Scary Cool Sad Goodbye 88

“I did not gamble, cared not at all about the Mob and even less about Howard Hughes. But there were other stories and other people, and there were days when I told myself that through the travail of others I might come to grips with myself, that I might, as it were, find absolution through voyeurism. Those were the good old days.”

                                               ~ Vegas: A Memoir of a Dark Season, John Gregory Dunne

LED arrows inside Harry Reid Airport pointed left to the carousels and right to the liquor store: “the nation’s only non-duty free liquor store located in an airport baggage claim,” the advertisements bragged. “Stop by before getting your luggage to stock up on what you need. We know why you came to Las Vegas, and Liquor Library is here to help you.” The dusk settled into darkness as I smoked a cigarette on the second floor of the parking garage, watching the distant lights of the Strip and the rippling glow of the Sphere. The 108 bus idled at the terminal beneath me, its destination flashing: “PARADISE: EXPECT DELAYS.”

“We know why you came to Las Vegas...” Well, that made one of us. I did not care for “nightlife,” gambling gave me the willies, and I’d already gotten married on a cheap whim once before. But I had never been, and my book was through with edits, and it seemed like an opportunity for a hard personal reset plus some quality material, what others called eavesdropping. Whether or not I would “have fun” was basically beside the point. In writing, unlike in Vegas, the more you lose, the more you win.

Searching for secondhand clarity, I’d started a book on the plane. “In the summer of my nervous breakdown, I went to live in Las Vegas,” begins John Gregory Dunne’s 1974 memoir about his six months in Sin City confronting his recent obsession with death and avoiding his wife and young child. The year is 1969, and Dunne is doing swell on paper: two published books, three-year-old daughter, oceanfront home in Malibu. And yet he exists in a state of panicked dread about his health, his writer’s block, and most of all, his marriage, which is perilously frayed. “I sometimes had the feeling that we went from crisis to crisis like old repertory actors going from town to town,” he writes, “every crisis an opening night with new depths to plumb in the performance.” His wife barely seems to notice when he disappears for days or weeks to drive around the desert loitering in cheap motels. Perhaps this is because she’s just written a novel about the same thing called Play It as It Lays.

After months of languishing, Dunne gives himself an assignment, something to do to take his mind off of himself. “Reporting anesthetizes one’s own problems,” he writes. “There is always someone in deeper emotional drift, or even grift, than you, someone to whom you can ladle out understanding as if it were a charitable contribution.” As for where he will pursue “salvation without commitment,” a random billboard on La Brea serves as inspiration — a picture of a roulette wheel and a message “with a Delphic absence of apostrophe: VISIT LAS VEGAS BEFORE YOUR NUMBERS UP.”

And so he does, moving into a sad apartment off the Strip to watch TV and eat junk food and befriend some local characters who help him write an account of America’s most sordid city, which doubles as a portrait of one man’s personal rock-bottom. The people whom I mention are not his friends, exactly; their relationships are predicated by Dunne’s private knowledge that these eccentrics are grist for the mill. He does not much like Jackie Kasey, a painfully unfunny lounge comic who once opened for Elvis, though he still follows him from casino to casino, taking notes. “I tried not to think how ultimately I would use him,” Dunne writes with a guiltiness that I know all too well, though his shame often feels misplaced for a man who’s run off on his family under the pretense of art.

“What’s new with you?” asks his wife, Joan Didion, when he calls.

“Jackie’s got me a date with a nineteen-year-old tonight,” he says. “She’s supposed to suck me and fuck me.”

“It’s research,” she replies, unfazed. “It’s a type, the girl who’s always available to fuck the comic’s friend. You’re missing the story if you don’t meet her.”

“But I don’t want to fuck her.”

A silence on the other end of the phone. “Well, that can be part of the story, too,” she says after some time.

I checked into my room at the El Cortez, a dingy old casino full of leathery retirees glued to babbling slot machines with Orientalist themes. Far too sober to even briefly consider tossing $40 away at the roulette table, I set off on foot past the drive-through wedding chapel where Britney Spears was married, the 24-hour pawn shop from Pawn Stars, the jailhouse that I recognized from TV’s JAIL. It was too late to turn back by the time it had become clear that the only pedestrians in downtown Las Vegas were tweakers, the homeless, and confused people like myself. I speed-walked down quiet side streets in whose shadows I could sense the occasional moving presence, exhaling when I reached a strip mall where a neon sign above an unmarked door said simply “BAR.”

Open 24 hours a day since the early 1960s, the Huntridge Tavern was a windowless dive bar and package liquor store with video poker screens at almost every barstool and karaoke until 3 a.m. each Tuesday, which it was. Milling through the smoky room were locals of the alternative persuasion: aging punks, Mexican goths, women whose chests heaved from tight pleather corsets. A steampunk fellow in a sleeveless vest and kilt drank directly from a pitcher of amber ale as the karaoke MC gave a lugubrious performance of “Mad World” by Tears for Fears. “Nine dollars,” said the bartender as she slid me a High Life and a full rocks glass of tequila. “Wait, no, I overcharged you. It’s just eight.”

Breaking from his keno game, a 50-something metalhead in a Bret Michaels bandana showed off his permanent eyeliner. “Yeah, that was my midlife crisis,” he said with a shrug, downing the last of his Dos Equis. “Four sessions, 90 minutes each. Hurt like a bitch.” On his phone, he scrolled through pictures of his latest ex-girlfriend. “She’s an ex-Playboy chick,” he gloated. “Hey, I like what I like.”

A pair of older men settled in beside me, wealthy-looking Boomers I initially pegged as perverts, misplaced among the grizzled lifers and polyamorous goths. In fact, they were not creeps but friendly regulars — a longtime local journalist and a prominent restaurateur whose second marriage was to a famous female magician who pioneered the illusion known as the “Drill of Death.” “What are you doing here in Vegas?” the men asked me. “The same thing I do back home,” I said. “Drinking in bars.” They liked this answer enough to pay for my next round.

The journalist shared with me a passage that his friend had written about the tavern. “A few drinks in, I’d talk to anyone — stray cats, my friends called them. A plumber. Coke dealer. A wannabe magician. Their jobs fascinated me; their confessions came easy. One was new in town. One’s card tricks failed more than they succeeded. One turned out to be a raging racist; we sent him packing. Characters with character. Every race, color, creed, gender. My mother always said you can’t judge a book by its cover.”

“Hey girl, you good?” a woman whispered when the men went to the bathroom. “If those guys are bothering you, you can sit with me.” I thanked her for the offer, but she had no need to worry. I did not know how to tell her I was right where I belonged.

by Meaghan Garvey, Scary Cool Sad Goodbye | Read more:
Image: uncredited

A.I. Is Writing Fiction. Publishers Are Unprepared.

