TAO LIN

10/31/2005

three things

1) the 20,000-word interview with noah cicero will be posted tomorrow

2) go to the happy booker to read this thing i *wrote where i quote someone talking about benjamin kunkel's penis

3) go to opium magazine to hear me **read the following four poems
***i am about to kill my literary agent

i want to pour orange juice on my face

i want to start a band

i went fishing with my family when i was five
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* here's the bio i sent the happy booker
Tao Lin's stories are forthcoming in the Cincinnati Review, Other Voices, Bullfight Review, Kitchen Sink, Punk Planet, elimae, and Spork. Tomorrow, Tuesday, he will post on his site, Reader of Depressing Books, an 18,000 word interview with Noah Cicero, author of the just-published Burning Babies and former member of the Underground Literary Alliance, an organization whose web site is pretty ugly, which is not a criticism.
the happy booker took out elimae, spork, and when i talked about my interview with noah cicero, which is understandable, i think; elimae and spork are a little highbrow and last-year's-national-book-award-nominees-ish and therefore alienating, i guess; and why was i talking about my interview with noah cicero in my bio?

but thank you, wendi kaufman, the happy booker, for letting me name-drop so many people in the article and for not censoring it at all; i really, really, really like that and am thankful

** it was early in the morning and for some reason i emphasized all the f's and some other letters and i sound like an asshole; i sound like someone i want to punch in the mouth

*** if you are my literary agent, know that i do not want to kill you; but like you and think you are good

the poem is only about killing you in that it is about killing everyone, which is something that i won't be doing, partly because i don't know how

10/23/2005

the wolf at the door, a story by rebecca curtis; and an interview with her about it

The Wolf at the Door (published first in storyquarterly)

I had worked later than I realized and now the building was empty. I had been preparing some documents; I had a large pile of documents to prepare, a pile that seemed insurmountable, but just in the last hour I had been making some headway and in my pleasure at that I had forgotten the time. When I realized how late it was I left the main shed, which was dark, and went to the general lobby, where a green emergency light burned. In the lobby was a large, well-lit bathroom, and I went in. Another woman came inand went into a stall several down from mine, and I peed so loud that I guessed she was impressed by the sound, but when I got out she did not seem impressed. “We’re not supposed to be in this bathroom,” she said. She pointed to a large sign: THIS IS A MILITARY BATHROOM, DISCOURAGED FROM USE FOR ALL BUT THE MILITARY. When she spoke she sounded annoyed, also as if she wanted to warn me, in case I didn’t know.

“I know,” I said. “It’s annoying, isn’t it?”

But she didn’t say anything else. She washed her hands and left. She was walking quickly when she went out the door, and when I went outside a minute later, I didn’t see her anywhere. It was then that I realized how dark it was. As if blankets had been thrown over the tops of the pines and only a faint light on the grass. I ran through the grass towards my house, which was not far from the complex. I ran fast—I took the old dog path over the double stone walls, and then I took the path as it continued through the blueberry fields, now overgrown with pine seedlings, the little blueberry plant leaves glowing red at the tips. When I looked to my left, I could see a faint light above the hay that stretched toward the horizon and the road. You could run through the fields at night, and make it, but you’d be lucky. I guessed nothing had come yet because of the light that was left. Perhaps it wasn’t time. I didn’t think I’d been lucky.

I saw my house—I kept running—it was quite dark. The front of the house was gray and its tall windows were quiet. I had a choice of two doors to run to. The front one was closer, but I didn’t have the key. I would have to wait until someone from inside let me in. It crossed my mind that if I knocked they might be in another room, one far off, and wouldn’t hear me, or would walk slowly, through carelessness, and wouldn’t let me in until too late. The side door was farther off, but I had its keys; but that door had three locks, which I knew would take me a long time to open because I knew I would be clumsy. I veered and ran toward the door at the front of the house. The fields beyond the lawn were utterly grey, the sky above them grey as well. Nothing was moving in the grasses. But I knew that at the last moment of my looking, that might change; so I looked toward the house, ran across the yard diagonally, jumped up the two huge granite blocks that served as steps, and knocked. I heard steps come toward the door. The door opened. My sister let me in.

