revivified cicadas end dormancy fans outside the garden at night saying the stars hark an advertisement for more stories from today’s affronted vases flank new eliminations of doe queens of canceled revenue a screenshot of the dead lie three men inside a high rate of speed burn cash as others stay grand at kill station & terminal statistics colorized cells from an oyster of city and state support us or die (repeat)
I don’t know how you’re all holding up, but this quarantine combined with the ineffective leadership of my federal government here in the United States has led me to seriously reconsider my level of engagement with humanity, the arts, and, to a lesser extent, politics.
As the COVID-19 pandemic sweeps through the world, it collides with governments in the West that have spent decades deliberately shedding power, capability, and responsibility, reducing themselves to little more than vestigial organs that coordinate public-private partnerships of civic responsibility. This hollowing of the state began in earnest in the 1980s, and the science fiction of that time—the earliest texts of cyberpunk—imagines what happens when that process is complete. Cyberpunk is a genre of vast corporate power and acute personal deprivation. The technologies at the center of it are all means of control, control bought by the wealthy or broken by criminals. Where recourse is available, in whatever small way, it’s through direct action.
Atherton cites William Gibson, cartoonist Matt Lubchansky, historian Nils Gilman, and author and journalist Tim Maughan, among others to great effect here.
This is grim stuff, but it works to serve a concise point wrapped in a human, community-focused message:
Escaping a Gilded Age takes more than just clever protagonists who can outwit the cruelties and exploitations of the wealthy few. As insurmountable as the power of robber barons once seemed, cataclysm and political action brought the Gilded Age to a resounding end. The inoculations against another Gilded Age are found far less in the works of cyberpunk and far more in the Works Progress Administration. Escaping a Gilded Age takes an active, collective politics, one that refuses to let governments hide behind algorithms or abdication of responsibility to the market.
need nsa hookup
great time with a great smile and personality
i like to keep my kinky side a secret
can you be special enough for me to share it with you
i wish my father called me on my birthday no homo
the best part is the little italicized spider at the end this interview has been edited and condensed
there’s someone i need to know there’s someone singing in the office now there’s someone i need for my own sanity there’s someone i can suggest to help you feel better
waking up in osaka with a painful sore throat
when times turn tough presidents can hop on air force one to escape the country for a while and stride purposefully across the world stage
how big is your television i have different sizes in every room i really prefer the big ones how big is yours
in conformity to norms of the day the actionists regarded women primarily as passive objects bloodied and abused female bodies were central to some of the fantasies of destruction they staged
discovering the pad of my left foot slightly sticky against tatami
opuntia or prickly pear was introduced to kenya by british colonialists in 1940s as a living fence but has grown out of control in recent years plaguing elephants and other wildlife and tearing through ranches and farmland
an old man pulls a heavy stone tablet across a nightingale floor
this ambiguity is particularly effective when the performer is conveying the experience of being terrified of finding one’s sense of self displaced by the physically or psychologically overwhelming actions of another
wind shakes persimmons in the spindly tree outside the disciple’s estate rusty whine of clapboard hinges battering his childhood home
there is always a sparrow flitting
in the flowerbeds
a masochist locked in purple chrysanthemum penetrates the acrid desert between hacked and cracked flower
the crewmembers of the delight meanwhile comment to each other on the pequod’s use of a coffin as a life buoy
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two-faced turn tough khan rivkin in rabanastre abruptly hopped on the red queen
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chaos and delay
evident against mounting
protest inquiry to insulate
insulate against mounting
protest seeks to halt hours on wednesday
staging against mounting against
suite where impeachment yet pressure office suite where impeachment investigators conduct private campaign to leave stridents behavior — and refuse to smear his political rivals storm interviews refuse to enlist
committees on the committee which is leading let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in! let us in!
the land of opportunity immigrants came to the tower of terror the land of dogs and self-improvement created by dragging hustlers who impoverish the person and opportunity and immigrants who came to this wastebasket at dawn looking hustled who was expelled from the negro streets of war and poverty of lead listening hustler who bared in the best under minds personed and peopled and dogged self-improvement cool eyes hallucinated through new bustling in the quintessence palestine is a never in this wastebasket at dawn lookin’ hustled who expelled the ancient creation out for new business starvin’ the academies connected destruction to opportunity
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