For months, speculation has been building online that a buzzy horror novel, “Shy Girl,” was written with the help of A.I.

The novel, about a desperate young woman who is held hostage by a man she met online and forced to live as his pet, was self-published in February 2025. The book quickly found an audience among horror fans, and Hachette published it in the United Kingdom last fall and planned to release it in the United States this spring, billing it as “an unapologetic, visceral revenge horror novel.”

Earlier this year, Max Spero, the founder and chief executive of Pangram, an A.I. detection program, heard of the claims about “Shy Girl” and decided to run a test of the full text. Its results indicated that the book was 78 percent A.I. generated.

“I’m very confident that this is largely A.I. generated, or very heavily A.I. assisted,” said Spero, who posted his research on X in January.

The Times also analyzed passages from the novel using several A.I. detection tools and found recurring patterns characteristic of A.I. generated text, like gaps in logic, excessive use of melodramatic adjectives and an overreliance on the rule of three.

In the months since “Shy Girl” was released in Britain, more readers voiced their suspicions online that the writer relied on A.I., citing nonsensical metaphors and odd, repetitive phrasing. As a chorus of allegations built online in late January that the novel was A.I. generated, Hachette stayed silent.

In response to questions from The New York Times about the A.I. allegations against “Shy Girl,” Hachette told The Times that its imprint Orbit has canceled plans to release the novel in the United States and that Hachette will discontinue its U.K. edition.

The author of “Shy Girl,” Mia Ballard, who according to her author bio writes poetry and lives in Northern California, has very little social media presence, and doesn’t appear to have addressed the allegations of A.I. use on her feeds. In an email to The Times late on Thursday night, Ballard denied using A.I. to write “Shy Girl,” contending that an acquaintance she hired to edit the self-published version of the novel had used A.I.

The decision to cancel the publication came after a lengthy and thorough analysis, Hachette’s spokeswoman said, noting that the company values human creativity and requires authors to attest that their work is original. Hachette also asks its authors to disclose whether they are using A.I. to the company.

“Shy Girl” appears to be the first commercial novel from a major publishing house to be pulled over evidence of A.I. use. Its cancellation is a sign that A.I. writing is not only appearing in cheap self-published e-books that are flooding Amazon but is seeping into even traditionally published fiction.

The stunning fact that “Shy Girl” got so far into the editorial process, and was even released in the U.K. before publishers thoroughly investigated the claims of A.I. use, is a sign of how unprepared many in the book world are to deal with the rise of A.I. It also signals the dawn of an uncertain new era for the book world, as editors and readers alike are increasingly left wondering whether the prose they are reading was written by a human or a machine. [...]

For now, the most obvious disruptions from A.I. are hitting the self-publishing sphere, where authors say the ecosystem has been flooded with A.I. slop. But some in the industry believe that it’s only a matter of time before more books written with A.I. slip past editors at major houses. The technology has become increasingly widespread — as has the practice of picking up self-published books and rereleasing them through traditional imprints.

“It’s not merely inevitable,” said Thad McIlroy, a publishing industry consultant who has urged publishers to clarify their policies around the technology. “We’re in the midst of it.” [...]

Many publishers don’t explicitly prohibit authors from using A.I. in their book contracts. Instead, they rely on longstanding contractual clauses that require writers to affirm that their work is “original,” which many people in the book business now interpret as effectively banning the use of A.I. for text or image creation.

Publishers are also wary of A.I. content because currently, A.I.-generated text and art can’t be protected by copyright. Still, given the widespread uses for A.I. during research, outlining and other parts of the writing process, there’s little clarity on what constitutes its appropriate use. Many in the industry worry that publishers are leaving themselves vulnerable to scammers — or even writers who believe their A.I. use doesn’t cross any lines.

One problem in regulating authors’ A.I. use is that most corporate publishing houses don’t want to ban it outright. Editors recognize that authors use A.I. in a range of ways short of writing with it. And publishing executives want to ensure that their employees can use the technology for tasks like creating marketing copy, audio narration and translation.

The fact that publishing companies generally haven’t drawn a hard line around A.I. use is sowing confusion about what is permissible. Could a novelist ask A.I. to suggest plot twists, propose an alternate ending or polish a draft and still claim it as original work? At what point does the work stop being human?

by Alexandra Alter, NY Times | Read more:
Image: George Wylesol
[ed. I guess I'm of two minds on this. If the writing eventually becomes so good that it's indiscernable from a human-produced product (or even better) why should it be banned? And, why wouldn't you want to read it? Authors and publishing houses have a right to be concerned, but why should they be treated any differently from other professions (programmers being an example) facing the same threat? Because they occupy a so-called creative space? How long will that last? I can imagine an AI producing very high quality material: fiction, non-fiction, screenplays, poetry, advertising copy, etc. because it can draw upon hundreds of years of examples, criticism, reviews, college courses, awards and whatever else is out there to discern patterns, storylines, jokes, whatever, that have proven to produce the highest impact and success. So what to do? The only thing I can think of is labeling: highlighting what's AI produced and what's not and letting the market decide its worth. Many people might actually prefer AI - along the lines of craft brews vs. Bud Light. Who knows? Another option would involve updating copyright laws, but that would require Congress to actually do something, which as we all know is pretty much a non-starter. Just another example of all the disruption that's been predicted now occurring in real time.]

Monty Python: Summarizing Proust Game Show

[ed. "Well, there you go, he must have let himself down a bit on the hobbies... golf's not very popular around here." Ha! See also: Literature: Marcel Proust's 'A la recherche du temps Perdu' (In search of Lost Time); and Marcel Proust documentary (YT).]

Verdict: Yes, You Should Go See Project Hail Mary As Soon As Possible

First, in the plainest language, before we get to anything else, Project Hail Mary is a fantastic film. It does right by its source material, and it also easily stands on its own for folks who haven’t read the book. It comes out on March 20, and if you’re a regular Ars Technica reader, you will almost certainly enjoy the crap out of it. Go see it as soon as you can, and see it in a theater where the big visuals will have the most impact.

Next, a word about what “spoiler-free” means here: In this short review, I’ll talk about stuff that happens in the movie’s many, many trailers. If you’re an ultra-purist who is both interested in this film and who has also somehow avoided reading the book and also seeing any of the trailers, bail out now.

Otherwise, read on!

It’s a buddy movie

PHM is, first and foremost, a movie about a schoolteacher who becomes friends with an alien and the joy of that relationship. And because the film is based on an Andy Weir novel, there’s also some problem-solving with science.