I closed the door behind me and tried to lock it but as the bolt was about to push into its hole an enormous body, like that of a wolf, slammed against the outside of the door and the door opened. Outside the door stood a wolf. I tried to push the door closed again. I pushed hard on the door; the wolf pushed hard on the door; I pushed hard on the door, and even though the wolf was bigger than me, I managed to close the door but not to lock it. Before I could, the wolf pushed hard and the bolt slipped out. My sister stood in the hall and watched. “It’s not fair,” I said.

My body was pressed against the door. By not fair I meant that I had been inside the house, and everyone knows locks are locks and keep doors closed; but this lock was worn down and its bolt was not as long as it should have been. Also, the door itself was badly made and the door was so narrow that on the side of the hinges a one-inch gap allowed you to see outside. Through the gap I could see the wolf’s car in the driveway, so I knew he had driven to the house; he had come with his wife or friend; she was standing next to him. She had long dark hair, curly, and she was strong looking, tall, perhaps 5’10’’, and dressed conservatively, in a patterned blouse and suit pants, and her arms were crossed. She would clearly have no patience with us. Meanwhile, I knew I could not hold the door closed long, and the bolt refused to lock. My sister, she was my older sister, stood there and watched me holding the door shut. My younger sister, who is the smallest and youngest of us, had come up behind her and was watching with a kind of detached, off-hand concern. This did not surprise me.

She was used to having things done for her, has been fed and coddled her whole life, and I did not expect her to take action and help; she was not able to, being so young in her mind, though in her body she was at least eighteen. Meanwhile, the door was pushing inward, and to my older sister, who was still watching the door doubtfully, I shouted, “Get a knife! Go to the kitchen and get a knife!”

She stared at the door and did nothing.

“Get a knife!” I yelled. “Get a knife!”

Finally she acknowledged me by allowing her gaze to sweep across the hallway and fall on mine.

“What kind of knife?” she said.

“A long knife!” I said. Then I changed my mind. If the directions were too specific, my sister would take forever to find the knife. “Any knife!” I said. “Get a knife! A long knife! But most of all, get any knife!”

She hesitated. She seemed to be thinking about getting a knife. I attributed her reluctance to a desire to minimize losses. She did not want anyone to be taken, but she knew that if they took anyone, it would be me. My sister was gifted with foresight. But only in the short term, and only concerning the ones she loved. She did not want me to die, but she might have steeled herself to the inevitable, because she probably knew that if they took me, they would leave and not come back. Also, she no doubt felt something for the wolves, which I felt myself; they were only doing what they must, and perhaps regretted the necessity—you could not blame them for doing what they had to do. Finally, my sister could hardly help but recognize that it was my fault they were there, through my oversight, my carelessness, through my failure to notice that everyone around me at work had left while one by one the light bulbs went out; my sister was disappointed in me, even annoyed. Thus, everyone was determined; my sister to be neutral but helpful while acknowledging circumstance, they to accomplish their mission, me to save myself.

The pressure against my hands was very great. I peered out the crack, which seemed to grow wider as I peered through it. The wolf was standing, pushing the door with one long smooth arm, and he had turned into a man. His friend was a woman; her hair was shoulder length, curly and dark as before, and she had a set, angry look on her face. The man was handsome; he was tall and thin, his face and arms almost hairless, a nice brown color. He was muscular, but not overly so, and had a bit of a baby face, chubby cheeks and a long, straight nose; nonetheless, he was pushing with great determination and was still the wolf he’d been before, hungry and much stronger than me. As I realized this the door pushed in.

“Too late,” my sister said. “Too late to get the knife.”

The wolf was pushing his way through the door. To stop him, I grabbed a broomstick and pushed back at him with the butt end, but he slipped around the broomstick and stepped into the house and just as I felt despair, my older sister pushed herself at him and the force of her leap carried them both out the door. In that instant, she seemed utterly lost.

The wolf’s friend, who was standing in the grass nearby, watched with her arms crossed. My oldest sister struggled to push the wolf off the step. My younger sister, still inside the house, covered her mouth.

