Author: despina durand

part-time goth, full-time critic

Future Imaginary and the role of Horror

When considering the “failure of the imagination” which traps people within capitalist realism, the potential in invoking an incoherent – though not necessarily unreal – alternative mode of thought or existence is crucial to breaking out of the bind of capitalist realism. Being able to posit an incoherent alterity is the first step towards being able to move towards a coherent alternate reality. But trying to pull away from the familiar and towards a new paradigm inevitably produces an encounter with Horror.

After reading Capitalist Realism, with its focus on what I have decided to term a “failure of the imagination” – not in the sense that we, the collective political and human consciousness, are exhibiting a personal failing – produced by the peremptory enclosure of possibility inherent in capitalist realism, I have re-committed myself to questions about the Future.

I have a terrible tendency to submit to the logic of “realpolitik” (in itself a form of capitalist realism) when evaluating the possibilities for creating better systems and better outcomes. While I believe it is partially the result of the natural contrarian in me responding to the more daring potentialities imagined by the people whom I choose as friends and compatriots, it nevertheless perpetuates a limited and limiting view of what could be.

On the Always Already Podcast, at the end of December 2018, the hosts contended with Eugene Thacker’s In the Dust of This Planet: Horror of Philosophy. Without having read it, my understanding of it is of an imaginary book. This book is co-written by the description of the other book’s contents as provided by the crew at Always Already and by my own already-developing thoughts on the role of horror (both genre and emotion) and fear (both affect and effect) in philosophy – but philosophy writ large: any mode and means of asking questions.

Horror, according to Thomas Ligotti, is something which exists independent of the human mind. In “Professor Nobody’s Little Lectures on Supernatural Horror” he says:

“[O]ne thing we know is real: horror. It is so real, in fact, that we cannot be sure it could not exist without us. Yes, it needs our imaginations and our consciousness, but it does not ask or require our consent to use them.” (187)

Horror is something with which we must contend, not because it offers us anything in particular, but because it is unavoidable. Horror, whose handmaidens are Pain, Death, and Uncertainty, is, in point of fact, the soil in which the tree of philosophy has taken root.

Listening to Always Already, Thacker seems to be asking that we prepare ourselves to contend with something that cannot ever be perceived, a something which…

“…is that which paradoxically reveals the hiddenness of the world in itself. […] [You] reveal something which is a paradoxical re-hiding of it at the same time…”

One of the big debates around Lovecraft – the conundrum of his rich, descriptive prose and the his narrators’ perpetual encounters with the “indescribable,” – was put to rest (in my mind) by Mark Fisher, who was building on an analysis by China Mieville, in his essay “The Out of Place and the Out of Time: Lovecraft and the Weird” (collected in The Weird and the Eerie):

“After (1) the declaration of indescribability, and (2) the description, comes (3) the unvisualisable. For all their detail, or perhaps because of it, Lovecraft’s descriptions do not allow the reader to synthesize the logorrheic schizophony of adjectives into a mental image…” (23)

In other words, Lovecraft creates a cognitive rupture by providing enough (or so much) information so that a solution – a coherent image, in this case – ought to be possible, while simultaneously frustrating any attempt to generate that solution. This question of a something or somewhere which is perceptible as a logical and/or affective possibility but which, at the same time, cannot be constructed or imagined as a coherent whole is a powerful philosophical tool.

When considering the “failure of the imagination” which traps people within capitalist realism, the potential in invoking an incoherent – though not necessarily unreal – alternative mode of thought or existence is crucial to breaking out of the bind of capitalist realism. Being able to posit an incoherent alterity is the first step towards being able to move towards a coherent alternate reality.

But trying to pull away from the familiar and towards a new paradigm inevitably produces an encounter with Horror. Following from Ligotti’s assertion that Horror exists independent of the human, then perhaps it can be said that, in the way that venomous creatures are able to prolong their existence by disrupting the biological systems of their predators, Horror serves a similar function in the preservation and perpetuation of particular realities; Horror is a defensive tactic of collective existence which disrupts the cognitive systems of those seeking to change it.

Here it is important to distinguish between Horror, horror-as-genre, and horror.

