Long

It was long. So long that you couldn’t see both ends up close, and so long that it took days and days and days to walk around it, where sometimes after a while you forget what you’re even doing, you’ve been walking so long. It was tall, too – tall enough that if you stood close enough at the right time of day it blotted out the sun like a mountain. It was very smooth, so smooth that even though it was apparently the very first thing I ever touched I never found anything smoother. Water ran right off it, and nobody ever successfully climbed up to the top. But what was it? Whenever anyone asked, I told them it was everything.

***

I woke up to the sound of children screaming outside my window. Today was the festival, unfortunately, which meant I wouldn’t be able to sleep in. Instead I would have to get up and set up Pete’s stand for him, and help my father cook the rice cakes, and teach everyone how to do Aunt Sammy’s special weaving technique because they always forgot from last year, all the while making sure Delilah didn’t run away into the jungle like she did three years ago even though she should be smart enough not to. I groaned and rolled around in my bed until eventually I threw my nice feather pillow at the wall and forced myself into the kitchen.

“Oh Elizabeth you’re finally awake, Pete wanted to tell you that he needs extra sugar from Thomas so get that before you go over. It’s so nice of you to help him, because of his back, you know.” My mom was busily arranging all of my basket making supplies in the baskets we made last year, stacking freshly picked vines with their pretty pink flowers and cut bamboo strands. It was her job to lead the dancing, and since I refused to have anything to do it I was handed down the basket weaving classes, because I learned how years ago since it was better than dancing. I grunted and grabbed a couple of hard-boiled eggs on my way out.

Thomas was thirty minutes straight if you followed the river west from the gate entrance, choosing to live just a little away from everyone else so he had plenty of space and lots of sunlight to farm what he called sugarcane.  He didn’t really do anything else, but the sugar he made out of it was so popular ever since he started farming it that nobody really cared. I put on my sandals, walked out my house down to the gate entrance, and headed off, peeling the first egg and letting the shells fall on the ground. A type of bird my village called egg-birds lived in the surrounding jungle, and a couple now came to my egg shell droppings and picked at them, looking for the egg innards that I had saved for myself. Out of boredom I tossed the other egg onto the ground and watched the birds peck at the egg and then, confused, at the solid mass inside. They were used to fresh eggs, and had long black beaks that were for poking the shell and draining the raw yolk. Now a couple of the bigger birds tried to pick up my egg and drain it into their mouths by jerking their head back, and then when nothing came out threw it back on the ground and hopped around and squawked angrily.

I laughed to myself and kept on walking until I got to Thomas’ farm. It was big, way bigger than the hub, and showed off rows and rows of person-height bushels of green stalks and leaves. Mini rivers hand carved into the ground from the big river brought water along to keep the whole field wet. He says that from where he’s from they’re almost twice the height, but these looked pretty big to me already. The body of the house was made out of what he says are called Dipterocarp, but that I had always just called what they were: trees. His house was built up on stilts so it wouldn’t get ruined if the river flooded, and topped with palm fronds on a triangular roof for rain to roll off, and there were windows that were sometimes covered with leaves but now were open so that light could shine in. I walked up to his front door, which had a barely legible “Thomas P.” carved onto its front and banged on it with the side of my fist.

“Who is it?” I heard Thomas yell, muffled, from inside the house.

“It’s Elizabeth,” I shouted back, and then crossed my arms and waited for him to open the door.

“Oh, Lizzy,” he said, surprised, even though I had already told him, when he finally let me in. “What do you need? I was just about to leave.”

               “Pete told me he needed more sugar,”

               “More? How much sugar does that man need, my God!” Thomas said, as if he couldn’t believe it. I had asked a long time ago what God was but he never really told me what it meant, just that it was a ‘sign of exasperation’. I used to copy him all the time as a kid but then he told me that people from his home wouldn’t like that – I guess you needed special privileges. Even as he complained Thomas disappeared into the back of his farm house and motioned for me to come. We walked all the way through the back through tables covered in the few books he brought with him that only he or I could read, and one giant red one that I was dying to look at but Thomas wouldn’t let me touch until he finished writing it, and then we got outside into his big farm area. To get there you had to pass through a big outdoor kitchen where lots of giant clay pots full of sugar water were sitting. These ones had already been boiled and cooled, and would have already had some old sugar thrown in to make the sugar solidify. From here you could see the grinding area, where Thomas spent most of the harvesting season hand grinding all his sugarcane into paste with a big rock. He then filtered the paste through cloth made from sheep that are kept near the hub and are shaved all the time because it’s so hot and then puts what’s left into the big pots to boil.