I was shocked that my sister had run outside for me. She had traded her own life for mine. I vowed not to let that be. Even with my cowardliness and my selfishness, which were very great, I could not let the wolf take her life. But perhaps my sister, with her foresight, had known her life would not be lost; because to my surprise, rather than leaving with her, the wolf was still trying to get inside the house. When I realized this, I pushed him away from the door with the broom handle. I seemed to be somewhat successful in doing this. However, the broom handle was now in between my sister and the door, barring her re-entry to the house, and the wolf’s friend was beginning to look at her speculatively.

I stepped outside and with a great shove of the broom handle, pushed the wolf off the step. My sister ran inside. I ran inside and shut the door. I locked the door. The door did not lock.

“It’s locked!” I said. “It counts as locked!”

“All right,” the wolf said. “It counts as locked.”

I could see him standing outside the door with his arms crossed. He became a wolf, then a lion, then gave up and became a man. “But open the door for a second,” he said. “We just want to ask you something.”

I did not answer.

“Do it,” my older sister said. “It’s polite.”

I opened the door.

The wolf’s friend stood on the top step. Her black hair curled down over her patterned blouse. The wolf waited on the bottom step. “I just want to know,” the friend said. “Can we have your phone number so we can leave you a message?”

I hesitated. I did not want to give them my phone number. Mostly because I knew what the message would say, I want to eat you; and I did not want to receive such a message.

“We just want to leave you a message,” the wolf’s friend said.

“Just give them your number,” my sister said. “It’s just a message.”

After having jumped out the door on my behalf, she seemed utterly exhausted and ready to go to bed.

The wolf’s friend took a piece of paper and a pen from her pocket.

“Here,” she said. “Use this.”

At first, I intended to write my real phone number and even sign my name. I knew it would be courteous and honest to do so. And that moreover, if I wrote a false number, they would be angry when they found out it was false and would be more determined when they came back. I wrote a false number. I could not bear to write my own. And I did not sign my name. Even if I was out of sight, I felt, my name would focus their attention on me, would make them think of me, instead of other people.

The woman with the dark hair took the false number. She seemed satisfied. I felt a surge of victory. I felt like a person who knows how to manipulate the success of her own life.

Later that night, with the door locked and most of the shades drawn, we all went to bed. My older sister and my younger sister went to bed upstairs, where their beds were, and I slept downstairs, in the living room, where mine had been set. When this arrangement began, I can’t recall, but for some time I have slept in the living room by myself. I have the feeling this is the way my sisters want it and I understand that want; and anyway, on the first floor I can watch the windows best.

Before my sister went to bed, I told her about a dream I’d had the previous night. I was feeling lonely and hoped, by telling her about my dream, to convince her to stay downstairs with me for a while. But after she had listened to the tale of my dream—one in which I lived alone, performed a boring job and led a desolate life—she said, “Your dreams are not that interesting. In other circumstances, they might be, but here we deal every day with matters of life and death.” I knew she was right. I let her go to bed. I sat in the living room by myself. The windows were dark, the room lit by one dim lamp, and as the wind struck the house, the gray curtains blew back and forth ever so slightly.
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interview

why do you think i like this story so much?
I don't know. Why do you?
why do i think i like this story so much?

because it's funny, it surprises me, and it's sad; and i like those three things

the moments that surprised me were mostly when the logic was original and odd; not when, say, kids in a high school band are required, or something, to listen to rap music with headphones and the lyrics are about fucking girls (this didn't happen in your story; it happened in a story in the new land-grant college review, and i was bored immediately by it; it made me sarcastic against it)

it wasn't nerdy or trying to be shocking; kafka wasn't nerdy or trying to be shocking either; a lot of stuff i read that is 'magic realist' is nerdy or trying to be shocking, i feel

i like kafka and i like this story

because kafka and this story, if they were people (and kafka is a person, i know), would be tactful, whimsical, fun, conscious of their surroundings, unmacho, passive, unprideful, clear-thinking; the opposite of nabokov, who i don't know much about actually