Little-h “horror” is that which can be described as a feeling or emotion. It refers to a strong negative reaction, often literally embodied, which combines characteristics of disgust, pity, revulsion, and an instantaneous rejection which can be a precursor to fear.

Capital-H “Horror” by contrast is that philosophical/affective entity which Ligotti described as existing independently from the human consciousness. “Horror” is part of the collective consciousness, it is a fundamental part of both generating and processing reality itself.[1] Here, Horror refers to an affective quality which can be perceived even when it is not accompanied by horror. While some philosophical projects (as well as scientific, religious, and narrative) projects inspire horror in those who encounter them, all philosophical projects and re-imaginings of reality will produce Horror.

(While this is exceptionally true of efforts taking place in the tradition emergent from the Enlightenment and ultimately the Modernist philosophical projects, there is reason to believe that even in non-Western Rationalist reality paradigms Horror is emergent all the same. Regardless of what their precepts may be, collective reality rejects its own re-interpretation.)

This means that “horror-as-genre,” as a collective, wide-ranging aesthetic project dedicated to exploring the production of both horror and Horror, is kin to the philosophical and scientific projects which seek to push the boundaries of what is admissible in reality. But horror-as-genre can be deployed in the service of two outcomes: the first is the exploratory, imaginative function of positing the “outside” of reality, and the second is as an inoculation. Exposure to horror and Horror (especially in the places where they intersect and intensify each other) encourages familiarity with them, and that familiarity introduces the possibility of separating horror and Horror, making it possible to engage with each quality separately.

An inclusive survey of horror-as-genre quickly reveals the variety of emotional impulses present in a seemingly inclusive category. (This is partially a result of the diversity of any given audience. However, it is also because horror-as-genre traffics readily and effortlessly in pity and grief from tragedy,  and a variety of pleasurable sentiments.) So the evocation of mere horror is insufficient as a metric by which to recognize the shared quality which unifies horror-as-genre. What brings the disparate elements of horror-as-genre (a quality which enables a recognition unimpeded by the sometimes confounding confluence between genres) is the evocation of Horror – the affective, philosophical conundrum of the supposedly “unimaginable.”

By transforming the now-cliched Nietzsche quote into its raison d’être, horror-as-genre prepares us for life on the precipice. On one side, the worn-out, inhospitable, hazy terrain of the past, on the other, the abyss of the future, and between the two, the narrow ledge of the present. Capital-H Horror is the cognitive vertigo which comes with a prolonged gazing into the uncertainties of what is not-yet-known and what has not-yet-happened. It is the result of rejecting the materiality of the present and the collectively imagined real in favor of supposing that the void may not be empty after all.

Postmodernism created a Horror in modernism with its fundamental re-imagining of reality as inherently self-contradictory. The capacity of subjects and objects to contain themselves and their opposites generates unmitigated chaos in a modernist reality. The narrative complexity of postmodernism, the constant reproduction through speech and act, can make it impossible for a model of collective imagination which is still bound by the systems of modernism to adapt and respond. Meanwhile, the parts of reality which have embraced and adapted to the postmodernist model are already distant enough from large parts of the collective imagination to be perceived as an already reimagined “future.”

This implicit (though inaccurate) distancing is the result of both an evocation if Horror and the fundamental assumptions of modernism. As a post-Enlightenment ideology, modernism sees all change as progress, any modification, addition, or change constitutes a progressive evolution. This progressive assumption means that postmodernism is – by virtue of being “new” – both more recent and more forward thinking. But it is also disruptive, and that disruption, with its demand of a new paradigm, produces Horror in those attempting to engage it. The alterity of postmodernism to modernism renders it unreadable, especially at the beginning, or, in other words, “indescribable.”

The clash between perceived temporalities or other paradigmatic structures is a perpetual source of Horror. Horror which is very effective at disrupting the processes of the collective imagination. Developing a recognition of the role of Horror in demarcating reality modes and, more importantly, becoming comfortable with Horror as part of the imaginative process is a necessary component of liberating ourselves from the reality systems which have begun to negatively impact the collective imagination.