               Thomas picked up a few rodent skin bags and gave them to me to hold open while he scooped dried sugar from a pot into the bag with a little bowl, picking out dead insects as they came. Once he filled up three of these bags he gave me one to hold and we headed back to the hub to deliver them to Pete. On our way back I asked him if he knew what Pete was doing with all the sugar.

               “Well, last year all he did was mix it with sheep milk, which was pretty popular. I told him if he burnt it he could make caramel, but that’s more effort than he’s probably willing to deal with. It’s a shame, but for the better, Lord knows I don’t need the temptation.” Thomas slapped his stomach, as if to make fun of his weight, but he was actually very skinny. He always complained about being fat, which made everyone that actually was fat kind of angry. People started getting fatter every since he showed up with his sugar too. Some of the egg-birds flew by and Thomas pointed to them excitedly.

               “Those are called magpies, Lizzy. You can tell by the blue stripe along the wing, and the black head and white chest. Quirky little things, so much personality. Not very good to eat though, even in a pinch.”

               “Eat? How would you even catch them?”

               “Skillfully,” Thomas said. “I’ll show you some day.” Eventually we made it back, but it took longer because of all the sugar we were carrying. The hub was a big circle, with all the houses lined up along the sides, and a big open area in the middle. Pete’s place was twenty houses around the circle to the right of my house, and the closer we got the more it smelled like something burning.

               “That dumbass.” Thomas rolled his eyes, then looked at me awkwardly. “Uh, you’re not allowed to say that either.” We let ourselves in and found Pete over a clay pot poking at what looked like the last of his sugar. He was holding one hand to his cheek, as he did, and murmuring worriedly to himself. He looked up as Thomas dropped the bags to the floor and silently begged for help with his big, watery eyes. Thomas asked where his other pots were and I left them to it to get Pete’s stand ready. It was stuck behind his house out of sight, left out in the sun and dust so long it had lost all of the color from when we first dyed it with bark and seeds and fruit. I tried to wipe it clean with an old cloth I got wet from the river but it didn’t help all that much. Luckily it was very light, being left out to dry for years and years, so even I could drag it to the front of Pete’s house where everybody would be coming once the party started.

               I knew my mom would get mad at me if I just left it like that so I went back to my house and grabbed some fresh yellow dye that my mom liked to use and used my fingers to trace “Pete’s Specialty Cakes” over the faded remains from the last time it got painted. Nobody but Thomas and I knew how to read, but everyone thought it looked very cool anyways and Thomas would always say “it’s part of the aesthetic”.

               Eventually my dad came over with all of the rice cakes, which was a relief for me because it meant he got up early enough to do it without my help, and then Pete and Thomas had finished their caramel by then so they poured it all over the cakes. Thomas was talking to my dad, something about how they added sheep milk to keep it from getting too hard, but I didn’t pay too much attention because I was greedily eating one Pete secretly handed to me in his kitchen – it was delicious. By the time I finished the shadow over the whole village was reaching the hub’s edge so I knew it was time for the festival to start soon. I licked my fingers and ran back home to get the basket weaving supplies for my class, running past my mom and Delilah all dressed up in dancing dresses and carrying more of them to the center of the hub and laughing all the way over. Delilah was finally getting old enough to start helping, but unlike me at that age who hated having to do anything she loved the attention she got from our mom. Even if I didn’t care as much I was just happy she was turning out kind of normal – she was weird when she was younger, always staring off into the jungle. She always would look at this one particular section of it, opposite end of the big entrance I always used, northeastwards to where the river ran into the jungle because it curved the bottom part of a “C” in the middle of the hub. I knew she must have gone into that part when my mom started screaming that she was missing.