pretend that this story is really a person and not a story; kafka did this before with his stories (supposedly); can you do it, and describe the story as a person, and describe an average day—she buys a soup and drinks it in the park and cries a little and goes home and cleans—for he or she?
Okay. This story is really a person. It is a she but an androgynous she, without any girl-parts, maybe. She doesn't have a job. She wakes up, immediately eats breakfast, drinks a lot of coffee, then walks all around the town to buy items to put into an elaborate care-package for her grandmother. When she gets home, she puts little bows on the purchases, sticks them in a box, leaves again to mail box. When she gets home she bites her baby, who she's left at home the whole time, on the toe.
this story, in my mind, is in three parts, like a kind of day; and if i experienced that day, like the main character does, at the end of it i'd feel kind of sad, i think; but when i read it at the end of it i feel kind of alive and happy, and sort of even wish i could enter the world of the story, move there, as if to california, or someplace, buti don't think that if i actually entered it—moved there—i'd be happy, but lonely, or else the same; this is a common thing for me; can you answer why?
I like reading horrific stories. Where terrible things happen to characters. Like 'The Metaporphosis,' or 'The Judgment' for example, in each case the hero or protagonist dies at the end, and I have identified with them, but then after the book is done I feel better, b/c I am still alive. Maybe it allows us to live our fears out and realize they aren't so bad, or just relieve them by visiting them for a while.
if you didn't write this story, how would it make you feel after reading it?
I don't know. I might just think it was weird. Or that it didn't make any sense. It's hard for me to be objective and tell if what I wrote makes sense to anyone else, or is satisfying.
how do you think—if you didn't write this story—you would feel after reading this story if you were angry when you started reading it?
I think I would be less angry.
sad?
Possibly less sad.
unrequitedly in love?
Still in love. Which I am all the time anyway.
happy?
I don't know. Maybe it would bum me out. I hope not. How did it make you feel when you read it?
good, happy, and unbored; and like i'd like to hang out with you; and be nice to people who live alone, perform boring jobs, and lead desolate lives; and other people, too; be nice to everyone, even wolves

10/19/2005

soon

interview with noah cicero, author of this, this, this; former member of the ULA, whose web site is McDonald's if McDonald's, the corporation, had been transformed into a web site in the 80's with the help of MTV from the 70's if MTV existed back then

interview with rebecca curtis (still coming; she's been busy)

rebecca curtis' story, the wolf at the door

a post on why i am doomed as a writer

a post on the meaninglessness of using the word 'important' when talking about literature

a post on readings

a post on moorishgirl, maybe

a post on juked

and i have a reading on thursday, which is tomorrow; i'm promoting myself right now because my friend told me to; here are the titles of a few of the poems i might be reading
it's embarrassing to have a master's degree in creative writing

at that leftover crack show two years before i met you

i honestly do not know who this poem is directed at but i still somehow wrote it with conviction

i am about to kill my literary agent

if i get hit a little by a truck tonight i'm okay with that

when i think of grapefruits my heart beats faster

you are my mom

10/14/2005

my entire correspondence with n+1 including when benjamin kunkel emailed me a private email and when i lied to them about harper's

(*'s indicate footnotes; there're seven—*, **, ***, ****, *****, ******, *******—scroll down for them)
From: Tao Lin
To: editors@nplusonemag.com
Date: Dec 21, 2004 8:08 PM
Subject: Attn: Fiction Editor

Hi, N+1,

My name is Tao Lin. Here's a short story submission. I'm forthcoming in *punk planet magazine, *hobart. I'm online at *pindeldyboz, *eyeshot, etc. Thanks for reading this. It's a simultaneous submission,

Tao Lin
one day later (i sent them the same story again; don't remember if i had a legitimate reason for this; probably not)
From: Tao Lin
To: editors@nplusonemag.com
Date: Dec 22, 2004 12:25 PM
Subject: Attn: Fiction Editor

Hi, N+1,

My name is Tao Lin. Here's a short story submission. I'm forthcoming in *punk planet magazine, *hobart. I'm online at *pindeldyboz, *eyeshot, etc. Thanks for reading this. It's a **very simultaneously submitted submission.