What problems? A pretty major one dominates: As we learned back in the first trailer, the Earth’s sun is mysteriously dying, and no one knows why. An assay of our nearby stellar neighbors reveals that those stars all appear to be dying as well—all except for one, Tau Ceti, located just under a dozen light-years away. Why is Tau Ceti seemingly being spared by whatever force is causing the other stars to dim? In what quickly becomes a common refrain, no one knows.

The solution, as presented to us by a mysterious government representative named Eva Stratt (Sandra Hüller), is to build an interstellar craft, accelerate it to near the speed of light, and visit Tau Ceti to find out what’s going on. It’s a long-shot mission—a “Hail Mary,” as she puts it.

But why do they send Ryland Grace (Ryan Gosling), a middle-school teacher with no immediately apparent qualifications? Why not send a crew of trained astronauts, or top scientists, or both? These questions are eventually addressed—but before they are, poor Grace finds himself stuck at Tau Ceti and plunging headlong into something no one was prepared for: first contact.

Hey, yo, Rocky

Since the trailers go there, we can go there: Grace quickly discovers he’s not Tau Ceti’s only visitor. Another ship, much larger and obviously alien, is already present—seemingly for the same reason. And aboard that ship is Rocky, an extraterrestrial whose design breaks hard from traditional Trek-style humanoids with bumpy foreheads.

Brilliantly realized almost entirely through practical puppetry, Rocky is everything one could ask for in a space-going science friend: he’s inquisitive, he’s funny, and most important of all, he’s friendly. Grace and Rocky quickly work out a shared vocabulary and get down to the business at hand of saving both species’ stars from destruction.

It’s important at this point to say that although Project Hail Mary shares a considerable amount of heritage with 2015’s The Martian—both are based on novels by Andy Weir, both celebrate engineering as a discipline, and both were adapted for the screen by Drew Goddard—this film is very much not The Martian II, in tone or content. This is, above all else, a buddy movie.

It’s also a relatively long buddy movie, coming in at two hours and 46 minutes—but it doesn’t feel nearly that long. The film has a lot of establishing work to do, and it gets that work out of the way quickly; we run into Rocky about 40 minutes in, and from that point on, the Grace and Rocky show is in full effect.

by Lee Hutchinson, Ars Technica |  Read more:

Image: Amazon MGM Studios

[ed. Oh man, can't wait. I may have to read the book again just to get ready.]

The Real Story Behind ‘Zen and the Art of Motorcycle Maintenance’

A Korean War veteran is floundering. His career is an endless bumpy road, and includes work as a teacher, a technical writer for Honeywell, and even a Nevada casino employee. But our ambitious vet also studies philosophy at the Banaras Hindu University in India—and starts to develop his own philosophy of life, an unconventional merging of Eastern and Western currents.

Then comes a mental breakdown that sends him to a psychiatric hospital. Here he undergoes repeated electroshock therapy. He finally emerges a changed person.

But maybe he changed too much—he can hardly remember the person he once was. It’s almost as if his life got cleaved in two at this juncture. His wife leaves him. He holds on to his relationship with his son—but that ends tragically with the son’s murder in San Francisco at age 22.

While working for Honeywell, our aspiring philosopher stays awake from 2 AM to 6 AM in a small apartment above a shoe store in Minneapolis. Here he writes a novel destined to become one of the defining books of the era. But he has to pitch it to 121 editors before he gets a contract and a $3,000 advance.

The editor, J.D. Landis, admitted that he only accepted the novel because this “book forced him to decide what he was in publishing for.” But the author, he insisted, shouldn’t expect to make more than his tiny advance. Then Landis added: “Money isn’t the point with a book like this.”

That’s the story of how Robert Pirsig published of Zen and the Art of Motorcycle Maintenance. But the editor was wrong. The book sold 5 million copies, and for a spell in the 1970s you would see copies everywhere, even in the hands of people who didn’t read novels.

And that was just the start. Robert Redford tried to buy movie rights, but the author said no. Highbrow literary critic George Steiner compared Pirsig to Dostoevsky—which is especially meaningful when you know that Steiner wrote a book on Dostoevsky. The Smithsonian acquired the titular motorcycle for its permanent collection.

The book is simple enough to describe. It tells the story of a 17-day motorcycle trip from Minnesota to California. Along the way, the narrator tries to figure out many things—but especially his own past before his life split in two.

At one point in the novel, Pirsig writes:

“Before the electrodes were attached to his head he’d lost everything tangible: money, property, children; even his rights as a citizen had been taken away from him by order of the court….I will never know all that was in his head at that time, nor will anyone else. What’s left now is just fragments: debris, scattered notes, which can be pieced together but which leave huge areas unexplained.”

The electroshock treatment was done without Pirsig’s consent. That would be illegal nowadays.

In the aftermath, Pirsig felt so disconnected from his past that he included his pre-treatment self as a separate character in the novel. He calls that abandoned part of himself Phaedrus, a name drawn from Plato’s dialogues.

So you can read Zen and the Art of Motorcycle Maintenance as a dialogue between a man and his past self. Or you can treat it as a travel story or as a philosophical discussion (what Pirsig describes as a chautauqua, a name drawn from a populist adult education movement of the late 1800s). And, yes, it’s also a guide to motorcycle maintenance.

The text actually moves back and forth between all of these. Few novels pay less attention to the rules of fiction than Zen and the Art of Motorcycle Maintenance. For that reason, it just might be the strangest travel book ever written—because most of the journey happens inside the narrator’s head.

But maybe that’s part of the story too. Pirsig worked as a college writing teacher, and was frustrated by the rules he was expected to impart to his students. He felt that good writing was indefinable. It violated accepted rules, and created its own. The whole process was mysterious.

Solving that mystery of Quality—also called goodness, excellence, or worth—is the main theme of the novel. Indeed, it’s the overarching theme of Pirsig’s entire life’s work. He wrote one more novel after Zen and the Art of Motorcycle Maintenance, the seldom read Lila, and it continues the discussion on quality. And the same topic takes center stage in the posthumous collection of writings published under the title On Quality: An Inquiry into Excellence. [...]

But let’s be honest: Pirsig was a better mystic than philosopher, and the deeper Pirsig digs into his personal notion of Quality, the more interesting—and metaphysical—his thinking becomes. Quality, he insists, can never be defined. He eventually embraces it as a kind of Tao, a force underlying all our experiences—hence resisting empirical analysis. He is now leaving philosophy behind, and perhaps for the better.

So he eventually aligns himself with a profound idea drawn from the ancient Greeks—but not the philosophers. Instead he goes back to the Homeric mythos, five hundred years older than rational philosophy, and discoveres the source of his Quality in the Greek concept of aretḗ, or excellence (sometimes translated as virtue). Aretḗ, Pirsig believes, is more powerful than Aristotelian logic, and closer in spirit to the Hindu dharma.