               I ran back with all my vines and leaves just in time for everyone to start coming out to celebrate, collecting around our village leader Young Laura, and who, in continuing the theme of what Thomas would call “tongue-in-cheek” naming in the village, was actually very old. She hobbled up our mound of dirt in the center of the hub without her usual walking stick, looking carefully to make sure she would not fall and embarrass herself in front of the village. Once she made it to the top she stood there and looked past the houses and fence and fields and distant mountaintops and waited until the sun came over it and draped diagonally across her chest like a blanket of light, and then spread her arms like she was holding her words in front of her and spoke.

               “As long as I’ve been alive I’ve been crippled. First it was my mind, lost in the mountains rather than staying in my head where it should be, playing with the forest rats that steal our bread and the forest birds that eat each other’s eggs, so that I would not work when I should, or learn when I could. Then it was my legs, so I could not follow that mind where it so desired, and instead I had to watch from this village and imagine what I could be seeing – it was only then that I worked, when there was nothing else. And once I had imagined all that there was to imagine and worked all there was to work it was my soul, that yearned for youth and beauty and adventure and received instead the same views I had seen thousands of time before, slowly ground away by life’s pestle to a nothingness that knew only to wait for the end to come. Now I am here, on this same mound I grew up playing around, basking in the symmetry of light and shadow, to represent the two ways of life we know: to live within, and to live without. I have done both, and now I stay here, as I should… as I must. But even if I must die here, no one else does – it is your choice, based on what you have been given. Choose wisely, so that you won’t regret it when you’re old and withered and tired like me.”

               Young Laura turned suddenly and walked off the stage into the shade to sit and relax by the side of the festival. Everyone in the village was nice and waited for her to sit down and then all hurried around to get everything started. Pete ran off to sell his cakes over by his house, my mom and Delilah took their time and walked slowly over to the center of the hub behind the mound since they had changed earlier, and I went to the mound and sat down and waited for enough people to sit down in front of me to learn. It was always the same people – Aunt Sammy’s family, which was her old husband and two adult children and five grandchildren, but not Aunt Sammy because she was dead; Young Laura and an actual young person Eva, short for Evangeline, who helped Young Laura make the basket because she could barely see; Thomas, which pleased me because even though I didn’t really like teaching because it was a chore I did like being able to show off that I was good at something to people I liked. There was also Patrick and Steve and Johnathan who all went everywhere together, and Melissa and Mitchell who were only a few years older than me and already together and who the kids would collectively call “Mmmm” with their lips together to try to make fun of them. Then Alice and May who were friends and looked oddly similar even though they looked totally different, and finally Jimmy who stared at me in ways I didn’t like and was kind of ugly but never said anything which is good because my mom sat me down and told me about a guy who liked her when she and dad were still courting one time and he sounded a hundred times worse. I didn’t really understand why there always came to learn, because they’d learned six or seven times at this point and weren’t all stupid, except for maybe Patrick who really was only good for talking at. Sometimes some new people would come try it out and actually learn and leave, or give up because it was too hard even though it really wasn’t, but every year it was mostly these people. Jimmy I kind of understood, even though I wish I didn’t – it seemed like a big waste of time to me but at least I had an audience.

               Basket weaving itself, like I said, is not very hard. Aunt Sammy’s husband Phil is the one that cut down and prepared the bamboo into strips for weaving. He taught me how once and I promised myself I would stop teaching weaving if he died because it took forever to make the bamboo strips and I would not make them myself. Anyways, to weave a basket you need some flat, wider strips as the general structure, and then smaller strands maybe a third the width to tie everything together. You lay 7 down over eachother so that they only cross over in the middle and spread out in a circle, and then with a smaller strand you loop it underneath one of the larger strands and bring it up to the center. Then all you have to do is go over the next strand and under the one after that and so on, and once you get far enough you kind of push and bend the larger strands to make the shape you want and then eventually you’re done and you can cut off all the loose strands with a knife. Like I said, not that hard, and if I had to guess the only thing that made the technique “special” is that no one else knew anything about weaving before Aunt Sammy came along one day with her husband and newborn baby so pregnant she gave birth that night to a second daughter, much to the delight of the younger Young Laura who was letting her sleep in her house. Young Laura always loved kids, because, she once told me, more people in the village now meant more people in the village later, and more people was always better.

