIDE Act covers some of the same territory as the Death in Custody Reporting Act, an old law that fell off the books but was renewed in late 2014. The reason the PRIDE Act is still necessary is that its predecessor is widely considered ineffectual. Unfortunately, it’s not entirely clear that the PRIDE Act will solve its problems, as Franklin Zimring, a professor of law at the University of California at Berkeley who has long studied police use of force, told me.

The new bill and the old law share two salient features: They rely on states to provide the information needed, and they use federal grants as the mechanism for compliance. The way they handle the grants is a little different, though. The DCRA threatens to cut existing federal funding to states if they don’t report their numbers. Withholding federal grants, however, hasn’t always been a successful tool to make states comply with laws they don’t like. The Adam Walsh Child Protection and Safety Act, which uses the same mechanism, has only enlisted 17 states. The PRIDE Act instead creates new grants, relying more on carrots than sticks to achieve its aims.

That seems to answer the concerns often raised by local law enforcement agencies. Last fall, James Pasco, executive director of the Fraternal Order of Police, warned The Washington Post’s Wesley Lowery that any proposal to gather data that didn’t provide money for its collection was dead on arrival. “Otherwise it’s an unfunded mandate,” he said. “About 80 percent of police departments have fewer than 10 officers. They don’t have huge data collecting operations. They don’t even have a single person in some of these departments who are dedicated to all the statistical work they have to do now.”

The PRIDE Act might solve that problem (though its cost to taxpayers is unclear), but Pasco’s qualms spotlight the other potential pitfall in the bill.

“The states employ less than 5 percent of the police officers and sheriffs that operate in the state. How are they going to get the information?” Zimring wondered.

It’s a real problem. The Bureau of Justice Statistics tallies more than 12,000 local police departments, and there are thousands of sheriffs, too. As Pasco noted, few of these departments have statistics sitting around, just waiting to be collected by the state. That means the states, in turn, also don’t have the statistics sitting around, just waiting for Congress to pass a law requiring them to send the data to Washington. From a legislative standpoint, it’s much easier to institute a mandate on the states than it is to design—and fund—a program that collects data from every local authority. But it also reduces the chances of harvesting reliable, comprehensive data.

This isn’t the first time that Congress has sought to scrutinize questionable practices in local policing. The last major national outcry over police brutality was in 1992, when riots broke out after Los Angeles police officers were acquitted in the beating of Rodney King, which had been videotaped. Those riots produced a huge amount of media attention, and they also produced calls for reform.

Then-Representative Henry Waxman, a California Democrat, tried to pass a law that would allow the Justice Department to investigate local police departments and sue them for excessive use of force. The bill went nowhere. But in 1994, Waxman managed to get it included in the Violent Crime Control and Law Enforcement Act of 1994, which did pass. The relevant bit, Section 14141, makes it illegal for police to “engage in a pattern or practice of conduct ... that deprives persons of rights, privileges, or immunities secured or protected by the Constitution or laws of the United States.” There’s serious irony here: The act as a whole signaled a major expansion of incarceration and federal involvement in crime. It created many of the tough-on-crime policies that are often blamed for the current backlash against cops, and yet it also includes the tool that Attorney Generals Eric Holder and Loretta Lynch have used to push back against abuses.

“It is the most important regulatory tool that the federal government now has for local police departments,” Zimring says. “That more than anything else is the most substantial legacy of the King case.”

For example, the consent decree that the Justice Department recently announced with Cleveland over a pattern of excessive use of force by officers sprung from an investigation conducted under the auspices of Section 14141. There have been similar agreements with Albuquerque, Oakland, Seattle, and Los Angeles. An investigation that Baltimore requested into its own police department also falls under the statute.

Section 14141 was effective largely because it allows the Justice Department to go directly to local police departments, investigate them, and force them to make concessions. When Section 14141 was passed, though, few expected the small piece of legislation to have a huge impact on a public debate 20 years down the road. If Congress can devise an effective mechanism for gathering data on police-related deaths, perhaps it can produce a similarly outsized impact. In the meantime, that hole in the data seems likely to remain a major obstacle to police reform.

This post originally appeared on The Atlantic.

08 Jun 01:13

navisis: On Giving Life, 1975 Ana Mendieta


On Giving Life, 1975

Ana Mendieta

08 Jun 01:13

The Microbes on the Handprint of an 8-Year-Old After Playing Outside

by Christopher Jobson



We all know our bodies are home to countless millions of bacteria and microorganisms, but without seeing them with our bare eyes it’s almost impossible to comprehend. This petri dish handprint created by Tasha Sturm of Cabrillo College, vividly illustrates the variety of bacteria found on her 8-year-old son’s hand after playing outdoors. The print itself represents several days of growth as different yeasts, fungi, and bacteria are allowed to incubate.