Tao Lin
a day and a half later
From: Benjamin Kunkel
To: Tao Lin, editors@nplusonemag.com
Date: Dec 24, 2004 12:12 AM
Subject: Re: Fiction Editor

Dear Tao Lin,

Thanks very much for your submission. We're ***in the midst of putting together and laying out our second issue, so it will be a while before we get a chance to read your story. But we--I--look forward to it.

Things sometimes ***fall through the cracks at n+1, so please get back in touch if you haven't heard from me or one of my fellow editors within the next two months. Meanwhile consider subscribing to n+1 at the low rate of $16 a year: http://www.nplusonemag.com/subscribe.html.

Best of luck with your work. Yours sincerely,

Benjamin Kunkel (for n+1)
one month and thirty days later
From: Tao Lin
To: Benjamin Kunkel
Date: Feb 23, 2005 2:23 PM
Subject: Re: Fiction Editor

Hi, Benjamin. Just giving you a two-month 'reminder' on this. Thanks, Tao.
over a month later
From: Tao Lin
To: Benjamin Kunkel
Date: Mar 31, 2005 3:10 PM
Subject: Re: Fiction Editor

hi, Benjamin

i'd like to withdraw my story 'love is a thing on sale for more money than there exists,' submitted 12.21.04, as it has been accepted by Other Voices

thanks

sorry for any trouble

tao lin
that night
From: Benjamin Kunkel
To: Tao Lin, Benjamin Kunkel
Cc: Editors of n+1
Date: Apr 1, 2005 1:19 AM
Subject: Re: Fiction Editor

Dear Tao Lin,

My congratulations on placing your story in Other Voices.

Please feel free to send us more fiction in the future. Yours,

Benjamin Kunkel (for n+1)
four days later
From: Tao Lin
To: Benjamin Kunkel
Date: Apr 5, 2005 12:39 PM
Subject: ATTN: Fiction Editor

Hi, here is a short story submission for N+1 magazine.

My stories are forthcoming in The Cincinnati Review, Other Voices, The Portland Review, Kitchen Sink Magazine, Punk Planet Magazine, and others.

Thanks,

Tao Lin
ten days later
From: Benjamin Kunkel
To: Tao Lin, Editors of n+1
Date: Apr 15, 2005 1:47 PM
Subject: n+1 magazine

Dear Tao Lin,

I'm afraid we won't be able to use your story ****"Love is the Indifferent God..." It's well-written throughout, but it seemed too deliberately whimsical to fit in with what we're trying to do with n+1 #3.

Thanks for your interest in the magazine, and congratulations on placing your stories in so many excellent publications. Yours,

Benjamin Kunkel (for n+1)


> [Original Message]
> From: Benjamin Kunkel
> To: Editors of n+1
> Date: 4/8/2005 12:49:33 AM
> Subject: Tao Lin's story
>
> Dear All,
>
> Well, I read or tried to read Tao Lin's story. *****It's not horrible, nor horribly written--some of it is pretty nice--but I found it over-rhetorical, full of the deliberate whimsy afflicting many of our younger writers, and it seemed kind of aimless too, although I might not have thought so if I'd read through to the end.
>
> I'll reject in on Monday unless someone begins to champion it. Yrs
>
> Ben
eight days later
From: Tao Lin
To: editors@nplusonemag.com
Date: Apr 16, 2005 11:38 AM
Subject: Attn: Fiction Editor

Hi, here is another submission. I'll be honest, ******this is the best story i've written i think, maybe. It's a simultaneous submission.

My fiction is forthcoming in The Cincinnati Review, Portland Review, Other Voices, Opium Print, and other places.