               So I made a basket with everyone, walked around with it half finished to show people, and corrected mistakes and answered questions. Young Laura made half decent baskets all things considered, but Eva who always did one for herself as well made the best. Melissa made the second best, which annoyed Mitchell I think who would always try very hard and still not be as good, and then if I had to pick a third I would say Steve, just because everyone else’s were always lopsided or had big holes.

               Suddenly it was time for the dancing – my mom and sister had gotten all the girls and women changed and made everybody practice all the moves and now they had to perform. Pete and my dad and a kind of older guy named Samuel were already by the clearing with drums made from sheep skin and jungle trees and wool, and then everyone lined up and Pete started to play. I’m no good at describing music without words but it was a steady dun… dun and then my dad started to sing but he didn’t sing any words just sang and then Samuel and my dad started to play the drums faster and faster like people running along the river and then everyone was stomping their feet and dancing. People didn’t learn very well after just an hour or two so they just kind of danced and swayed together and made a big circle so my mom could do the actual dance. She was really good – I would have been proud if I didn’t hate the dance itself so much. It had lots of hip movement and the dress showed off more than the normal clothes she wore and I hated more than anything the way everyone looked at her when she danced, the way Jimmy looked at me but worse, so much worse, like they were all about to attack her. Everybody except Thomas, who looked just as disgusted as I felt whenever he watched, and this time he walked up next to me with that expression on his face that I appreciated more than he could know. The weirdest part about the dancing was the way my mom would face it, that thing that covered the sun and was always there and nobody knew why or when or how just that it wasn’t a mountain because nothing grew on it. She would face it and drop to her knees and cry and shout as if it was the only thing that ever mattered but it didn’t, the village mattered, me and dad and Delilah mattered, she cared so much it made me jealous because it was nothing.

               “I’ll never understand this. Primitive, base, ignoble, pagan, your choice… Anyways I know you hate this so how about we steal a couple of cakes and I’ll show you that book I’ve been writing – you’ll love it I promise.”

               I didn’t know what those words meant yet so we snuck over to Pete’s house but there was only one cake left so we took it and then we walked off through the entrance and followed the river to his house. It was a relief to get away the whole thing made me sick and I really wanted to read that big red book so I was happy the whole way there as we shared the last cake.

               When we got to his house Thomas said the big book was on the table and he disappeared into his backyard. I opened the first page and was amazed – it was full of drawings of the local wildlife, with descriptions on the bottom and sides and top. Thomas’s handwriting was very neat, and the pictures were beautiful, and looked just like each animal. There were the egg-birds and our sheep and the rats and snakes and little flying insects and on and on so that I was so fascinated I didn’t even notice what was happening outside until I heard this strange whining sound getting louder and louder until I couldn’t stand it and I went outside with the book in my arms and saw this giant thing floating down on top of Thomas’s sugarcane, crushing and burning all of the unharvested crops beneath it as if they were paper in a fire. It was gigantic, twice the size of the house, and the most beautiful thing I had ever seen – it reminded me of the thing in the Hub. Thomas was standing by the exit to the backyard with a bag full of books and a frown on his face, and when a giant slab of metal opened up out of the ship he walked on top of it into the incredibly bright yellow light and told me to follow him. I was scared, but more curious about it than even the red book so I walked inside and didn’t understand anything that I saw.

               There were glowing things everywhere, and that smooth material that was so much different from the rocks I was used to cutting things with, and all these colors that were somehow inside of it and not painted on. Everything was smooth, even the doorways were round like giant hollow eyeball sockets in a skull, and I followed Thomas through one of them to a room full of more bright glowing things and invisible stuff that was there because I went up and touched it but couldn’t see it no matter how I looked at it. And suddenly we were moving and I ducked down and I covered my face because I thought there would be wind like you were running really fast but there wasn’t and we kept going up and up and up and I felt like there was something pushing me into the ground until I barely see Thomas’s house but could still make out the Hub and then Thomas said Lizzy everybody was going to die now and I said What? and I looked down on my village that was now so small and I realized how big it was that mysterious not-mountain that was made of that mysterious material and then it started turning kind of red and my mom and dad and Delilah and Pete and Young Laura and Eva and Phil and Mitchel and Melissa and my home and my village and my everything all burst into flame with the forest and it was white now and then there was this giant noise and everything got blown away and I was screaming and crying and had dropped the book and was grabbing Thomas’s arm so hard that blood started coming out around my fingertips where my nails cut into his flesh and Thomas just stood there and watched as everything was destroyed and that’s why I tell people that it was everything because if something can destroy your everything then it becomes everything itself.