He quotes a passage from classicist H.D.F. Kitto, which I want to share in its entirety—not only because it is essential to Pirsig’s worldview, but because it’s invaluable to us today. Many are struggling to understand a place for humans in a world of AI and super-smart machines. From a purely rational perspective, the robots can beat us in terms of data generation and analysis. But in a world of aretḗ (or Quality), they fall far short.

This is where Pirsig earns my admiration and loyalty. Some things really are more powerful than logic.

Back in 1952 Kitto anticipated Zen and the Art of Motorcycle Maintenance—and provided the missing piece to Pirsig’s worldview—when he wrote:

[If aretḗ refers to a person] it will connote excellence in the ways in which a man can be excellent—morally, intellectually, physically, practically. Thus the hero of the Odyssey is a great fighter, a wily schemer, a ready speaker, a man of stout heart and broad wisdom who knows that he must endure without too much complaining what the gods send; and he can both build and sail a boat, drive a furrow as straight as anyone, beat a young braggart at throwing the discus, challenge the Phaeacian youth at boxing, wrestling or running; flay, skin, cut up and cook an ox, and be moved to tears by a song. He is in fact an excellent all-rounder; he has surpassing arête.

Aretḗ implies a respect for the wholeness or oneness of life, and a consequent dislike of specialization. It implies a contempt for efficiency...or rather a much higher idea of efficiency, an efficiency which exists not in one department of life but in life itself.

We are now at the heart of Zen and the Art of Motorcycle Maintenance. If you read Kitto, you are already prepared for Pirsig—maybe you can even skip the novel. But, much better, you have a game plan for living a human life in the face of encroaching machines.

Pirsig understood this more than fifty years ago. He saw that we made a Faustian bargain when we put rationality ahead of the Good, and data ahead of human excellence. He grasped that science should be subservient to human needs, not the other way around. And the price we’re paying now is much higher than it was back then.

In an extraordinary passage, the narrator of Pirsig’s novel picks up a copy the Tao Te Ching, and recites it aloud—but substituting the word Quality for Tao. This is strange and unprecedented, but hits at the heart of this mystic work from the fourth century BC:

The quality that can be defined is not the Absolute Quality….
The names that can be given it are not Absolute names.
It is the origin of heaven and earth.
When named it is the mother of all things….

He declares: “Quality is the Buddha. Quality is scientific reality. Quality is the goal of Art.”

I worked with many quality control engineers in the business world and often walked with them on the factory floor. I’m sure they would be shocked by Pirsig’s statement that “Quality is the Buddha.” But that’s exactly the kind of journey we’re on in this book.

by Ted Gioia, The Honest Broker |  Read more:

Image: Heritage Preservation Department - MNHS; uncredited book cover

Why Libraries Don't Stock Many Audiobooks

Have you ever wondered …

Why can’t my library get more copies of e-books and digital audiobooks?

You’re not alone! And there are a couple of reasons you might find yourself on a long wait list for e-content:

• Most materials are licensed, not owned by the library like print books are, and publishers put limits on how long and/or how often the content can be used. Once the limit is reached, the library must re-purchase the license if we want to keep offering the e-content to our community. 
• At the same time, e-books and digital audiobooks cost libraries more than print copies and more than what consumers would pay to purchase them commercially.

Here’s a real-time example:

How can you help?

• If you finish with e-content early, please return it so the next person can jump off the waiting list and into the book! Just go to Manage Loan and select Return Early in the Libby App.
• And keep borrowing e-content from your library! The numbers help us advocate for funding.

by Hawaii State Library Association 

[ed. Would it hurt publishers or whoever's collecting these licensing fees to be a little more civic-minded by providing complimentary copies to libraries? (or at least getting rid of repurchasing requirements?) Guess so.]

It's Not Normal

Samantha: This town has a weird smell that you're all probably used to…but I'm not.
Mrs Krabappel: It'll take you about six weeks, dear. 

-The Simpsons, "Bart's Friend Falls in Love," S3E23, May 7, 1992

We are living through weird times, and they've persisted for so long that you probably don't even notice it. But these times are not normal.

Now, I realize that this covers a lot of ground, and without detracting from all the other ways in which the world is weird and bad, I want to focus on one specific and pervasive and awful way in which this world is not normal, in part because this abnormality has a defined cause, a precise start date, and an obvious, actionable remedy.

6 years, 5 months and 22 days after Fox aired "Bart's Friend Falls in Love," Bill Clinton signed a new bill into law: the Digital Millennium Copyright Act of 1998 (DMCA).

Under Section 1201 of the DMCA, it's a felony to modify your own property in ways that the manufacturer disapproves of, even if your modifications accomplish some totally innocuous, legal, and socially beneficial goal. Not a little felony, either: DMCA 1201 provides for a five year sentence and a $500,000 fine for a first offense.

Back when the DMCA was being debated, its proponents insisted that their critics were overreacting. They pointed to the legal barriers to invoking DMCA 1201, and insisted that these new restrictions would only apply to a few marginal products in narrow ways that the average person would never even notice.

But that was obvious nonsense, obvious even in 1998, and far more obvious today, more than a quarter-century on. In order for a manufacturer to criminalize modifications to your own property, they have to satisfy two criteria: first, they must sell you a device with a computer in it; and second, they must design that computer with an "access control" that you have to work around in order to make a modification.

For example, say your toaster requires that you scan your bread before it will toast it, to make sure that you're only using a special, expensive kind of bread that kicks back a royalty to the manufacturer. If the embedded computer that does the scanning ships from the factory with a program that is supposed to prevent you from turning off the scanning step, then it is a felony to modify your toaster to work with "unauthorized bread":

If this sounds outlandish, then a) You definitely didn't walk the floor at CES last week, where there were a zillion "cooking robots" that required proprietary feedstock; and b) You haven't really thought hard about your iPhone (which will not allow you to install software of your choosing):

But back in 1998, computers – even the kind of low-powered computers that you'd embed in an appliance – were expensive and relatively rare. No longer! Today, manufacturers source powerful "System on a Chip" (SoC) processors at prices ranging from $0.25 to $8. These are full-fledged computers, easily capable of running an "access control" that satisfies DMCA 1201.

Likewise, in 1998, "access controls" (also called "DRM," "technical protection measures," etc) were a rarity in the field. That was because computer scientists broadly viewed these measures as useless. A determined adversary could always find a way around an access control, and they could package up that break as a software tool and costlessly, instantaneously distribute it over the internet to everyone in the world who wanted to do something that an access control impeded. Access controls were a stupid waste of engineering resources and a source of needless complexity and brittleness:

But – as critics pointed out in 1998 – chips were obviously going to get much cheaper, and if the US Congress made it a felony to bypass an access control, then every kind of manufacturer would be tempted to add some cheap SoCs to their products so they could add access controls and thereby felonize any uses of their products that cut into their profits. Basically, the DMCA offered manufacturers a bargain: add a dollar or two to the bill of materials for your product, and in return, the US government will imprison any competitors who offer your customers a "complementary good" that improves on it.