It’s safe to say almost everything you see growing in this specimen is harmless and in many cases even beneficial to a person’s immunity, but it just goes to show why we sometimes it’s good to wash our hands. Sturm discusses in detail how she made the print in the comments of this page. (via Ziya Tong)

07 Jun 08:49

New New WightAn online virtual gallery exhibition from ucladma...

New New Wight

An online virtual gallery exhibition from ucladma featuring works from familiar Tumblr-based net artists such as kyttenjanae and adamferriss :

New New Wight is a virtual exhibition space based on the New Wight Gallery located at UCLA. It is conceived as a space for art-making liberated from institutional limitations such as the prohibition of food and plants inside the gallery, but also from the inherent limitations of our material world. The NNW is a space where the only portal required to enter is the internet and where the laws of physics no longer apply.

The exhibition is built using the game engine Unity - you can find out more as well as download the exhibition from the exhibition website here

07 Jun 08:49

Real-Time Hyperlapse Creation via Optimal Frame...

Real-Time Hyperlapse Creation via Optimal Frame Selection

Research demonstration from Microsoft Research explains how their hyperlapse technology works - for steadier results, frames are picked and collated through a smarter algorithm:

Long videos can be played much faster than real-time by recording only one frame per second or by dropping all but one frame each second, i.e., by creating a timelapse. Unstable hand-held moving videos can be {\em stabilized} with a number of  recently described methods. Unfortunately, creating a stabilized timelapse, or hyperlapse, cannot be achieved through a simple combination of these two methods. Two hyperlapse methods have been previously demonstrated: one with high computational complexity and one requiring special sensors. We present an algorithm for creating hyperlapse videos that can handle significant high-frequency camera motion and runs in real-time on HD video.  Our approach does not require sensor data, thus can be run on videos captured on any camera.  We optimally select frames from the input video that best match a desired target speed-up while also resulting in the smoothest possible camera motion. We evaluate our approach using several input videos from a range of cameras and compare these results to existing methods. 

You can find out more technical details here, or download the app via here

07 Jun 08:01


by Jennie Breeden


07 Jun 07:40

Perchance to Dream

by kittystryker

“I can almost touch the soil beneath your whisper
I can almost feel the hopes you left behind
I can almost touch the soil beneath your whisper
I can almost feel the hopes you left behind
Words that fall like distant rain
Words that echo with your eyes”
-Nostalgia, Nitin Sawhney

I am haunted by some terrible dreams. I wake up from them like falling, my pillow sometimes wet with tears, sometimes with sweat. Sometimes I have been locked onto a hospital gurney and am waiting for the medics to come and drug me while I scream that I’m not crazy. Sometimes all my teeth have fallen out, and I am worried about how I’m going to afford the care. My dreams are filled with navigating bureaucracy, having emotional crises, and trying to balance my finances. I’m not always sure if it was, in fact, just a dream.

I wish I had dreams of flying like normal people do, but when I fly in dreams it is always an escape. I am frantically trying to learn how to control my flight so I don’t crash and burn, or get captured, or something unspoken but dreaded in my gut. Even in my dreams I can’t give up control, I still have the sinking feeling that there’s things I need to do, that people are depending on me to behave correctly.

My family, I think, has the impression that I’m a wild child, partying it up a lot and generally reckless. Little do they know, really KNOW, how much of my time is spent carefully calculating next steps for myself, balancing my checkbook, or frozen in place on my bed because a wrong move could mean a total lack of stability. For all that I give the impression of being devil may care, I spend a lot of my time trying to overcome emotionally exhausting amounts of severe anxiety. I am so accustomed to sitting, feeling bile rise into my throat and my gut clenching tight, without any particular reason, that it’s just part of daily life and not a medical concern anymore.

I am reasonably good at juggling responsibilities, and capable of survival under some pretty rough circumstances, but god, how I wish I could just let go sometimes. I wish I could give up all these feelings, all this compassion, all this heart pain I carry around. I long to have control taken from me, but am too wounded to give it up. I don’t really know how to relax, even when asleep. I’m always doing something, always frantically trying to hold my shit together.

Last night I dreamed that my lover dumped me and got back together with an ex. I tried my damnedest to smile and be gracious, happy for them, even though I felt like I was being ripped apart by wolves on the inside. In the dream we lived in the same apartment complex, and seeing them together was unavoidable… so I spent much of my dream in my tiny studio, fixing the plumbing which kept bursting over and over again, a lump in my throat.