[1] Always Already discusses the intellectual crutch of the phrase “something itself” in the Thacker episode, which brings up a lot of very interesting questions. Nevertheless, at this time, the phrase will have to stand.

Bibliography

Aultman, B, et al. “Ep. 60 – Eugene Thacker, In the Dust of This Planet: Horror of Philosophy.” Always Already Podcast, 27 Dec. 2018, alwaysalreadypodcast.wordpress.com/2018/12/27/thacker/.

Fisher, Mark. The Weird and the Eerie. Repeater Books, 2016.

Ligotti, Thomas. Songs of a Dead Dreamer and Grimscribe. Penguin Books, 2015.

Aztec-Futurism, Mental Monster Movies, and Chinese Speculative Fiction

Quick fiction recommendations featuring Latine fiction, mesoamerican mythology in a variety of configurations, Chinese history and politics, and a variety of possible futures.

Lords of the Earth

Rating: ★★★★★

The high concept movie pitch for this book is: Mesoamerican myth meets Godzilla. But Hollywood would never make this movie, and not only because they’re afraid of having a predominantly Latine cast. (Although now I’m imagining Robert Rodriguez and Guillermo Del Toro teaming up to bring this to the big screen … It would be amazing.) The real reason Hollywood could never bring this majestic adventure to the screen is that it would require a fundamental reconfiguration of the archetypes they rely on to make up the difference between “high concept” movie pitches and “great stories.”

This book has, at its core, the very thing that made the original Japanese Godzilla movies so good (and that which has been largely absent from any Western remakes) – there is no singular epistemology which will account for everything humanity is set to encounter. Just as in Mothra it is necessary to return to the folk stories to save Japan, so in Lords of the Earth must Western science meet and meld with indigenous knowledge to save Mexico and the world from the creatures awakened in the Earth’s mantle.

Bowles does a wonderful job fleshing out his characters in unexpected (though nevertheless natural) ways. He manages that nigh impossible feat of presenting genuinely complex – and at times irritating – characters in a way that lets them be fully human. We get to know them in the way you know old friends, full of faults and genius and particularities that make someone we can love.

The form of the novel shifts between points of view (always in the third person) and carefully unfolds the tangled history binding the different voices of the novel together. The famous physicist and TV host, the decorated general, and the Indigenous archeologist form the core of the story, with a shared, semi-public history spanning decades. Now, trapped together by the apocalyptic events set in motion by the emergence of huge, unknown creatures from Mexico’s volcanoes, that history is determined to meet its denoument.

In many ways, reading this book is more like being along for the ride than the slow unspooling and discovery of the narrative which can be said to characterize other SF/F stories. Despite its conglomoration of mysteries (What happened to bind Elena and General Marcos? Where did these monsters come from? How does an upstate New York transplant to Texas in the 1930s factor into all this? How did Elena and Alfonso end up so at odds with one another?) the action never abates.

So, if you like giant monsters, science, mythology, and adorable, kind of fucked up people trying to save the world, you should definitely take this one for a spin.

High Aztech

Rating: ★★★★★

Another book from the Latine SF/F Story bundle curated by Silvia Moreno-Garcia and another unadulterated triumph. I’ve already described it elsewhere as “The book American Gods wishes it was,” but that feels like a diminishment of what High Aztech achieves. (No insult intended to Neil Gaiman.)

High Aztech has all the best parts of cyberpunk/futurepunk speculative and science fiction. It makes me want to convince you of the potential for Aztec-Futurism as a mesoamerican corralary to Afro-Futurism. The novel has mind altering viruses, weird technologies, and a new world order following a global cataclysm (never fully explained). Hogan grabs you, the reader, and immerses you without remorse in the vibrant, familiar unknown world of Tenochtitlan – a new Mexico City undergoing a cultural revolution oriented toward bringing back Aztec beliefs.

The novel overflows with the mid-80s to early-90s hallucinogenic perpetual reconfiguration, like The Invisibles, Transmetropolitan, and Repo Man, except that to survive this story you had better get familiar with Nahuatl and the Aztec pantheon. It’s all worth it.