Thanks for reading,

Tao Lin
five months and thirteen days later
From: Tao Lin
To: editors@nplusonemag.com
Date: Sep 28, 2005 2:31 AM
Subject: Submission Status for Tao Lin

Dear N+1,

I submitted a story on April 16th called "Cull the Steel Heart..."
And am just e-mailing to check on that.
Thanks,

Tao Lin
half a month later
From: Tao Lin
To: editors@nplusonemag.com
Date: Oct 12, 2005 1:10 PM
Subject: Submission Withdrawal

Dear N+1,
Please withdraw my story, "Cull the Steel Heart...," submitted 4/16/05 from consideration, as it's been accepted by Harper's. Thanks.
Tao Lin
next morning
From: Marco Roth
To: Tao Lin
Date: Oct 13, 2005 5:54 AM

Dear Tao Lin,
Congratulations on having your story accepted by Harper's.
with best wishes,
Marco Roth (for n+1)
that afternoon
From: Tao Lin
To: Marco Roth
Date: Oct 13, 2005 1:53 PM
Subject: Re: Submission Withdrawal

Dear N+1,
*******Just kidding. It wasn't accepted by Harper's. Thought I'd just do something insane, like say my story was accepted by Harper's when it wasn't. Thanks for participating.
Tao
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* it annoys me that i didn't capitalize these magazines but did capitalize my own name like myself in relation to those magazines was like god in pronoun form in relation to myself in pronoun form; and why that annoys me is because it annoys me that god is capitalized in pronoun form but normal people aren't, and even greek gods or satan i think aren't; when people do that—write He instead of he when it's jesus or god—i always feel embarrassed and stupid and vaguely self-righteous and fourteen years old and like the person who capitalized the pronoun is trying to convert me to christianity and i'm being stubborn and immature for not converting and should 'grow up' and convert and deal with it; and, so, actually, i think it's this last sentence, somehow, out of all this, that is the real cause of why i feel annoyed about not capitalizing those magazines
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** i feel stupid about 'very simultaneously'; did i think they'd panic and read it faster and panic more and then accept it out of the fear that the new yorker or harper's might accept it first?
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*** 'in the midst'; 'fall through the cracks'; i feel strange when 'stock phrases' like that are used; it's a sort of received knowledge in that you stop thinking openly and without preconception; your brain, in the process of trying to express something specific and unique and simple and personal (without help from other perspectives that are not your own), is stopped, as if by someone else's brain, stopped and told, 'go home, brain, we don't need you,' and then it puts the stock phrase there; and that is received knowledge; and i feel once-removed from the person who is actually trying to communicate to me; and that is why i 'feel strange' about stock phrases (unless the writer uses them consciously, as some do—uses them ironically, in a way that changes their 'received' meanings; for example, saying, 'things sometimes fall through the cracks at n+1 because our office has cracks on its floor') (and this was just an email but it happens all the time in literature—this disregard for the actual meanings of individual words—though there are exceptions and one is jean rhys' good morning, midnight; jean rhys was intolerant of received knowledge; i read that in an essay in the review of contemporary fiction that itself was almost all received knowledge)
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**** love is the indifferent god of the religion in which universe is church

it'll appear in spring 2006 in an issue of spork edited by kevin sampsell

here are the first three paragraphs of the draft i sent n+1; these paragraphs have since been cut, and won't be in the spork draft:
Sean had been spending his nights leisurely, with much intuition and very little actual engagement with the real world—the real world outside that was really happening. He was twenty-one. He lived with his older brother, Chris, in Manhattan, and dreamt mostly of love. These were terrible, cloying dreams. They involved prolonged moments of passion, vague and painted colors, and people sitting around in a sort of curtained and euphoric gloom, which was what love, in Sean’s dreams, seemed to be. He slept in the daytime, on the sofa, and would wake, sometimes, with such an awful, spongy feeling of love—the soggy cake of it pressed against his heart like another heart—that he would then move through the apartment, the one long room of it, like a hallway gone wrong, in an unenlightened sort of searching (where was the beloved?), not touching anything, but just moving, between things (piles of clothes, the TV, the low white raft of his brother’s bed), feeling husked and ancient and—sitting, then, back on the sofa—thankless, as what was there, in this cheap and witless world, to be thankful for? Not much, Sean knew. He didn’t like the world, and the world had perhaps grown weary of him.

The world was weary of him!