I didn’t cry in the dream but I woke up teary and sad. It was just a dream, I knew it was just a dream, and yet I still felt shaken and lost and abandoned. And it was hard to let it go. I FELT it, so strongly, the loss, the strain to feel compersion that someone I loved was happy, my own disappointment in myself for just not having the strength.

I feel so flooded with feelings. I want sleep to be restful but I don’t know how to turn my brain off even then. Why does my subconscious feel the need to force me to confront such dark yet mundane fears every night, leaving me tossing and turning? It’s frustrating, especially after a particularly heartwrenching night when I can’t find myself capable of leaving my room because cobwebs of the night before are holding me back. I worry it impacts my relationships, that these horrible processing sessions lead me to miss ex lovers who were toxic, or to suspect current lovers who have done nothing wrong.

I don’t have any stability in my life, not really. I suspect that’s part of why I’m so haunted by the past and the possible futures… if I drop one plate, the impact on the rest of my life could be devastating. I am afraid, always, that sometime I’ll misstep and everything will come crashing down. I want to cling to something, like a barnacle, while the floods of emotions crash around me- I could weather them then- but to cling to a person is codependent, and to cling to a job is absurd in this climate. I feel like I live my life as honestly and as vulnerably as I can, but sometimes I feel laid bare, still alive as ravens peck at my entrails. But I don’t know how else to be.

So instead, I drift, both awake and asleep, unsettled, unprepared, ungrounded. I hope that one day I will find some safe space to curl up in, even just for a night, where my mind and heart can be at rest. Sometimes I just want to be loved, and love, and for it to be easy for a minute, for me not to feel like I have to fight or run. I wonder if I will feel lonely until I die, but then isn’t that human existence?

I just want to trust and I worry that I may never really again.

It has been a day, and a lifetime, of too many feelings, and I am tired. I am afraid of being tired, of admitting my weariness, because being present is what I’m good at, being a place of stability for so many others is what I do, and to admit I feel lost is perhaps the dropping of that first plate.

But I want to lay this burden down. And I am falling asleep alone tonight, and wish I wasn’t.

07 Jun 07:40


by Robert Farley

The second in my series on Kentucky and the APAC takes a look at the bourbon industry:

People in the bourbon industry know that things could still turn around. Demand for spirits has a faddish quality, and interest in bourbon has collapsed before. Attacking the Chinese market will be key; bourbon exports to China have increased dramatically over the last decade, but thus far export to China represent only about a tenth of exports to Japan. Moreover, word has it that sales of all premium liquors have dropped in China over the past two years, apparently because of changes in gift-giving culture. And U.S. producers (not to mention Suntory) may also find ceilings on the demand for bourbon in Korea and Japan (although thepotentially lucrative North Korean market remains available)



07 Jun 07:40

Lighter than Air: Desire Across Millennia

by Thomas Micchelli

Roman fresco fragment. Museo Archeologico Nazionale di Napoli (photo by the author for Hyperallergic)

NAPLES — In the Museo Archeologico Nazionale di Napoli, there’s a tiny Roman fresco, about a foot square, of a semi-nude woman and man floating against an azure sky, one of many such fragments you’ll find there.

But this one jumped out at me for the symmetry of the design and the solidity of the painting. Although the lower right corner is broken off, taking with it the woman’s left foot, the upwardly spiraling composition is nearly complete: the intertwined, angled lower limbs that erupt into a riot of encircling robes, then consolidate into the arc of the woman’s torso and arm, with a twist of fabric at the top.

The color of the figures shimmers against the bejeweled blue sky; virtually monochromatic, it offers a minimal range of raw to burnt sienna (her pale complexion indicates purity, while he’s endowed with the bronzed skin of a warrior), and the pigmentation feels so dense that the figures come across almost as a bas-relief, an illusion augmented by the scalloped edges of the garments and the finely articulated musculature of the limbs.

The joyful abandon of the woman’s upthrown arm, the jaunty uptick of the man’s right knee and ankle, the pillowy softness of her flesh, the sweaty sinuousness his muscles, and the locked, blinkered gaze they share all bespeak a euphoric eroticism. Because the man’s left foot is cut off at the toe by the painting’s frame, we can’t be certain whether the couple is meant to be planted on terra firma or floating on air. Nevertheless, the welling of emotion they generate and the ecstatic buoyancy of their connection seem designed to upend the law of gravity.

