Elsewhere I’ve outlined the main points and contours of my notion of atopy: the radically unique and private sense of an emotion-world that grounds the possibility of poeticity. I wish to catalog another presently: The Horror of Summer. Continue reading
As I approach my thirties, I have to start seriously considering my options as a functioning member of our complex society. Historically, this has meant one of two life-paths: a) marry a person who over a long enough period of time grows to despise you and, consequently, raise ungrateful children who either never leave the house or leave but only call when they need money; or b) live a life of half-sincere romantic flings that gradually putter out to nihl once a sufficient amount of hair has receded, and spend the rest of your evenings eating canned soups and watching the same shows you watched as a child in pursuit of a comfort that will never again exist, and continue doing this until your heart gives out from the exhaustion of meaningless ambling onward into nothing with nobody. In the following mercifully brief paragraphs, I’ll weigh the pros and cons of our only real choices. Continue reading
The only salient difference between my position and a survivalist’s is that when the global catastrophic collapse occurs, I don’t particularly mind if I survive or not.
Or, An Essay Towards a Contemporary Definition of Pessimism
Is the opposite of a ‘successful life’ a ‘failed death’? Can one fail at death? If the ultimate end of being alive is dying, might we rightly mark death as a sort of culmination? Continue reading
Perhaps you’ve heard of TVTropes.org. It’s an online database of morphological literary devices that recur in high, middle, and low-culture narrative art. There is a Tropes Page for my beloved Decline of the West, one for 1984, and another for The Hunger Games. Though only the latter two are properly narratives, I include the Spengler because it represents an obscure literary achievement that hints at the range and variety of the site’s content. A trope shared between each of the three works is “The Empire” (technically, the The Hunger Games refers to it as “The Evil Empire;” it is, nevertheless, the same trope). Conveniently, the Trope Page for “The Empire” gives a succinct definition: “An autocratic superpower that wants to Take Over the World.” The Main Page for the trope also provides a unreserved entry containing history and further distinctions between similar tropes. Continue reading
“[To] mention even thus early an opposition that has never yet been noted, in spite of its significance—the domain of chronological from that of mathematical number.”