Now it’s been a while and I’m in this room covered in that weird material and Thomas gave me some paper and some stick that I can write with like he taught me before. I finally was calm enough to let him talk to me today and he said that I was too smart to let die but only he and I and the pilot, whatever that is, can know and that I should write about what happened because it would make me feel better but I wrote everything down, having to ask again and again how to spell all the big words he used, and now I feel worse. I hate you Thomas I hate you I hate you I hate you I hate you but now you’re all I have.  

Words

I’ve heard some complaints before that the English language lacks the extensive, eloquent vocabulary of other languages and therefore cannot compare to foreign literature. I’ve also heard that English is one of the most evocative and effusive literary languages, and that appropriate wielding of its comprehensive vocabulary can yield incomparable expressive power. Regardless of whether or not English is the best or worst language to write in,though, it is, for better or worse, all I’ve got.

I was walking to the waterfront the other day: to do so requires climbing down from the top of my hill through a series of residential areas varying significantly in property value. The top of the hill is really nice, to be honest, in no small part due to the fantastic views. The best ones are at the top, but as you take each ivy-infested staircase farther down the hill there emerges a curious charm that can’t be had in the most expensive areas. I had descended only one or two of these staircases, and just as you look up to cross the street, you get this incredible view of downtown framed by the homes and apartments on either side, and then layered with a lone airplane in the sky on top and a chunk of greenery followed by cement on the bottom, with telephone wires diagonally cutting through the entire scene like an obnoxious sharpie mark on a beautiful landscape painting. I don’t know what words there are to describe something like that, but it’s that very essence that r/ImaginaryCityScapes tries to capture, simultaneously mundane and awesome.

It’s things like that that make me grateful for living in the city – there’s something so optimistic about seeing the city itself from a distance during the day, that honestly can be much more fulfilling than the city itself. It’s about living areas with a view, I guess – no wonder they pay so well.

The rest of that walk was a good one: the waterfront park was beautiful, and our recent infestation of rabbits proved entertaining for once when a group of 7 or so came out to graze on the grassy steps leading down to one of the big art exhibits. Plus, the beach nearby is great for skipping rocks, except for the syringe I found on the rocks…

Anyways, the really great thing was that view – the intersection of residential and downtown life, just enough of a buffer of other homes and trees to keep from feeling consumed by the city. That was really beautiful.

The Danger of Engaging in Violence

In the media I’ve come across that depict violence, there can sometimes be a tendency to immerse the reader in a glorification of violence that might, frankly, displace the media from reality, or, worse, romanticize the very violence that it depicts. It is common in adult fantasy novels to engage with rape, for example, in a relatively shallow way – on Reddit one user was critiquing the novels of Game of Thrones for depicting rape of other women, but never really engaging with it among main characters. Spoiler alert, this is not necessarily true for the TV adaptation, but it’s an interesting concept. There is certainly a point in which media crosses a boundary between thoughtful insight into violence and indulgent depictions of it. Physical violence is a far more commonly used in the latter, for example, where action movies engage a very primal satisfaction with violence that everyone feels to some degree, and turns it up to ridiculous levels – and in all honesty, the extent to which that is damaging is debatable, because it is certainly not the fault of mass media or major depictions of violence of any kind that any significant amount of people hurt each other. People tend to seriously harm other people for an accumulated variety of reasons: social, fiscal, emotional, cultural, etc. Point here is that it’s an example of the way media can glorify violence of a certain kind.