Francisco José de Goya y Lucientes, “Mirth” (c. 1819-23), brush and black and grey ink with traces of red chalk and scraping, 237 x 148 mm. The Hispanic Society of America, New York. The work was recently featured as part of the Courtauld Gallery’s “Goya: The Witches and Old Women Album” exhibition (photo © and courtesy the Courtauld Gallery) (click to enlarge)

While looking at this painting fragment, my mind kept returning to “Mirth,” the most well-known drawing of Francisco José de Goya y Lucientes’ Witches and Old Women album (ca. 1819–1823). There are uncanny similarities between the two artworks, done 1800 years apart: the upper sections of the figures create similarly stacked, swelling forms, while the lower halves terminate in triangular constellations of feet. And, like the Roman lovers, they’re magically afloat.

But there are also inversions — in the Goya, the man is above the woman (whose kicking right foot is an eerie match for the Roman warrior’s) and while he appears to be looking at her, she seems to have trained a sidelong glance on us. Most significantly, the couple in Goya’s drawing, though apparently as ecstatic as the pair of Roman lovers, are in advanced old age, their toothless mouths twisted into unsettlingly grotesque, weirdly innocent grins.

The man in the Goya is wearing a monk’s cowl and robe, imparting the sense that his bond with the woman is a form of forbidden love. Still, there seems to be no guilt or surreptitiousness tainting their relationship; for them, there’s nothing to be ashamed of. Another way of looking at the image is as a paean to platonic love, a condition necessitated by the couples’ age and social positions, but an idealistic take doesn’t fit the historical circumstances.

The sheets of the so-called Witches and Old Women album were done toward the end of Goya’s life, when he was pushing 80 and had already seen the world go to hell in a hand-basket. The visions he conjured in his paintings, drawings and prints constitute an indelible record of the failure of the Enlightenment, which had invested most of its intellectual capital in the Apollonian ideals of Ancient Rome.

But those ideals were the flip side of a Dionysian urge toward madness and savagery, expressed in gladiatorial games and a virulent pursuit of empire. What’s remarkable about the Roman fresco and the Goya drawing is the resolution they manage to achieve between the warring impulses at work in their respective cultures.

The fresco is beautifully sublimated in its careful geometry, and exquisitely carnal in its depiction of flesh. Goya’s drawing, with its light-filled pools of brushed ink wash, feels completely non-judgmental, a testament of tolerance and acceptance from someone who knew firsthand the idiocy of kings, wars and inquisitors. His monk and old woman, united in midair, radiate both joy and folly; they’ve found their shred of happiness and, despite the opprobrium that is likely heading their way, are unabashed about latching onto it.

07 Jun 07:40

elizabeth bentley slurpy throatsluts

by admin


Originally posted 2015-06-06 09:01:01. Republished by Blog Post Promoter

elizabeth bentley slurpy throatsluts source: droolingfemme.

07 Jun 07:39

Sexy, Satin Surfaces: Paintings from the Dawn of the Dutch Golden Age

by Natasha Seaman
Joachim Wtewael, "Golden Age" (1605), oil on copper, 22.5 x 30.5 cm. Metropolitan Museum of Art, New York (via Wikipedia)

Joachim Wtewael, “Golden Age” (1605), oil on copper, 22.5 x 30.5 cm. Metropolitan Museum of Art, New York (via Wikipedia)

On its own, a painting by Joachim Wtewael can seem like a two-dimensional manifestation of an absurdly complex gâteau — gorgeous, delicious, but perhaps best taken in in small servings. Gathered together in critical mass in the exhibition, Pleasure and Piety: The Art of Joachim Wtewael (Utrecht, Centraal Museum, traveling this year to Washington, DC and Houston, Texas), however, the paintings’ immaculate surfaces and fervid sensuality make an intoxicating but satisfying meal.

Wtewael (1566–1638) lived in Utrecht, the Netherlands in the early part of the seventeenth century when it was a hotbed, along with Haarlem, of a belated Northern interpretation of Italian Mannerism. Wtewael (imagine an “o” in front of the first W for an approximation of the pronunciation) reveled in the style’s artifice and intricacy for his entire career, long after the frank naturalism influenced by Caravaggio took over in Utrecht. His paintings certainly found patrons, but Wtewael’s whole buoyant enterprise was also kept afloat by his family’s lucrative trade in flax.