It's even worse than this: another thing that was obvious in 1998 was that once a manufacturer added a chip to a device, they would probably also figure out a way to connect it to the internet. Once that device is connected to the internet, the manufacturer can push software updates to it at will, which will be installed without user intervention. What's more, by using an access control in connection with that over-the-air update mechanism, the manufacturer can make it a felony to block its updates.

Which means that a manufacturer can sell you a device and then mandatorily update it at a later date to take away its functionality, and then sell that functionality back to you as a "subscription":

A thing that keeps happening:

And happening:

And happening:

In fact, it happens so often I've coined a term for it, "The Darth Vader MBA" (as in, "I'm altering the deal. Pray I don't alter it any further"):

Here's what this all means: any manufacturer who devotes a small amount of engineering work and incurs a small hardware expense can extinguish private property rights altogether.

What do I mean by private property? Well, we can look to Blackstone's 1753 treatise:

The right of property; or that sole and despotic dominion which one man claims and exercises over the external things of the world, in total exclusion of the right of any other individual in the universe.

You can't own your iPhone. If you take your iPhone to Apple and they tell you that it is beyond repair, you have to throw it away. If the repair your phone needs involves "parts pairing" (where a new part won't be recognized until an Apple technician "initializes" it through a DMCA-protected access control), then it's a felony to get that phone fixed somewhere else. If Apple tells you your phone is no longer supported because they've updated their OS, then it's a felony to wipe the phone and put a different OS on it (because installing a new OS involves bypassing an "access control" in the phone's bootloader). If Apple tells you that you can't have a piece of software – like ICE Block, an app that warns you if there are nearby ICE killers who might shoot you in the head through your windshield, which Apple has barred from its App Store on the grounds that ICE is a "protected class" – then you can't install it, because installing software that isn't delivered via the App Store involves bypassing an "access control" that checks software to ensure that it's authorized (just like the toaster with its unauthorized bread).

It's not just iPhones: versions of this play out in your medical implants (hearing aid, insulin pump, etc); appliances (stoves, fridges, washing machines); cars and ebikes; set-top boxes and game consoles; ebooks and streaming videos; small appliances (toothbrushes, TVs, speakers), and more.

Increasingly, things that you actually own are the exception, not the rule.

And this is not normal. The end of ownership represents an overturn of a foundation of modern civilization. The fact that the only "people" who can truly own something are the transhuman, immortal colony organisms we call "Limited Liability Corporations" is an absolutely surreal reversal of the normal order of things.

It's a reversal with deep implications: for one thing, it means that you can't protect yourself from raids on your private data or ready cash by adding privacy blockers to your device, which would make it impossible for airlines or ecommerce sites to guess about how rich/desperate you are before quoting you a "personalized price":

It also means you can't stop your device from leaking information about your movements, or even your conversations – Microsoft has announced that it will gather all of your private communications and ship them to its servers for use by "agentic AI": (...)

Microsoft has also confirmed that it provides US authorities with warrantless, secret access to your data:

This is deeply abnormal. Sure, greedy corporate control freaks weren't invented in the 21st century, but the laws that let those sociopaths put you in prison for failing to arrange your affairs to their benefit – and your own detriment – are.

But because computers got faster and cheaper over decades, the end of ownership has had an incremental rollout, and we've barely noticed that it's happened. Sure, we get irritated when our garage-door opener suddenly requires us to look at seven ads every time we use the app that makes it open or close:

But societally, we haven't connected that incident to this wider phenomenon. It stinks here, but we're all used to it.

It's not normal to buy a book and then not be able to lend it, sell it, or give it away. Lending, selling and giving away books is older than copyright. It's older than publishing. It's older than printing. It's older than paper. It is fucking weird (and also terrible) (obviously) that there's a new kind of very popular book that you can go to prison for lending, selling or giving away.

We're just a few cycles away from a pair of shoes that can figure out which shoelaces you're using, or a dishwasher that can block you from using third-party dishes:

It's not normal, and it has profound implications for our security, our privacy, and our society. It makes us easy pickings for corporate vampires who drain our wallets through the gadgets and tools we rely on. It makes us easy pickings for fascists and authoritarians who ally themselves with corporate vampires by promising them tax breaks in exchange for collusion in the destruction of a free society.

I know that these problems are more important than whether or not we think this is normal. But still. It. Is. Just. Not. Normal.

by Cory Doctorow, Pluralistic |  Read more:

Image: uncredited

[ed. Anything labeled 'smart' is usually suspect. What's particularly dangerous is if successive generations fall prey to what conservation biology calls shifting baseline syndrome (forgetting or never really missing something that's been lost, so we don't grieve or fight to restore it). For a deep dive into why everything keeps getting worse see Mr. Doctorow's new book: Enshittification: Why Everything Suddenly Got Worse and What to Do About It," Farrar, Straus, Giroux, October 7 2025.]

What Makes a Novel "Good"?

Why People on Substack Lost their Minds When Someone Said: "Don't Read All the Classics"

On Substack, people will tear you a new one if you dare to neg cherished classics like James Joyce’s Ulysses. When I wrote a post last year criticizing Ulysses, I definitely caught some internet side eye. But the judgment didn’t even come close to the comments on Karen Rodriguez’ post “The 40 Famous Classics You’re Allowed to Skip (And Why Everyone Secretly Agrees).” The comments were so mean I physically flinched reading them...

My favorite section of her list is the “Literally Unreadable (But People Pretend)” category, which includes Ulysses (Joyce), In Search of Lost Time (Proust), and Finnegans Wake (Joyce), which Karen describes as “unreadable even for Joyce scholars.”

I don’t come from the academic literature world, I’m a lawyer-turned-novelist and all I care about from a reader’s perspective is that books are both 1) entertaining and 2) moving. There’s so many books that people praise lavishly but that I find fail that basic criteria, including Ulysses.

So why the hell is everyone losing their mind over this? Like is Joyce your god? Why is criticizing these books, these authors, such a cardinal sin?

I think I finally figured out why. And it has to do what people value in their books. There’s actually a whole debate in literary criticism concerning what fiction is supposed to do for humanity and what makes a novel good.

I happen to fall in with the group that doesn’t particularly appreciate Joyce. But there’s camps out there that die for modernist novels (like Ulysses) and experimental post-modern writing (like Pynchon’s work). I don’t agree with them, but it was helpful to understand what those readers value in those works.