I haven’t been so moved or so convinced by a transcendental, spiritual apotheosis since I finished Umberto Eco’s Foucault’s Pendulum. Finally, at a moment when the U.S. and Mexico are poised to alientate themselves even further than already provided for by history, this is a story about perspective, and has more than enough political allegory for those not won over by awesome futuristic polyphonic insanity.

Broken Stars

Rating: ★★★★☆

The English-speaking world owes Ken Liu an enormous thank you. With 2017’s Invisible Planets and now with Broken Stars, Liu is bringing some of the best contemporary science fiction to audiences who cannot read Chinese.

Trying to compress my gushing praise and enthusiasm for Invisible Stars to comply with the limitations of coherent English is essentially impossible. Thus far it has most effectively been conveyed through immediate purchase and distribution of Invisible Planets to friends and loved ones, as well as fractured sentences, hand waving, and pleas for people to believe me when I say they must read it, if they wish to experience the full spectrum of what this life has to offer. In short: It’s amazing. Waste no time. Go read it immediately.

But that’s not Broken Planets. Broken Planets is also a requirement for anyone who wishes to experience the totality of human experience. It also requires slightly more patience and is possibly best considered as a more advanced continuation of what Ken Liu started with Invisible Planets.

The stories in Broken Stars are longer and combined with Liu’s push to include both more material from authors featured in the original collection as well as new authors, the editor freely admits the limitations this introduced on how many stories he could present from each author. Hopefully, galvanized by the response of Western audiences to the initial collection, Liu also chose to include some stories which draw more heavily on Chinese history, culture, and genre forms (such as wuxia novels). So while Invisible Planets could readily be given to someone with limited knowledge about Chinese politics, Broken Stars is best appreciated by readers with a little more experience. (For example, Baoshu’s “That which has already passed will in a kinder light appear” is entirely contingent on the reader being able to track events between existing history and a new one.) Footnotes are included throughout, but Liu and his fellow translators work hard to keep them minimal to avoid interrupting the flow of the stories.

Ultimately, I hope everyone has the opportunity to enjoy the work of Xia Jia. Her work has been as a sunbeam cutting through the winter gloom for me. Every single story of hers I’ve read has made me cry, and every one has been worth those tears. (It is not hard to make me cry, but it can be difficult to make me not resent it.)

DRM, the Designated Regret Model for ebook readers

Some people prefer to read on vacation, some prefer to do it while listening to music, some prefer silence, some prefer to do it upside down or in the bath or only between the hours of 4 and 6 in the afternoon. With physical books, we are at the mercy of the publishers and designers for the format of the book, but it is only with ebooks that we are at the mercy of international digital conglomerates about the exact manner in which we can access an object for which we have paid.

The need to ensure the profitability of people’s work, especially for small and/or independent publishers and authors is obvious. Digital media formats have absolutely changed the game in terms of ease of “unauthorized” redistribution of materials. (The very concept of redistribution of intellectual property being “un/authorized” poses a number of significant philosophical questions.) At the same time, there is something very wrong with the way in which DRM software has been implemented.

The metaphysics of intellectual “property” – do you really own the ideas? can anyone be said to own an idea once it has been put out into the world? where do we draw the line between influence, extrapolation, and plagiarism? can two people spontaneously produce the same ideas? how do you litigate such a case? – are impossible to cover here, if onlyb because there are so few good answers. (And even fewer which are acceptable to the Disney corporation, Bono, and, presumably, the entity or entities which make up the romance novelist “Nora Roberts”.)

One of my issues with ebooks, like many others, is the way in which they destroy the materiality of books. In this case, I don’t mean the way they feel, or smell, or sound, or taste, or whatever sensory aspect people usually invoke. I mean that almost every book I own, and certainly the ones I love, are the means with which I discourse with the author.

Unlike the sterile overprotectiveness which causes such divisions amongst “Booktubers” – the collective reader/writer community of YouTube – my books are heavily marked up. I have usually extensively highlighted, annotated, dog-eared, and sticky-noted any book I found worth my while, in addition to having dropped, sat and spilled and slept on it. I like to lend my books out, and get them back with a little additional wear showing that the other person enjoyed it enough to carry it around with them. (Obviously, I’d prefer that my books come back in a form where they are still legible and mostly intact, but I’m never particularly concerned about their physical status beyond those basics.)