Now, what really brought this subject up was the manga Goblin Slayer. Most people familiar with manga or anime have seen the intro scene of the first episode, or the first chapter, in which goblins violently rape and murder a band of adventurers. I have seen plenty of rationalizations of the scene, and from a stand-alone perspective that ignores the rest of the show, it holds up – such a shocking scene has the potential to set the stage for a complex, “realistic” fantasy world that echoes the violence of inter-human pillaging. However, the manga at least quickly devolves into a very self-serving harem fantasy that repeatedly shows rape of well-endowed, perfectly figured women again and again (and near-rape of main characters that, of course, are saved at the last second and express little to no concern for themselves after the fact) for the sake of titillating its audience, which is a shame because there is a lot of potential in that beginning scene. There are, in fact, hardly any women portrayed that aren’t catering to some sort of audience (one of the girls is even specifically advertised as being 15, one of many insights into the rather disturbing sexualization of children and teens in the medium).

That’s the main issue here – is when people writing escapism get lost in the portrayal of violence in their fantasies (because that’s how they get people to keep reading, or because the author has a rape-fetish) and lose sight of looking through reality from an insightful lens. Sex does sell after all, so it’s no wonder people make media like this, and probably very few people want to read artistic or literary things all of the time. At the end of the day though, much of this media is forgettable, and, as Saidiya Hartman was once criticized for, threatens to potentially promote violence by portraying it in detail. As I said before however, I am not entirely convinced media is a major contributor to violence, because the threat of censorship leveraging this argument is far more dangerous. However, if violence is portrayed casually, and the effects it has on its victims and executors disregarded, it certainly loses its value within any work.

Riding the Middle Line

Something I’ve found interesting lately is those times of the day where you don’t really feel particularly strongly about anything in particular. It’s not apathy, exactly, where you don’t feel like doing anything, instead you’re doing chores and don’t have anything to be especially excited about so you just are there doing chores – in the moment, so to speak, but not necessarily tranquil, just not exuberant or despairing, just… there. I’m pretty used to distracting myself from life with books or shows or games or sugar so this is a little disorienting. Part of it comes with the realization that there’s really nothing else I’d rather be doing – just being aware that something needs to be done and I’m getting it done and that maybe it’s a bit of a relief to have something do to instead of the nothing I’d otherwise be occupying myself with.

In all honesty it’s a bit of a blessing in disguise, just something that takes some adjusting too, because that’s probably what a lot of normal life is supposed to be like – just being what it is, although that sort of tedium probably can cause a lot of stress or desire for escape in and of itself. It’s this kind of response that leads back to old habits – the monotonous toil of everyday life. It’s really not especially exciting, to be honest.

More on escapism

I’ve already written about why escapism is often, but not necessarily, a bad thing from a literary or analytical standpoint, but there are a few more comments I want to make that are less critical of the genre. Escapism, in my opinion, is magical not only in the literal sense of the fantasy or science fiction that it is often encased within, but also in a profoundly emotionally inspirational way. It is a medium for channeling the passion that everyone wants to experience daily, the vessel through which many people’s visions of grandeur are poured into, and a catalyst for art and discussion and love.

Writing or creating in any way something of or within escapism is an attempt to capture the very magic that once captivated the creator – and this is true of any performance art. Music, magic of the Penn and Teller variety, art, teaching (in a perfect world), woodworking, etc. are all inspired. The delirious thrill of watching a master of their craft at work, and the ensuing, gut wrenching jealousy that fuels that kindling of passion. This, to me, is magic, where one might get swept away by the feeling, obsessively creating and practicing and perfecting until something great is made.

It’s a beautiful thing, but at the same time there are often the lowest lows for those that experience the greatest highs, pitch-black subterranean caverns and milky white clouds in the bluest of skies. Perhaps others can consume their escapism in moderation, but in my experience I binge-watch or read and then feel lost at the end – and there’s always an end.

Escapism, or, well, good escapism, is chasing that high, with all the negative connotations that entails. The best highs, though, are ones that make you think, and this comes back to my previous post that discussed the ways escapism can be produced in a significant or interesting way. The ideal is to create a fantastic story that holds up after the escapist glow fades away – that’s what makes great media, a high that never really fades away into obscurity.

