TEXT: I’m kind of all over the place right now.
My short play The Ones I Used to Know is now available in the inaugural issue of some scripts! I’m so happy to have been included in this project, a magazine founded on the idea that scripts have literary merit, and can be enjoyed and appreciated even in their purely textual form. I’ll refrain from going into my full rant on the importance of reading plays, but basically the core ethos of this magazine is right in line with how I feel about scripts and screenplays as textual objects, and I’m as excited to be published in it as I am to read all the other contributors’ works.
My play is a ten-minute piece about climate change and Christmas music, set in a small town in Iowa. I realize this sounds awfully similar to “Fuck You Pay Me” but 1. Yes, and 2. They are actually quite distinct, and 3. You should check it out anyway!!!
We made it! At long fucking last, we have made it out the other end, and for the first time in 50 years (with the exception of just two years, 1997 and 1998), works are entering the public domain for the US and almost every other country on Earth. As is tradition on this blog (as of a year ago), every Public Domain Day (January 1st) I write a post related to my love for the public domain, and release one of my own works to the public domain. This year, I’m writing about the first English translation of And So Ad Infinitum, and releasing Tallahassee Ca. 2045 to the public domain! Jump down to the bottom of this post if you just want to read my play, or stick around if you want to hear about insects and bad poetry!
(And if you’re unclear on why today is so special and what the heck the public domain is, you can check out my post from last year.)
Ze života hmyzu (“From Insect Life”) is a play in three acts, written by Karel Čapek in 1920. As such, the original Czech has been in the public domain for more than half a century, and can be read online here. Obscure as it is in the anglophonic world, the play has seen many adaptations and productions, from a 1996 Finnish opera to a 2018 Czech film titled Hmyz (“Insect” in English). It’s been translated into English a few times over the past century, but the earliest translation was done by Paul Selver in 1923—which means it has just entered the Public Domain as of this very day!Read More »
Quick note: This’ll be the last LYCC of 2018, so the blog will be on hiatus until January, when LYCC will start up again with the first week of school. See you on the other side!
My short story “Fuck You Pay Me” is now available in Reckoning 3! Reckoning is a non-profit journal that publishes poems, artwork, stories, and essays about climate change and environmental justice. My writing aside, you should absolutely check them out. They do fantastic work and support a broad range of artists, and I’m thrilled to be included in this year’s issue.
As for my story, “Fuck You Pay Me” is a story about two high school seniors who will be graduating soon, facing a world severely effected by climate change, and watching their opportunities dry up before their eyes. So, using an accountability AI to calculate the dollar amount that they are owed by the world, given the damage that climate change has done to them, they decide to balance the scales of climate justice and rob a wealthy family. Other stuff happens, and it takes place around Christmas, so it’s a perfect story for the holidays!
Currently you can buy an ebook of Reckoning 3 here. If you can’t spare the seven bucks right now, everything in Reckoning will be published online over the next six months, so you’ll be able to read my story free in April 2019—and if you want a physical copy, tthose will be available in June 2019.
Happy Holidays all!
You ever just have a run of really good books? Like, every book you pick up you just enjoy straight away, and love reading it all the way through? That’s what I’ve had these past few weeks. This is what I’ve been reading:
The Lathe of Heaven by Ursula K. Le Guin — This book follows George Orr, a thoroughly average, inoffensive man living in early 2000s Portland, Oregon (the future at the time Le Guin wrote it.) George Orr is wholly unremarkable, except for the fact that, sometimes, his dreams change the world. When he wakes up from these “effective” dreams, he’s the only who remembers the old world—although he also has new memories from this new world—and otherwise, the new world marches on without missing a beat. When Orr is referred to the psychiatrist William Haber, he tries to get cured of this ability, but soon realizes that Haber is only taking advantage of his effective dreams to try and make a better world as he sees fit—and each attempt only creates a more dystopic reality.
The pacing in the book is terrific, with Haber growing more powerful in each new iteration of the world, and circumstances getting more dire for all of humanity. As well, it lets Le Guin really show off her world-building chops, with all these slightly different futures for Portland and for the whole Earth. The book is largely driven by dialogue, but what prose there is is that clean, cut-glass writing you’d expect from Le Guin. This allows her to establish these new altered worlds quickly, with just a few prominent images to pull the reader in.