In other words, I’m exceedingly particular about the ways in which I’m allowed to interact with my books. Ereaders, such as the Kindle Paperwhite (and certainly its predecessors), were never going to work for me, because highlighting and annotating are low-priority functions. For now, the ebook app which works best for me is Google Play Books. This is largely thanks to the automatic syncing of highlights/notes to a Google Doc.

Other apps have attempted similar features, but Google has done a remarkable job of making it easy to annotate your reading and make those annotations accessible and usable. Four highlight colors, which are all imported along with their content to the annotations document (It shouldn’t be necessary to remind developers that exporting the color of the highlight is as important as exporting its content but here we are. I’m looking at you, Xodo), allow a range of different active reading methods, and any notes added to a given highlight are exported as a related annotation along with the highlighted text (Again, I didn’t think we needed to remind people of this, but…). It isn’t fully customizable, but it is remarkably flexible.

This isn’t to say that Amazon’s Kindle app can’t or doesn’t do some or all of these things. I merely happen to like Google’s material design. But I’m not actually here to extoll the virtues of one ereader or ebook app over another.

I’m here to talk about personal preference. Almost everyone has had an experience where the format, layout, or design of a book has negatively impacted their experience of it. Some people have almost certainly found themselves unwilling, unable, or at great pains to continue reading a book based on one of those factors, be it font choice, page gutter, or book size. Ebooks are intended to be less susceptible to those types of user experience failures thanks to flowing text, which allows the reader to resize and reformat the text to their liking, making it easier to read purely in terms of eyeball mechanics. (Obviously, format contingent works, such as House of Leaves, are unable to benefit from this kind of malleability.)

When the use multiple and/or variable devices – in a range of sizes and weights – is factored in, the portability and maneuverability made available to readers is unparalleled. (Consider the difference between reading something like David Graeber’s Debt, the first 5,000 years (534 pages), Umberto Eco’s Foucault’s Pendulum (641 pages) or K-punk: the collected and unpublished writings of Mark Fisher (891 pages) in a physical format versus a digital one. It’s the difference between being able to read them in bed and needing a table.) Additionally, for people who like to annotate as they read, the digital space is without limitation, because comments and ideas are liberated from the confines of the margin.

This kind of flexibility should make ebooks vastly appealing to people. In so many other parts of our lives, we have been converted by the adaptability, convenience, immediacy, and shareability of the digital world. Newspapers, magazines, videos, television, etc…. And yet, not so with ebooks. This is not down merely to the fact that “book people” are all luddites who prefer the “physicality” of the book.

It’s because publishers have done next to nothing to make the ebook an appealing alternative to its physical counterpart.

The real advantages of the physical book over the ebook are as follows: anything with the prefix “re-”. Re-selling. Re-gifting. Re-mixing. Re-using. Re-reading. Books, unlike most other commodities, are rarely entirely personal. Cars, underwear, and plates of nachos are all things we acquire with the understanding that they are not intended to be shared. I don’t offer to give you my car or a perfect nacho just because I enjoyed it. Books, on the other hand, are regularly swapped, lent, borrowed, entrusted, assigned, given, and gifted.

Adam Driver and the perfect nachos in What If? (2013)

The treatment of a book like a single-use, limited-use, or personal commodity is to fundamentally misconstrue the social use and function of “the book” as a cultural object. Intellectual property may cover the ideas embedded within a book’s pages and may need protecting. But books, in general, exist and proliferate explicitly because those ideas are intended to be distributed.

Why, specifically, am I so mad about this? How does DRM software specifically tie into this screed about the nature of books and ebooks?

The issue moved from the theoretical (intellectual property management in the digital age) to the personal. In the capitalist fashion, this was through financial investment and subsequent “buyer’s remorse”.