Just out of sight

Sunlight drizzles on leaves

Swaying, shaken by playful

Creatures just out of sight that

Animate nature

Sirens ring endlessly

Just out of sight

Disturbing but surreal because

Only one sense is touched

Noise, broken down

Is a test of character

That asks if its listener assumes

The best or the worst

Dogs barking could be

Playing or warning

Exciting or terrifying

Obvious or enigmatic

Silence too can be comforting

Or debilitating

Mysterious or apparent

Transparent and, too, opaque

Writing can be both

Imaginative and realistic

Idealistic and pragmatic

Playful and serious

And, like a thief

Just out of sight,

Leaves fingerprints

Motivation

Today I woke up and was relaxed enough to eat breakfast. Too relaxed – I had eaten way too much the night before, and too much for breakfast, and then too much for lunch. It was nice though because I had not been willing to eat anything for basically the past three weeks since I was so worried about my future. I was convinced I was totally doomed, but even though I just got a response that one job I was hoping for didn’t work out, I was able to stay calm because I knew I had other options.

Getting up was entirely different as well: I wasn’t in a rush to jump up at 4:30 in the morning, so instead I laid in bed and stared at my phone until the last minute before I could reasonably shower and drive down to an appointment I had made. It was during this process I realized that my standard method for waking up in the morning is not as efficient as it should be. It’s terrible to have to wake up too early, but needing to get to work certainly gets you going, and once you’re their, even if you’re tired, you’re as productive as an be – especially with a little coffee. If i’m trying to maintain my productivity, the best thing for me might be to just get out of bed in the morning, instead of laying around on my phone. A while back I had issues sleeping because I was so restless: the solution was exercise, of course, but also not using electronics in bed so that you would associate it purely with sleep. I didn’t necessarily reduce electronic use, as one might hope, but it did get rid of the restlessness, so that’s something. Electronics also definitely keep you awake, so the less they’re used in bed the better.

Anyways, it’s time for me to figure out the best way for me to maximize productivity. I’ve noticed now that I’m mostly out of my college apartment I have a much easier time focusing, not to mention the stress of trying to find a job and solidify a career. I also know that I’ll need to exercise in order to keep away that nasty mental fog that was all too close a friend in middle and high school. All of this is important, but perhaps something really interesting is the way that I utilize creative bursts and inspirations. Sometimes I tire myself out doing things that aren’t very productive – video games mainly, but frankly piano a little bit too. I don’t think I can give up the latter, but it could be that games are too good at distracting me from doing real work that I would do without them. Also, caffeine.

It feels good though, to be productive. I’ll have to schedule my time in the future I think, but it feels really good. So: enough sleep, exercise, the teeniest bit of anxiety, getting right out of bed when you wake up, and of course, coffee. Cheers!

I Don’t Want to Write Today

I’ve been reading through some of my old blog posts, and I have to say I am not the biggest fan of my own writing. I can tell that I have a very repetitive pattern of writing, and often use words like “critical” , “underscore”, and “vital” over and over again. Big yikes, as people say.

This is a good thing because the first step to solving a problem is acknowledging there is one, but at the same time it’s a bit of a blow to realize my writing vocabulary is so limited. Frankly, I should be reading more just to keep up to date on a variety of writing styles and vocabulary, but at the same time there is value in writing not just concisely but simply. There is beauty in choice, complicated word choice, but especially for blog writing it’s important not to get too wrapped up in yourself and allow your writing to be legible.

This being said, one of the things that always struck me about Nabokov is that early English professors would criticize him for always throwing bits of French into his writing, claiming that it came off as overly pretentious. Certainly this would have been the case, but in the end this habit of his contributed to his fantastic writing later in life.

One of the nice things about poetry, of which I know nothing about, for the record, is at least that it’s a quick way of engaging in thought about word choice and phrasing. For other types of writing there’s a bit of getting around to it, and frankly it is often easier to identify poor word choice than to celebrate good.

Anyways, for now, I will try to make an effort to avoid these habitual patterns of writing. This might be a tad overkill, as I’m especially sensitive to these things, having gone through lots of my own writing, but at the same time I want to write for myself as well. It means a great deal to me to produce work that I am happy with, and one the other side great shame to read work of mine that I sincerely dislike.