What I loved most about this book is the themes it’s dealing with. The idea that the world’s woes can be solved by rational problems, that these can be applied universally without nuance, is completely dismantled—or rather, Le Guin shows what happens when these rational ideals have to face up against the illogic of humanity, of Orr’s dreams. Nowhere did this theme his harder for me than when Haber tries to solve the war in the near east by telling Orr to dream of a world with no more war. The results are, of course, not perfect, and in fact far more frightening. Haber is the perfect image of the bloodless Rational™ Liberal thinker, who believes there is war in the Middle East because middle easterners are foolish religious zealots, and iF onLy tHey CoUld See tHE lIgHT of ReAsoN TheRe wOulD Be No wAR, and by golly I am the man to fix the Middle East’s problems. Le Guin’s stroke of brilliance is that when this rationality meets Orr’s unconscious mind, the result is not a bunch of humans who suddenly love each other, because in a sense humans were never really the problem—the result is unfathomable monsters.Read More »
Okay, so I intended for this post to go up in October, but it took me awhile to finish House of Leaves, and honestly, whatever—Spooktober can live on in our hearts year round. So yeah. Here’s a ton of spooky stuff that I’ve been reading.
Universal Harvester by John Darnielle — Universal Harvester begins with Jeremy, a VHS rental store clerk in the small town of Nevada, Iowa, when customers begin returning tapes and complaining that something has been taped over part of them. When Jeremy inspects the tapes, he finds odd, lingering shots of a farmhouse spliced into the middle of the movies—and the inserted footage only becomes more and more disturbing.
But that’s just where the book begins. As it progresses, the narrative winds its way through various small Iowa towns, backward and forward in time, sometimes leaning more toward horror, sometimes more toward the mundane (which isn’t to say that the two aren’t connected.) Overall the book is very atmospheric, but it isn’t an atmosphere of constant dread. It’s a portrait of the midwest that is loving without being provincial, critical without falling back on the old clichés we all know about middle America and rural communities. That’s really what struck me about the book—its quiet, steady chronicling of the lives of characters dealing with loss, struggling to find home, caught between staying and leaving. It’s a book without climaxes, no do-or-die moments, just endless process, a book about living.
PROFESSOR BRIAN: A ver. ¿Qué hacemos el viernes?
El viernes entregan la primera versión de su proyecto final, ¿no?
Pues, esta fecha límite …
yo la puse para ayudarles.
Eso es, no es para torturarlos.
si quieren … podemos …
extender la fecha límite, y pueden entregar su ensayo el lunes después de la vacación.
FRANCIS: HHHHHHHHHHHEEEEELLLLLLLL YEAH!
I’ve been super busy these past two weeks, so there’s no new L.Y.C.C. post today. Maybe I’ll make up for it with more comics later, IDK. For now though, I still wanted to put something up, so here’s all my drawings from Inktober 2018! There was basically no way I could do very involved drawings every day for a month, but I really wanted to do Inktober, so this is the solution I went with. I didn’t actually follow the Inktober prompts, and instead drew a whole range of different stuff that I wanted to draw. Fun game: see if you can tell what any of the drawings are!
Font: Union Agrochem Charkrapetch by Polenimschaufenster
Just as I did last year, here are two collections of all the plays I published in the past year, and all the short stories I published in the last year. I’m now less enamored of the idea of this being a “complete works” series, for various reasons which I explain in the forewords of these anthologies. Mainly, what does “complete” even mean? Regardless, these collections really do have all the pieces I self-published while I was 20, and all the afterwords I published with them. And I will continue this series, because I like having a cheap way for people to buy my stuff—the collections just might always not be annual, or they might not always be “complete.”
20; Two plays and a monologue contains Suggest the Empire, Chimaera Cries ON STREAM!!!!!, and Tallahassee Ca. 2045—including a brands new afterword for Chimaera Cries ON STREAM!!!!!! You can get it on Smashwords or Amazon.
Not strictly a “Last Year” comic, since it’s about when I studied abroad last spring, but this past week I’ve been finishing up the travel memoir I wrote about that semester abroad, so it’s kind of topical.
TEXT: Based on how much emphasis my pre-departure study abroad courses and pamphlets put on “c u l t u r e s h o c k,” this is essentially what I expected would happen upon arrival in Seville.
FRANCIS: Ooooooh nooooooo!!!! The cuuuuultuuuure! It’s shoooocking me!