It is now abundantly clear to me that the primary way of ensuring that an ebook is not wildly proliferated across the web is to tie the file (in my case, an epub) to a specific reader application (in my case, Adobe Digital Editions). If you do or cannot buy your ebook through one of the combo purchasing/reading ebook ecosystems in accordance with your personal preference (Amazon → Kindle, Google Play Store → Google Books, Barnes & Noble → Nook, Kobo → Kobo, etc.), you may make the mistake of attempting to purchase a DRM protected ebook from somewhere else.

I made the mistake of not reading the fine print.

Always read the fine print. Even if you have to search for it, always, always read it.

Ebooks.com was, I thought, an oasis in the desert. It seemed I would be able to purchase an epub of K-punk: the collected and unpublished writings of Mark Fisher (which is not available through Google Play Books) from them. In my unbridled enthusiasm to dig into the writing of Mark Fisher, I did so.

Don’t want to download the ebooks.com app? Click this link and download an epub, instead. (This was were reading the fine print comes in.) But I didn’t get to download an epub, actually.

What I could download is an acsm file. ACSM stands for “Adobe Content Server Message” and it is a file format which Adobe uses to pull content protected by Adobe’s DRM software to your computer. My unmitigated irritation does not permit me the patience to dig into the technical details of how Adobe uses this method to enable permissions across devices through Adobe Digital Editions to access the ebook. Suffice to say, you create or use an account associated with Adobe products and are able to sync that account’s library.

Just to add insult to injury, once you have opened the ACSM file with Adobe Digital Editions, a copy of the epub (as in, an actual booktitle.epub file) does come to live on your device. Forget opening it, though. It is impossible to open with any software other than an Adobe product. (While someone has undoubtedly designed software specifically designed to crack the DRM code embedded in the file, but I’m not actually interested in stealing anything today.)

The end result of all this is that I cannot read a book I paid $13 to access using the ebook reader of my choice.

Reading is an incredibly personal, intimate experience. Some people prefer to read on vacation, some prefer to do it while listening to music, some prefer silence, some prefer to do it upside down or in the bath or only between the hours of 4 and 6 in the afternoon. With physical books, we are at the mercy of the publishers and designers for the format of the book, but it is only with ebooks that we are at the mercy of international digital conglomerates about the exact manner in which we can access an object for which we have paid.

You know what I found really galling, though? The thing that finally pushed me over the edge, after paying to be digitally inconvenienced?

Ebooks.com says they cannot accept returns, because they have not handed over a physical object. Therefore, there is nothing to return, according to them. Given how many times I had to feed my email address into Adobe Digital Editions and ebooks.com, I find it exceedingly improbable that they would not be able to revoke my access to any DRM encoded file which requires the usage of their proprietary software to be read.

This isn’t Schrödinger’s epub. The file can’t both exist enough to be monitored and secured with proprietary software and simultaneously be so immaterial that I can’t have my access to it revoked in return for my $13.

It is probable that neither publishers nor the wider “book people” community care very much about how ebooks are managed. The publishers are probably happy to conform to the digital mediocrity produced by proprietary DRM software, as it does the work of securing their IP and therefore their profits, while “book people” are happy to take it as proof that the physical book is still preferable to the digital one, and everyone else is more interested in audiobook integration than anything else.

So this is my rallying cry into the void:

We all deserve better ebooks. Authors and publishers deserve DRM software that limit the amount of mass, “unauthorized” distribution of the material that produces their livelihood, and readers deserve DRM software that doesn’t completely incapacitate their engagement and enjoyment of that same material.

Whether this means cutting out the middle man, so I can buy my ebooks directly from the publisher, or if it means an aggressive diversification of the distribution channels so that more books are available across more services, I neither know nor care. Ideally, it would involve a practice of building new DRM code which enables transfer of the files without copying them, in addition to non-proprietary or locked formats.

Whatever publishers and authors decide, at the moment, the only ones with any respect for their audience are the ones brave enough to distribute their ebooks DRM free.

Week in Review 008

A busy week, from meeting Patton Oswalt and swapping reading recommendations to visiting the Bauhaus centennial exhibit at the Boston MFA.