How Escapist Fantasy Fits

My preoccupation with escapist fantasy, and where it stands in the puzzle of media consumption, primarily derives from my own justification for considering writing in the genre. To be taken seriously in a literary setting, it probably won’t get any aspiring writer very far to indulge in their dirtiest, most incestuous erotic fantasies – usually it requires not just quality writing, but also a conscious or conveniently unconscious development of critical cultural or literary ideas that are identified and explored in an interesting way. For example, Octavia Butler doesn’t just write about aliens and parasitic worms, but uses them, intentionally or not, as analogies for slavery and as tools for underscoring major themes about humanity. Good literary analysis of Butler involves lots of cultural theory – such as Foucault and Hartman – as well as thematic analysis across her other works because of this.

So what is it exactly about escapist fantasy that necessarily avoids this? Certainly it should be possible to write compelling, entertaining escapism that investigates fundamental truths about the human condition – and indeed this has been demonstrated over and over across media. The final arc of the anime Hunter x Hunter, for example, critically engages Foucalt’s theory of biopower in arguably a more explicit and investigative way than even Butler does in any one of her works. To be fair, however, much of this arc expands beyond the escapist aspects that were decidedly more defined earlier in the show – specifically dealing with sacrifice of power and bringing in parallel character developments to enhance the major themes that some individuals may find overwhelming or uninteresting.

The true danger of escapism in any critical setting is, frankly, the degree to which reality is often disregarded – even though this is the entire point of escapism. This does not mean that a fantasy show or book or comic can not engage with reality in an analytical way. In fact, often fantasy or science fiction can serve as hyperbole to emphasize certain truths about the world, and this can be considered ‘literary’. The actual concern is the degree to which escapism is emphasized over other aspects of a story – in other words, the rationalization or details of your self-insert’s 100 woman harem could, believe it or not, get in the way of any literary substance to your short story. In my experience, many of the best works of art engage with some truth that is ill-defined and ambiguous, and serves as some sort of investigation into the murky contradictions and paradoxes that create an interesting topic representative of life (i.e. Nabokov and pedophilia, or the aforementioned Butler’s exploration of pleasure in domination in settings parallel to slavery). So when reality is disregarded intentionally to serve as an escape from its dreariness, many of these interesting topics are left along with it, at the cost of potentially interesting stories.

This being said, there is certainly room for critique of humanity’s tendency towards escapism, and there is fantastic media out there that deals with this (the music video MEMEME! comes to mind, where pornographic consumption and obsession is explored through the very pornographic content it criticizes). This is where interesting writing or media production can flourish – the intersection of creating escapism and dealing with the underlying desires and needs that necessitated it. Similarly, perhaps the best way to create a foundation of this in any given plot is by being escapist, and then subverting those expectations or somehow examining reality through this established lens of escapism.

So, in the future it could be interesting to write something like this – a betrayal of the things I consider escapism paired with some meta-acknowledgement that, somehow, might forgive it. So keep your eyes peeled folks.

Grief

And now for the most original sentence ever: people express grief in different ways. I guess I never really understood how differently until recently in my life. Some sob, loudly, scream out the agony of loss, and others apologize for crying at the funeral of their father. People react very differently to the loss of others too – some go to the survived and offer words or touches of comfort, and others gossip knowingly on the sidelines, relishing in the taboo of death.

A man I met died this weekend, shot by a cop. The news story claims he pulled out a gun – a rifle – and pointed it at the cop after being pulled over, and the officer retaliated in self-defense. This is a lesson in narratives. I met him as the kind, friendly jokester that threw around rolls of tape and laughed with his coworkers and subordinates. He shook my hand when we met and nodded at me whenever we passed by. He brought me the labels I needed to sign before they could be stuck on boxes of fish. He had tattoos.

People are complicated – they can be earnest and cunning, genuine and deceiving. Maybe he had a gun, maybe he didn’t. He’s dead now so I guess it’s too late for him regardless, but I think that it must be very painful to be shot.

Someone reaches their point in life in a variety of ways. The psychology that leads to criminality is complicated and progressive, small crimes often leading to bigger. The motivation behind them, the thought process, are all very human. So even if this is what happened I still feel empathy – and this is something that is easy to forget. This does not mean condoning crime, or pardoning it, but understanding that criminals are all too human. All that being said – narratives.