Though probably it was not even love that Sean dreamed of, but some sleight of love, some trick of crush or inwardly thwarted desire, like a chemical seed; or else some boldly fraudulent expectation—an expectation that leads a fantasy out into the real world, gets it an apartment and, illegally, a job—as Sean had probably never been in love. He’d once told a girlfriend that he loved her, but had then felt suddenly vanquished, as if in swift and arrow-y battle, on some nighttime field; as if the world, in that moment, had thought of him, and mastered him; memorized and set him aside, like a learned thing. The world was maybe finished with Sean. And yet—he remained. Alive, doing things (eating, writing a novel, moving to Manhattan), as there was still, and always, the feeling—the suspicion—that the world knew him, and loved him, that the world was trying hard to convey this, was forming itself a language, progressing gradually, thoughtwardly, and slowly, along. Which was, perhaps, the sensation of being alive—the reason why Sean existed, kept going—the waiting of that, the faith in it, that there was a big thing of love out there, a mansion of it, and that the world, however incompetent, was trying every day to get Sean there, was thinking of where he should go, and how.
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***** i really like the structure of this sentence; it's a kind of lorrie moore sentence in that it qualifies, turns back on itself, questions its own rhetoric a little; it's pleasant to read, and has an intelligence to it; i like sentences with em-dash parentheticals in them; it is like giving a sentence a brain, to give it an em-dash parenthetical; it's a kind of hesitation, a moment of thought
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****** it's this one, and i like it because it has politics in it and homeless people and a satanic ska-punk band and it also has me in it and what we are inside of—the politics, the homeless people, the ska-punk band, me—is the story, and the story does not give us free will (it's already written) and it treats us all, eventually, the same, with death (with no more words, a last page); and the story's relationship to its characters is analogous to the universe's relationship to its characters (me, others); and so we are just words on a page, already happened (schopenhauer said that, said there's a consolation to that, and there is, i feel).
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******* some of you might be thinking 'why did he post this'; the last time i did something like this almost everyone assumed—almost everyone superimposed the cliche, and the same thing happened, to a lesser extent, with ben marcus' essay—that i did it to show how 'bad' a person elizabeth spiers (benjamin kunkel, n+1; jonathan franzen, etc) is, to somehow 'get back' at whatever person by 'exposing' them; but that is not true at all, to me; it's false to 'get back,' to 'hate,' to 'dislike,' even, and i know that; and by 'false' i mean it's a disconnection from the way things really are: we're born, we have no choice, the first choiceless thing happens to us and that is the cause to every effect and we are that effect (we're just one effect, and each thing before us is just one effect; and so the world, perhaps, is just one effect; that's it) and finally we die; 'good' or 'bad' have no place in that, and so neither do 'hate' or 'like'

i think it's 'okay' to 'disrupt' people's lives, though, like by lying about something

if someone thinks they know what they want in life, and it is a thing, an abstraction, that is unfulfillable—success, power, influence, happiness, etc.—then that can only cause more pain and suffering for other people maybe

and when you disrupt their lives they have to stop a little (acknowledge the em-dash parenthetical just inserted into their thoughts, somehow deal with that) and so then they have a chance maybe to remember a little that they actually don't know what they want in life

and since this is a literary site, i think that's relevant (though, probably, no; i think, if one is to not have illusions, everything should be taken into account, at once, so that 'art' and 'reality,' or 'life,' are the same)

in that if a writer wants to write about 'truth' then he or she will probably need to learn to think objectively, without illusions (when you think objectively, 'like' and 'dislike' and 'important' and 'good' and 'bad' and 'evil' (as in 'george bush is evil') and 'politics' become meaningless words)

to think that a kind of tone, a kind of worldview or personality—detached, neurotic, whimsical or whatever—can, quoting kunkel now (though he was being a bit 'ironic' or something, i think, when he said it, maybe, though that's irrelevant to this, which isn't directed at him really), be 'afflictive' (which implies a worldview where things are 'good' or 'bad') to writing is less 'objective' than 'another illusion,' which is a kind of intolerance or prejudice

but, because i am attempting to think objectively in this post, i am not going to say that it is 'bad' to think that whimsical writing is 'afflictive,' that it is 'bad' to have 'illusions' or be 'intolerant' or 'prejudiced'

because for a thing to be 'good' or 'bad' you have to know what you want in life; you have to know the meaning of life; you have to know what other people want in life, what they think the meaning of life is; you have to aggregate all that and put it in a computer and maybe survey animals too (dogs, cats, whales) and then you can still only determine if a thing is a certain percentage good or bad that changes depending on a context