Reading:

  • Broken Stars by Ken Liu, ed.
  • Your Favorite Band Cannot Save You by Scotto Moore.
  • European Identity and Citizenship: between Modernity and postmodernity by Sanja Ivic

Listening…

  • The Magnus Archives

Watching:

Movies:

  • Plaire, Aimer, et Courir Vite (2018)
  • Le Livre D’Image (2018)

TV Shows:

  • AP Bio
  • Russian Doll
  • The Marvelous Ms Maisel
  • Deadly Class

I’m exhausted. I can’t believe it’s been only a week, possibly because the last few days have felt like an entire week just by themselves.

On Saturday, I had the absolutely unparalleled good fortune to meet Patton Oswalt. He was in Providence to perform a comedy show at the Veterans Memorial Theater, and he graciously accepted our invitation to visit the Lovecraft Arts & Sciences Council. I cannot thank him enough for taking the time to visit us, and it was such an absolute privilege to make his acquaintance in person.

We swapped reading recommendations. Mr. Oswalt suggested “WET PAIN” by Terence Taylor which can be found Whispers in the Night: Dark Dreams III co-edited by Tananarive Due and Brandon Massey. He said he learned of it from Ms. Due who, in addition to her work as an author and editor, executive produced Horror Noire: a history of Black horror (2019) which can be streamed online through Shudder. We discussed Lovecraft’s “The Horror at Red Hook” briefly and so I recommended (as ever) Victor LaValle’s The Ballad of Black Tom.

The latter half of my Friday was spent pleasantly with a friend in Boston. We visited the MFA to see the Bauhaus exhibit. There is also an exhibit of Bauhaus works up at the Harvard museum, which we will hopefully have the opportunity visit.

This year is the centennial of the founding of the Bauhaus School (1919). There are times I lament my passion for their particular modernist style, if only because it can seem conventional, bordering on the cliché. Nevertheless, the way Moholy-Nagy creates a sense of a three dimensional interaction and interrelation of objects in his abstract paintings will never cease to delight me. In one of the paintings of his they have on display, the transparency of the paint where two of his shapes overlap makes it seem—as my friend so eloquently phrased it—as if one were a fabric appliqué.

I was also quite taken with the Kandinsky pieces they had on display. It feels as though I shouldn’t have been surprised at how much white space his drawings contained, but I was. I could happily have spent all evening in front of his “Little World” pictures trying to figure out how he achieved such balance in an otherwise random-seeming distribution of elements.

Mostly, what I love about the Bauhaus is the way the work of these artists fills me with a sense of possibility. Every time I have the opportunity to steep myself in their abstract geometries, I can feel the edges of a new language pressing up against me. Movement and essence are made concrete, not something that can be pinned down, but something inherent which can be expressed with lines on a page.

(Other design movements which make me feel this way are Russian Constructivism and Punk/DIY collage.)

This week, I accidentally got into it on Twitter with the MAG fandom. Shockingly, 280 characters is not really enough space to adequately convey nuance and context. I found being accused by strangers on the internet of wanting to censor people or command moral authority to be extremely insulting.

I work in a front-facing position within a dedicated fan space, in a fandom defined by a serious controversy. My personal and professional experiences have lead me to believe that “fandom,” far from being a space insulated from disagreement and political and cultural debate, must be a place where people are able to engage critically with the mores, biases, personal and historical narratives, and other foundations and assumptions which are inherited from the original work or developed within the surrounding community.

I work at an organization dedicated to H.P. Lovecraft.

If there is one thing I’ve learned, it’s that sometimes the only thing you can say in response to another fan’s interpretation is, “I disagree strongly – possibly to the point of considering your position to be harmful – and this is why.” Because it is only in that moment where we are part of the same community – as fans – that we can have this discussion as people who share in something bigger than ourselves.

But I don’t wish to linger on this topic; it is exhausting, unproductive, and has already claimed too much of my time.

Ideally, I’ll have a little something up this week about Broken Stars, the second collection of contemporary Chinese SF translated and edited by Ken Liu. I adored Invisible Planets, which I cannot recommend strongly enough. (Upon finishing it, I immediately bought two copies to give as gifts, and pre-ordered Broken Stars. I have also leant out my copy of the first collection so that the people in my life can share in its wonders.) Go read both of them!