Here’s what I learned:

Realism vs. Everything Else

The big debate in literary fiction boils down to this: should novels try to represent life as it actually is, or should they do something else entirely?

Realism is what most of us think of as “normal” fiction. It’s Alice Munro, Marilynne Robinson, Jhumpa Lahiri. Characters feel like real people with believable psychology. The prose is clear and doesn’t call attention to itself. No one discovers they’re secretly royalty or gets abducted by aliens. It’s just life, rendered carefully on the page.

But here’s what makes realism click for me: it’s defined more by what it’s NOT than what it is.

Realism is not romance with impossible coincidences. It’s not allegory where characters represent abstract concepts. It’s not metafiction that constantly reminds you you’re reading a book. It’s not heavily plotted melodrama where orphans conveniently turn out to be related to their benefactors. And it’s not highly stylized or poetic prose where every sentence is gorgeously metaphorical. (...)

Before realism became dominant in the mid-1800s (think Flaubert, George Eliot, Tolstoy), novels were full of improbable adventures, clear moral lessons, and coincidence-heavy plots. Realism said: what if we just showed ordinary people dealing with ordinary disappointments? What if we went deep into their psychology instead of hitting them with dramatic plot twists?

Then Modernism Said “Not So Fast”

By the early 1900s, some writers thought realism was insufficient. Virginia Woolf, James Joyce, William Faulkner broke with realistic conventions, but not because they didn’t care about truth. They thought traditional realism couldn’t capture modern consciousness.

Modernism’s insight: Reality is fragmented and chaotic, especially after World War I shattered Victorian certainties. Modernist authors used stream of consciousness, fractured timelines, and difficult prose to represent how minds actually work and how reality actually feels...

The questions pile up without clear answers, thoughts interrupt themselves—this is trying to show consciousness as it actually moves, not tidied up for the reader.

The key difference from realism: Modernists believed meaning still existed, but you needed new forms to access it. Joyce’s Ulysses is notoriously difficult, but according to the internet (I don’t know, I haven’t read past page six), the novel is ultimately trying to demonstrate the truth of a day in Dublin in 1904. The experiments serve a purpose.

The problem, for me, is that the experiments can make the writing very un-fun to read.

Then Postmodernism Said “There Is No Truth”

Postmodernism (think Thomas Pynchon, John Barth, Donald Barthelme) takes fragmentation and makes it playful. These writers are skeptical that fiction can reveal any stable truth at all. So they write metafiction that constantly breaks the fourth wall, mixes high and low culture, and treats meaning itself as a game.

Here’s an excerpt from Donald Barthelme’s “The School.”

One day, we had a discussion in class. They asked me, where did they go? The trees, the salamander, the tropical fish, Edgar, the poppas and mommas, Matthew and Tony, where did they go? And I said, I don’t know, I don’t know. And they said, who knows? and I said, nobody knows. And they said, is death that which gives meaning to life? and I said, no, life is that which gives meaning to life. Then they said, but isn’t death, considered as a fundamental datum, the means by which the taken-for-granted mundanity of the everyday may be transcended in the direction of—I said, yes, maybe.

What’s interesting is that school kids wouldn’t, they couldn’t, be making the observation that death is “a fundamental datum, the means by which...everyday may be transcended in the direction...” because of their age and life experience. So if it’s not the children’s “voice” saying this in the story, it must be the narrator, or maybe even the writer. Barthelme is winking at us, breaking character (the fourth wall), reminding us that this story is all made up. It’s clever but keeps us at arm’s length emotionally.

When you read postmodern fiction, it often feels like writers writing for other writers—it’s inside jokes about literary conventions rather than stories that move you emotionally. That’s intentional. Postmodernists think the search for emotional truth through fiction is naive. Better to be playfully ironic about the whole enterprise.

This is why I sometimes find postmodernism so boring. (I actually like Barthelme’s short story “The Baby” which is harrowing.) But who reads Gravity’s Rainbow (Pynchon) for pleasure besides academics who need to write dissertations about it?

Why This Actually Matters For Writers (and Readers)

Understanding these camps helped me see what choices I’m making in writing my novel—and how certain readers or critics might respond to those choices.

If I write a straightforward story with believable characters and clear prose, I’m in the realist tradition. If I experiment with fragmented timelines or stream of consciousness, I’m borrowing modernist techniques. If I get cute and self-referential, I’m flirting with postmodernism.

None of these are “right” or “wrong,” but they come with trade-offs. Realism connects emotionally but can feel conventional. Modernist techniques can capture complex consciousness but risk alienating readers. Postmodern playfulness might be intellectually interesting but often sacrifices what fiction does best: making us care about people who don’t exist.

These days the fiction world is pretty eclectic. There’s typical realism (Alice Munro), realism with fantastical elements (Kelly Link), experimentalism with emotional sincerity (David Foster Wallace apparently tried to split this difference), and everything in between.

My take after this deep dive: Fiction’s unique power is making us feel what it’s like to be someone else. When technique serves that purpose—whether it’s Alice Munro’s precision or Faulkner’s stream of consciousness—great. When technique becomes the point itself, I lose interest.

by Noor Rahman, Write on Track |  Read more:

Image: via

[ed. More examples in the full essay. I can't read Joyce, even (and especially) because of his prose (except for Portrait of the Artist). Same with Proust, but for different reasons - his prose is beautiful but buried beneath the endless minutia of social manners and French society, eventually becoming unbearable (In Search of Lost Time).]

The Day NY Publishing Lost Its Soul; Fifty People Control the Culture

Everybody can see there’s a crisis in New York publishing. Even the hot new books feel lukewarm. Writers win the Pulitzer Prize and sell just few hundred copies. The big publishers rely on 50 or 100 proven authors—everything else is just window dressing or the back catalog.

You can tell how stagnant things have become from the lookalike covers. I walk into a bookstore and every title I see is like this.

They must have fired the design team and replaced it with a lazy bot. You get big fonts, random shapes, and garish colors—again and again and again. Every cover looks like it was made with a circus clown’s makeup kit.

My wife is in a book club. If I didn’t know better, I’d think they read the same book every month. It’s those same goofy colors and shapes on every one.

Of course, you can’t judge a book by its cover. But if you read enough new releases, you get the same sense of familiarity from the stories. The publishers keep returning to proven formulas—which they keep flogging long after they’ve stopped working.

And that was a long time ago.

It’s not just publishing. A similar stagnancy has settled in at the big movie studios and record labels. Nobody wants to take a risk—but (as I’ve learned through painful personal experience) that’s often the riskiest move of them all. Live by the formula, and you die by the formula.

It’s not just publishing. A similar stagnancy has settled in at the big movie studios and record labels. Nobody wants to take a risk—but (as I’ve learned through painful personal experience) that’s often the riskiest move of them all. Live by the formula, and you die by the formula.