Wtewael often painted on copper, mostly on pieces about the size of a half a sheet of office paper. Copper doesn’t expand or contract with heat or humidity like wood or canvas, which means the painted surfaces can remain pristinely free of cracks or crazing. The metallic support, though invisible, also seems to give a special enameled richness to the paint, which Wtewael applies without visible brushstrokes. The painter wields this meticulous effect in Christian, mythological, and secular subjects, favoring scenes with multiple figures, the more nudes the better.

Joachim Wtewael, ​”Mars and Venus Surprised by Vulcan” (1601), oil on copper, 21 x 15.5 cm. Mauritshuis, the Hague (via

Painting some subjects repeatedly but not repetitively, Wtewael juggles variables like setting, costume, and pose to create novel compositions with different inflections of meaning. A favorite motif was the love triangle of Venus, Mars, and Vulcan. In one version (Mauritshuis, 1601), the dynamic is about vision and exposure. In a richly appointed bedroom, Mars is wedged between Venus’s marmoreal loins. He looks up and shakes an angry finger at Mercury, who betrayed their affair to the other gods. Mercury stares back, as he lifts the acid-green canopy of their bed of passion, his watermelon pink hat flaring with the righteous indignation of a tattletale. From airy vantage points to the left, Jupiter, Minerva, Diana, Luna, and Saturn get their glimpse at the entrapped lovers. The wronged Vulcan enters from the viewer’s space, his leather apron flapping, his bare buttocks clenched and blushing with effort and pique. He is about to throw an immobilizing magical net over the pair, and as such stands for both artist and viewer, freezing the couple in time to gaze at their betrayal.


Joachim Wtewael, “Mars and Venus Surprised by Vulcan” (1604-1608), oil on copper 20.3 x 15.9 cm. Getty Museum (via Wikipedia)

In the version from the Getty collection (1604–08), the theme has become more salty and corporeal. The central dynamic of the painting is now the juxtaposition of Mars’ and Venus’ tangled limbs and, in a gap between the curtains of the bed, a view into Vulcan’s workshop. Vulcan is depicted twice; once in the foreground, again preparing to toss his net, and once in his workshop, the striking of his hammer on the hot metal evoking the couple’s copulation. To confirm the dirtier inflection, a spilling water jug under the bed in the Mauritshuis painting is replaced with a chamber pot, into which has dropped a corner of the bedspread.

Whatever the subject, Wtewael seems intent upon maximizing the illusion of three dimensionality. Compositions drill deep into pictorial space through carefully orchestrated shifts in value: foregrounds, often strewn with telling objects (such Mars’ discarded armor or Vulcan’s dropped hammer), are darkened with bands of shadow. The middle ground is brightly illuminated; this is followed by another swath of shadow, and then views, painted in filmy pastels, into the far distance. This effect is particularly strong in “The Adoration of the Shepherds” (1601, Staatsgalerie, Stuttgart), where Wtewael pierces the dark stone wall of the crumbling barn behind the grouping around Christ with three windows, revealing scenes in the far distance, such as tiny shepherds receiving the news of Christ’s birth from an angel the size of a mosquito.

Along with these compositional techniques, the figures themselves seem to be creating space with their gestures, pushing outwards as if against a clear but confining film. Again, in the “Adoration”: with the exception of the Christ child, who reclines serenely in the center of the painting, everyone’s limbs seem to be in a state of hyperextension: Joseph, giving water to his donkey, balances on one knee and the ball of his foot, arms tracing an elliptical C, and Mary, gazing at the baby, splays her arms and fingers in a spasm of devotion. Two beefcake shepherds, their clinging rustic clothing exposing their shoulders, chest, and back, appear to have just completed a tumbling run to land in adoration beside Christ.

Wtewael also painted big, such as his “Perseus and Andromeda,” (1611, Louvre) — though surely, for this depiction of the myth, that habitual order of names should be reversed: Andromeda luminesces in most of the right foreground while Perseus and the dragon float in the middle distance like a pair of fighting betta fish. The transition of Wtewael’s technique from tiny sheets of copper to large-scale canvas is frictionless; the pictorial elements simply enlarge but lose no delicacy. There is, however, room to reveal yet more descriptive detail, such as the blue network of veins in Andromeda’s breasts, the sprinkle of water from the dragon’s snout, or the meticulous reportage on the features of the exotic shells that fill the foreground.

Perseus and Andromeda, by Joachim Wtenwael

Joachim Wtewael, “Perseus and Andromeda” (1611), oil on Canvas, 180 x 150 cm. Louvre, Paris (via

Looking at his facture on a large scale, it is also possible to appreciate that, despite their satisfying volumetric solidity, there is no hard linear edge to his forms. The edges don’t resolve in a tight line, but modulate into a dark blur, as if the figures were made of a dense mist. Rather than circumscribed contours, it is their satiny sheen that lends them their startling sense of physical presence. Returning to the copper panels with new attention, one sees the same effect there, miniaturized.