that is an illusion also, to know (what you want, what the meaning of life is), when you think objectively, the word 'meaning' doesn't 'mean' anything and is irrelevant; things just are

if you're confused what the 'point' of this post is you could just accept that maybe; that i didn't have any intentions, really, with this post, except maybe to think about some things and type them and try to be objective and get 'outside' of 'good' and 'bad,' to not have an 'identity' and to sabotage myself a little and do something to relieve boredom

and to become a little less secretive with things and maybe disrupt some things; myself maybe, to disrupt my aspirations for publication, success, etc. and disillusion myself a little more

10/05/2005

things i really want to but probably won't, or only might, maybe, write about for this site; but wish could just happen, without having to do any work

mary robison

frederick barthelme's short story, driver

todd hasak-lowy (again)

book reviews, the inherent delusion and semantic unconsciousness of the ones that use the words 'better,' 'best,' 'worst,' 'important,' and 'pointless,' without somewhere in the review also telling the rest of us what the meaning of life is

love is a thing on sale for more money than there exists

lucy ellmann

free will; do we even have it, why or why not; and what fiction has talked about this?

this paragraph, written by b.s. johnson the year he killed himself,
For readers it is often said that they will go on reading the novel because it enables them, unlike film or television, to exercise their imaginations, that that is one of its chief attractions for them, that they may imagine the characters and so on for themselves. Not with my novels; it follows from what I have said earlier that I want my ideas to be expressed so precisely that the minimum of room for interpretation is left. Indeed I would go further and say that to the extent that a reader can impose his own imagination on my words, then that piece of writing is a failure. I want him to see my (vision), not something conjured out of his own imagination. How is he supposed to grow unless he will admit others' ideas? If he wants to impose his imagination, let him write his own books. That may be thought to be anti-reader; but think a little further, and what I am really doing is challenging the reader to prove his own existence as palpably as I am proving mine by the act of writing.
and published in issue nine of this journal (and, before that, in this—aren't you rather young to be writing your memoirs?—book)

chilly scenes of winter

the easter parade

literary magazines that i want them to publish me and why

how i've begun to view my writing as a whole and the anxiety that that has caused me

sherman alexie, a sarcastic native american writer who i feel has a comprehensiveness to his writing that lorrie moore also has, but that not many other writers have

the anxiety that this site has caused me and how that relates to writers who say in interviews that they don't read reviews because those reviews that are out there are potentially discouraging, upsetting, and 'unhelpful'

n+1's rejection note for my story, love is the indifferent god of the religion in which universe is church

stock phrases, cliches, idioms; how come exactly i really don't like them

places that have rejected my story, "Cull the Steel Heart, Melt the Ice one, Love the Weak Thing; Say Nothing of Consolation, but Irrelevance, Disaster, and Nonexistence; Have no Hope or Hate—Nothing; Ruin Yourself Exclusively, Completely, and Whenever Possible," and how long each took to

kafka

lydia davis

dinner at the homesick restaurant

this, written by philip pacey—who i don't know who he is but want to—and quoted by b.s. johnson in the same essay in which he (b.s.) wrote the paragraph i quoted above,
Telling stories is telling lies
is telling lies about people
is creating or hardening prejudices
is providing an alternative to real communication
not a stimulus to communication and/or communication itself
is an escape from the challenge of coming to terms with real people
rebecca curtis' story in storyquarterly 40

the literary magazine called squid and rat that i started with my then-girlfriend and how i more enjoyed publicizing, coming up with the name, and making flyers for it than anything else about it

the levels of awareness that there are in writing; existence, politics, fantasy; awareness of things not known (why, how; life, death, creation, gravity, quantum mechanics, consciousness, time); awareness of those who are less aware; awareness of arbitrariness, meaninglessness; awareness of history; etc.

why i like this post a lot and why it feels interesting to me somehow even though it doesn't have any insight or thinking (on my part); or anything, really; but is just a list of things that don't really mean anything and probably aren't even facts, i think, because, i'm not sure; because they don't have verbs?