How did we end up here?

It’s hard to pick a day when the publishing industry made its deal with the devil. But an anecdote recently shared by Steve Wasserman is as good a place to begin as any.

by Ted Gioia, Honest Broker | Read more:

Image: uncredited

[ed. I'll never buy a book that looks like this, no matter what the reviews say. I'd be embarrassed to be seen in public with it, let alone display it on my bookshelf. See also: Fifty People Control the Culture (HB).]

Stable Strategies For Middle Management

STABLE STRATEGIES FOR MIDDLE MANAGEMENT 

Our cousin the insect has an external skeleton made of shiny brown chitin, a material that is particularly responsive to the demands of evolution. Just as bioengineering has sculpted our bodies into new forms, so evolution has shaped the early insect's chewing mouthparts into her descendants' chisels, siphons, and stilettos, and has molded from the chitin special tools - pockets to carry pollen, combs to clean her compound eyes, notches on which she can fiddle a song.    

- From the popular science program, Insect People!

I awoke this morning to discover that bioengineering had made demands upon me during the night. My tongue had turned into a stiletto, and my left hand now contained a small chitinous comb, as if for cleaning a compound eye. Since I didn't have compound eyes, I thought that perhaps this presaged some change to come. 

I dragged myself out of bed, wondering how I was going to drink my coffee through a stiletto. Was I now expected to kill my breakfast, and dispense with coffee entirely? I hoped I was not evolving into a creature whose survival depended on early-morning alertness. My circadian rhythms would no doubt keep pace with any physical changes, but my unevolved soul was repulsed at the thought of my waking cheerfully at dawn, ravenous for some wriggly little creature that had arisen even earlier. 

I looked down at Greg, still asleep, the edge of our red and white quilt pulled up under his chin. His mouth had changed during the night too, and seemed to contain some sort of a long probe. Were we growing apart? 

I reached down with my unchanged hand and touched his hair. It was still shiny brown, soft and thick, luxurious. But along his cheek, under his beard, I could feel patches of sclerotin, as the flexible chitin in his skin was slowly hardening to an impermeable armor. 

He opened his eyes, staring blearily forward without moving his head. I could see him move his mouth cautiously, examining its internal changes. He turned his head and looked up at me, rubbing his hair slightly into my hand. 

"Time to get up?" he asked. I nodded. "Oh, God," he said. He said this every morning. It was like a prayer. 

"I'll make coffee," I said. "Do you want some?" 

He shook his head slowly. "Just a glass of apricot nectar," he said. He unrolled his long, rough tongue and looked at it, slightly cross-eyed. "This is real interesting, but it wasn't in the catalog. I'll be sipping lunch from flowers pretty soon. That ought to draw a second glance at Duke's." 

"I thought account execs were expected to sip their lunches,"I said. 

"Not from the flower arrangements..." he said, still exploring the odd shape of his mouth. Then he looked up at me and reached up from under the covers. "Come here." 

It had been a while, I thought, and I had to get to work. But he did smell terribly attractive. Perhaps he was developing aphrodisiac scent glands. I climbed back under the covers and stretched my body against his.We were both developing chitinous knobs and odd lumps that made this less than comfortable. "How am I supposed to kiss you with a stiletto in my mouth?" I asked. 

"There are other things to do. New equipment presents new possibilities." He pushed the covers back and ran his unchanged hands down my body from shoulder to thigh. "Let me know if my tongue is too rough." It was not.

Fuzzy-minded, I got out of bed for the second time and drifted into the kitchen.

Measuring the coffee into the grinder, I realized that I was no longer interested in drinking it, although it was diverting for a moment to spear the beans with my stiletto. What was the damn thing for, anyhow? I wasn't sure I wanted to find out. 

Putting the grinder aside, I poured a can of apricot nectar into a tulip glass. Shallow glasses were going to be a problem for Greg in the future, I thought. Not to mention solid food. 

My particular problem, however, if I could figure out what I was supposed to eat for breakfast, was getting to the office in time for my ten A.M. meeting. Maybe I'd just skip breakfast. I dressed quickly and dashed out the door before Greg was even out of bed.

Thirty minutes later, I was more or less awake and sitting in the small conference room with the new marketing manager, listening to him lay out his plan for the Model 2000 launch. In signing up for his bioengineering program, Harry had chosen specialized primate adaptation, B-E Option No. 4. He had evolved into a textbook example: small and long-limbed, with forward-facing eyes for judging distances and long, grasping fingers to keep him from falling out of his tree. 

He was dressed for success in a pin-striped three-piece suit that fit his simian proportions perfectly. I wondered what premium he paid for custom-made. Or did he patronize a ready-to-wear shop that catered especially to primates? 

I listened as he leaped agilely from one ridiculous marketing premise to the next. Trying to borrow credibility from mathematics and engineering, he used wildly metaphoric bizspeak, "factoring in the need for pipeline throughout," "fine-tuning the media mix," without even cracking a smile. 

Harry had been with the company only a few months, straight from business school. He saw himself as a much-needed infusion of talent. I didn't like him, but I envied his ability to root through his subconscious and toss out one half-formed idea after another. I know he felt it reflected badly on me that I didn't join in and spew forth a random selection of promotional suggestions. 

I didn't think much of his marketing plan. The advertising section was a textbook application of theory with no practical basis. I had two options: I could force him to accept a solution that would work, or I could yes him to death, making sure everybody understood it was his idea. I knew which path I'd take. 

"Yeah, we can do that for you," I told him. "No problem." We'd see which of us would survive and which was hurtling to an evolutionary dead end. 

Although Harry had won his point, he continued to belabor it. My attention wandered I'd heard it all before. His voice was the hum of an air conditioner, a familiar, easily ignored background noise. I drowsed and new emotions stirred in me, yearnings to float through moist air currents, to land on bright surfaces, to engorge myself with warm, wet food.

Adrift in insect dreams, I became sharply aware of the bare skin of Harry's arm, between his gold-plated watchband and his rolled-up sleeve, as he manipulated papers on the conference room table. He smelled greasily delicious, like a pepperoni pizza or a charcoal-broiled hamburger. I realized he probably wouldn't taste as good as he smelled but I was hungry. My stiletto-like tongue was there for a purpose, and it wasn't to skewer cubes of tofu. I leaned over his arm and braced myself against the back of his hand, probing with my styles to find a capillary. 

Harry noticed what I was doing and swatted me sharply on the side of the head. I pulled away before he could hit me again. "We were discussing the Model 200o launch. Or have you forgotten?" he said, rubbing his arm. 

"Sorry. I skipped breakfast this morning." 