Most stunning, perhaps, is the sheer copiousness within the images. The clear winner in this category is the different versions of “The Wedding of Peleus and Thetis,” which each present more than a hundred gods and goddesses in as many different poses. The subject gets competition from such paintings as “The Golden Age,” (1605, Metropolitan) a depiction of the idyllic life of the always-lost past, where satiny-bottomed women tend to babies while well-muscled men pluck food from trees. When he turns to a scene more connected to daily life, such as “Kitchen Scene with the Parable of the Great Supper,” (1605, Berlin), the many figures are replaced with just as many slithering piles of fish, dead game strung from shelves, and heaps of vegetables, all of which manage to radiate only marginally less sensuality than the nudes.


Joachim Wtewael, “Kitchen Scene with the Parable of the Great Supper” (1605), oil on canvas, 65 x 98 cm, Staatliche Museen zu Berlin, Gemäldegalerie (via web gallery of art)

Despite the paintings’ charms, this is the first major museum exhibition of Wtewael’s works. It is not just the intimidating pair of consonants that begins his last name that has hindered his appreciation in the art world. From the perspective of evolutionist art history, Wtewael’s stylistic consistency looks like a fatal lack of engagement with the art of his time, like a society lady clinging to her bouffant hairdo after shags have become the norm. Recent art history has also viewed artistic angst as a marker of authentic creation. Wtewael’s only dilemma seems to have been to decide which mythological figure gets the most outlandish hat, or on which cast-of-thousands historical scene to spill his talent. This luscious show is as good a reason as any to ignore that perspective. Bring your magnifying glasses and your appetite.

Pleasure and Piety: The Art of Joachim Wtewael opens at the National Gallery of Art (National Mall between Third and Ninth Streets, along Constitution Avenue NW, Washington, DC) on June 28 and continue through October 4; from there it will travel to the Museum of Fine Arts, Houston, where it will run from November 1, 2015 to January 31, 2016.

07 Jun 07:38


07 Jun 07:38

We picked this guy from the airport and he made us cocktails!...

We picked this guy from the airport and he made us cocktails! Rum old fashioned a with Anchor Reyes, El Dorado and Creole shrub. Not too shabby , professor!

07 Jun 07:38

Baby Cages

by Erik Loomis


If there’s one reason to study the 19th century, it’s to learn lessons on how to raise children. Today’s children are so spoiled, what with their education and not working and playing sports and 8th grade graduation parties and the like. Parents today pay for babysitters instead of just locking the kids in the bedroom for the night. Craziness. If the baby won’t go to sleep, why not dose it with opium? And if the child is in the way, how about hanging it in a cage outside your tenement house window?

Why study the past if we can’t learn lessons for the present?

07 Jun 07:38

heather vahn cum crossfire 2

by admin

2015-02-13-10_33_56 2015-02-13-10_34_06 2015-02-13-10_34_16 2015-02-13-10_34_47 2015-02-13-10_34_56 2015-02-13-10_35_14 2015-02-13-10_35_38

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07 Jun 07:37

Taste your lips of wine… anytime, night or day.

by Sophia, NOT Loren!

Sunday, I didn’t get much sleep. On Monday I only caught about 4 hours, and couldn’t get any more rest despite all efforts to do so, and wasn’t feeling all that great. Went out for a drink, and on the way back — about 11:30 — I asked Rabbit if she wouldn’t mind stopping for something along the way. Went to Wing Stop, since I knew they’d be open, and grabbed 20 “boneless wings,” half Atomic (AKA “Flaming Asshole in the Morning”) flavor, and half Teriyaki flavor. Since it came with a side dish I got fries, and as for the drink — I wanted to steer clear of caffeine, but I didn’t feel like whatever their lemon-lime offering was, so I went with orange.

Fast-forward to 9am Tuesday morning, and I was still awake, and frustrated, and wondering what had happened. Then I suddenly realized: I bet their orange soda was Sunkist! Caffeinated, no question. Oops! All that careful work to avoid it, wasted. It was almost noon on Tuesday when I did finally get to bed again.

So! My plans for Tuesday rather went out the window, then… but I got quite a bit of sleep. And when I slept, I had some intense and incredible (or perhaps incredibly frustrating) dreams!

When I woke shortly after 8pm, it was from a dream where I had been at my usual pub, making eyes at a very lovely young woman across the room, and she had been quite enthusiastically returning my glances. I can still see the low scooped neck of her blouse, thin blue and white stripes making plenty of room for her ample cleavage to show… I can picture the exact shade of her skin, the way her long hair moved around and with her…

Anyway, after a few moments of distant flirting, she stood up, walked over to me, and the first thing she said to me was, “Um, excuse me, but… are you trans*?”

Ouch. Not exactly the best opening line ever, but I tried to handle things gracefully, and I replied, “Pleasure to meet you! You’re quite lovely. You might keep in mind that your first words to me were to ask about what’s between my legs… now, I’m also quite interested in the potential for seeing your naked body [in the dream I paused briefly, took a pointed look down to her crotch, looked back up, then began speaking again] and I’m certainly flattered that you’ve expressed such an interest in mine. My name’s [I gave her my name] — what’s yours? Oh, and yes, I do have a cock.”

I woke just before she could reply. My brain, I tell ya — it loves teasing me! Grr. Even in my dreams things end before they get started.

I went back to sleep a few minutes later, and woke again around 10:45pm. This time, I had been walking around in public somewhere in my dream, and there was a guy leading a woman around on a leash, crawling on hands and knees. She wasn’t wearing much; I seem to recall that whatever she had on made room for her extremely large breasts to hang out in the open.  I moved closer to see what was going on, and by the time I got near, it was quite obvious that he was fucking her face, and doing so in the middle of the sidewalk. This wasn’t gentle fellation on her part, either, this was rough, throat-deep, how-does-she-not-have-a-gag-reflex fucking from him. He had just pulled out and left quite the load of cum in and around her mouth; she was licking herself clean and I stepped up to him to ask, “Pardon me, sir, do you mind if I have a go?” He shrugged, said simply, “Sure,” and handed me her leash, stepping to the side to watch. I lifted my skirt, slipped her head under, and just as her lips touched my skin…

I woke up. Seriously?! And yes, unsurprisingly, I was extremely erect when I awoke, and because everything was so noisy here and I needed to get to the bathroom to empty my bladder, I couldn’t do anything about it.

I really need sex. And soon. And more often than once every few months (it’s been since the beginning of October, and before that would have been maybe sometime in August.) Because at the moment, I’m dreaming my life away!

Filed under: General
07 Jun 07:37

Did you have to remind me?

by PZ Myers


I am reminded that Scalia wrote the dissent in Edwards v. Aguillard. I have been trying to forget.

The body of scientific evidence supporting creation science is as strong as that supporting evolution. In fact, it may be stronger…. The evidence for evolution is far less compelling than we have been led to believe. Evolution is not a scientific “fact,” since it cannot actually be observed in a laboratory. Rather, evolution is merely a scientific theory or “guess.”… It is a very bad guess at that. The scientific problems with evolution are so serious that it could accurately be termed a “myth.”…

Shocking, isn’t it? Who would have thought a Supreme Court justice could be such a pompous ignoramus?

The occasion for this unpleasant reminder is that Scalia gave a commencement address at a high school recently, and offered some evidence that he hasn’t learned a thing in 28 years.

Class of 2015, you should not leave Stone Ridge High School thinking that you face challenges that are at all, in any important sense, unprecedented. Humanity has been around for at least some 5,000 years or so, and I doubt that the basic challenges as confronted are any worse now, or alas even much different, from what they ever were.

at least some 5,000 years…multiply that by at least 20.

Somebody ought to let Scalia know that that 5-6000 year old Earth nonsense is a specifically Protestant idea, and not even all Protestants — just the particularly rabidly goofy ones. But maybe those are the people he identifies with.

Our Supreme Court. Once again, an international embarrassment.

07 Jun 07:36

“On the London Overground. I swear I didn’t get this guy to...

“On the London Overground. I swear I didn’t get this guy to pose. This was just how he was sitting.”

07 Jun 07:36

karnythia: Literally the only reason people think the past was all white is racism in Hollywood....


Literally the only reason people think the past was all white is racism in Hollywood. All the images of the past that you think are accurate from TV shows & movies produced during Jim Crow are actually fictional representations of what racists wanted the world to be like instead of their reality. That’s why you have people arguing that Egypt isn’t in Africa and that Cleopatra looked like Liz Taylor. That’s why you have period pieces set in London with none of the Black Victorians, Chinese sailors in Limehouse, or Jewish communities. That’s why you don’t see the drag balls that were common in New York, Chicago etc. You don’t even see the diversity of Roman citizens or the Moorish Empire. Next to nothing about women of color at any point in history, despite them being inventors, pioneers, and artists who changed the world. Gee, it’s like media representation has an impact across time. Like, maybe producing media that isn’t inclusive contributes to ignorance, erasure, and perpetuating racist, sexist, homophobic propaganda. If you’re still producing these bland historically  inaccurate shows in 2015 that’s not about historical accuracy, that’s about your internalized bigotry. .

07 Jun 07:36

How to become a famous author

by PZ Myers


I had not realized it was so easy. But Dylan Saccoccio, author of The Boy and the Peddler of Death (The Tale of Onora #1), has discovered the formula and is well on his way to notoriety.

First step: write a book. It doesn’t matter how good it is.

Second step: find a negative review.

Third step: meltdown online.

See? Anyone can do it.

Here’s the demonstration. Someone named Cait read Saccoccio’s book, and did not like it. Then she dared to state her negative review on GoodReads.

This was just…so unnecessarily wordy and pretentious. I just did not enjoy it at all. … So how did I loathe this so entirely from page one? I don’t know.

The fun begins. Sacoccio responds to the review.

This review is not good for my business, so unless your desire is to ruin my dreams, it would mean a great deal if you could remove this review from my work and forget about it. But if it’s your desire to hurt me financially and ruin my business, then it’s understandable why you would post such a harmful review.

Yes. The only reason one might dislike a book is personal animus against the author, and a desire to snuff out his dreams and crush him economically. His reaction is to assume Cait hates him.

It escalates rapidly. Not only does Cait hate him, she is an evil person.

Do you have empathy? Do you know what it’s like to make something for a living? Are you human? Or do you just look at other people like they’re automatons that you can slander as though your actions don’t manifest consequences? Trust this. Me confronting someone that defaces my work says nothing about me other than the fact that I address it when someone goes out of his/her way to do so. But you left a 1 Star review on someone’s life’s work, someone who is trying to warn people what’s going on in this world so that they can protect themselves and help others, and think that is a moral action. 400,000 children go missing each year in the US alone. Do you know where they’re going? Do you know who’s behind it? Do you know why the media is silent about it? Do you know how much a person risks to confront the evil that’s running amok in this world? YOU don’t know right from wrong. And that’s what a review like this says about the person that wrote it.

To leave a one-star review of Sacoccio’s writing is to demonstrate that you are not human, and is just like someone who abducts a child. Who abducts 400,000 children.

It’s not just Cait. Everyone who agrees with her is waging war on the consciousness of humanity.

I’m not embarrassed at all. And all of you who are taking Cait S’s side, what you’re doing in the bigger picture is waging war on the consciousness of humanity. The end. If this interaction prevents you from reading my work, it’s okay. I’m not offended. I don’t want your money, nor do I want you having a bad experience by reading my books. What bothers me is when people that operated at a low level of consciousness defame the work of people that are trying to help humanity, and no one helps humanity better than artists.

Time to break out the random capitalization.

NO. I don’t want you to do anything because you’re immoral. Leave this up so that every person henceforth can see ALL OF YOU for what YOU ARE. DESTRUCTIVE to consciousness and humanity. What you’ve done to me, you do to YOURSELF, because if you KNEW anything about anything, you’d know we were all connected to each other, and instead of destroying each other’s work, you’d be supporting each other, which is why I will NEVER behave like ANY of you immoral people, and I won’t go seeing what you’ve written or done in the world so I can destroy that. No, I will only defend my work against EVIL.

And today, all of you see why EVIL IS KICKING HUMANITY’S ASS, and why the human condition is SLAVERY.

THAT’S what The Tale of Onora is about, and if you can’t grasp that, then BE GONE!

But now Saccoccio brings out the big guns. The reviewer called it wordy and pretentious, and loathed it from the first page…so he posts the first page of the book to prove that she is totally wrong.

“To you, that you may awaken to understand that the whole universe is a dance of energy, and that energy is God, and that energy is you. You are something that the whole universe is doing, that God is doing, just as a wave is something that the whole ocean is doing. The real you, the energy, the soul, is not a puppet that life pushes around. The real you is the whole universe. The real you is God, destined to follow no one, destined to ignite the ether and experience life from an individual perspective and take part in the creation. So this is for you, my fellow creators, my fellow gods, and my fellow selves, that coincidence may never disguise itself with the mask of fate and torment you, that every moment be meaningful, and that no experience be lost.”

I gave up at the first sentence.

But his strategy was successful. Look, Dylan Saccoccio is now a FAMOUS AUTHOR.

Of course, no one is going to be interested in reading his books, but he’s famous.