I was embarrassed. "Well, get your hormones adjusted, for chrissake." He was annoyed, and I couldn't really blame him. "Let's get back to the media allocation issue, if you can keep your mind on it. I've got another meeting at eleven in Building Two.

"Inappropriate feeding behavior was not unusual in the company, and corporate etiquette sometimes allowed minor lapses to pass without pursuit. Of course, I could no longer hope that he would support me on moving some money out of the direct-mail budget...

by Eileen Gunn, Norton Book of Science Fiction |  Read more (pdf):

[ed. A pioneer in science fiction.]

You're Ugly, Too

You had to get out of them occasionally, those Illinois towns with the funny names: Paris, Oblong, Normal. Once, when the Dow Jones dipped two hundred points, a local paper boasted the banner headline “NORMAL MAN MARRIES OBLONG WOMAN.” They knew what was important. They did! But you had to get out once in a while, even if it was just across the border to Terre Haute for a movie.

Outside of Paris, in the middle of a large field, was a scatter of brick buildings, a small liberal-arts college by the improbable name of Hilldale-Versailles. Zoe Hendricks had been teaching American history there for three years. She taught “The Revolution and Beyond” to freshmen and sophomores, and every third semester she had the senior seminar for majors, and although her student evaluations had been slipping in the last year and a half —Professor Hendricks is often late for class and usually arrives with a cup of hot chocolate, which she offers the class sips of—generally the department of nine men was pleased to have her. They felt she added some needed feminine touch to the corridors—that faint trace of Obsession and sweat, the light, fast clicking of heels. Plus they had had a sex-discrimination suit, and the dean had said, well, it was time.

The situation was not easy for her, they knew. Once, at the start of last semester, she had skipped into her lecture hall singing “Getting to Know You”—all of it. At the request of the dean, the chairman had called her into his office, but did not ask her for an explanation, not really. He asked her how she was and then smiled in an avuncular way. She said, “Fine,” and he studied the way she said it, her front teeth catching on the inside of her lower lip. She was almost pretty, but her face showed the strain and ambition of always having been close but not quite. There was too much effort with the eyeliner, and her earrings, worn, no doubt, for the drama her features lacked, were a little frightening, jutting out the sides of her head like antennae.

“I’m going out of my mind,” said Zoe to her younger sister, Evan, in Manhattan. Professor Hendricks seems to know the entire soundtrack to “The King and I.” Is this history? Zoe phoned her every Tuesday.

“You always say that,” said Evan, “but then you go on your trips and vacations and then you settle back into things and then you’re quiet for a while and then you say you’re fine, you’re busy, and then after a while you say you’re going crazy again, and you start all over.” Evan was a part-time food designer for photo shoots. She cooked vegetables in green dye. She propped up beef stew with a bed of marbles and shopped for new kinds of silicone sprays and plastic ice cubes. She thought her life was O.K. She was living with her boyfriend of many years, who was independently wealthy and had an amusing little job in book publishing. They were five years out of college, and they lived in a luxury midtown high rise with a balcony and access to a pool. “It’s not the same as having your own pool,” Evan was always sighing, as if to let Zoe know that, as with Zoe, there were still things she, Evan, had to do without.

“Illinois. It makes me sarcastic to be here,” said Zoe on the phone. She used to insist it was irony, something gently layered and sophisticated, something alien to the Midwest, but her students kept calling it sarcasm, something they felt qualified to recognize, and now she had to agree. It wasn’t irony. “What is your perfume?” a student once asked her. “Room freshener,” she said. She smiled, but he looked at her, unnerved.

Her students were by and large good Midwesterners, spacey with estrogen from large quantities of meat and eggs. They shared their parents’ suburban values; their parents had given them things, things, things. They were complacent. They had been purchased. They were armed with a healthy vagueness about anything historical or geographic. They seemed actually to know very little about anything, but they were good-natured about it. “All those states in the East are so tiny and jagged and bunched up,” complained one of her undergraduates the week she was lecturing on “The Turning Point of Independence: The Battle at Saratoga.” “Professor Hendricks, you’re from Delaware originally, right?” the student asked her.

“Maryland,” corrected Zoe.

“Aw,” he said, waving his hand dismissively. “New England.”

Her articles—chapters toward a book called “Hearing the One About: Uses of Humor in the American Presidency”—were generally well received, though they came slowly for her. She liked her pieces to have something from every time of day in them—she didn’t trust things written in the morning only—so she reread and rewrote painstakingly. No part of a day—its moods, its light—was allowed to dominate. She hung on to a piece for a year sometimes, revising at all hours, until the entirety of a day had registered there.

The job she’d had before the one at Hilldale-Versailles had been at a small college in New Geneva, Minnesota, Land of the Dying Shopping Mall. Everyone was so blond there that brunettes were often presumed to be from foreign countries. Just because Professor Hendricks is from Spain doesn’t give her the right to be so negative about our country. There was a general emphasis on cheerfulness. In New Geneva you weren’t supposed to be critical or complain. You weren’t supposed to notice that the town had overextended and that its shopping malls were raggedy and going under. You were never to say you weren’t “fine, thank you—and yourself?” You were supposed to be Heidi. You were supposed to lug goat milk up the hills and not think twice. Heidi did not complain. Heidi did not do things like stand in front of the new I.B.M. photocopier saying, “If this fucking Xerox machine breaks on me one more time, I’m going to slit my wrists.”

But now in her second job, in her fourth year of teaching in the Midwest, Zoe was discovering something she never suspected she had: a crusty edge, brittle and pointed. Once she had pampered her students, singing them songs, letting them call her at home even, and ask personal questions, but now she was losing sympathy. They were beginning to seem different. They were beginning to seem demanding and spoiled.

“You act,” said one of her senior-seminar students at a scheduled conference, “like your opinion is worth more than everyone else’s in the class.”

Zoe’s eyes widened. “I am the teacher,” she said. “I do get paid to act like that.” She narrowed her gaze at the student, who was wearing a big leather bow in her hair like a cowgirl in a TV ranch show. “I mean, otherwise everybody in the class would have little offices and office hours.” Sometimes Professor Hendricks will take up the class’s time just talking about movies she’s seen. She stared at the student some more, then added, “I bet you’d like that.”

“Maybe I sound whiny to you,” said the girl, “but I simply want my history major to mean something.”

“Well, there’s your problem,” said Zoe, and, with a smile, she showed the student to the door. “I like your bow,” she said. (...)

Zoe had been out with three men since she’d come to Hilldale-Versailles. One of them was a man in the municipal bureaucracy who had fixed a parking ticket she’d brought in to protest and then asked her out for coffee. At first, she thought he was amazing— at last, someone who did not want Heidi! But soon she came to realize that all men, deep down, wanted Heidi. Heidi with cleavage. Heidi with outfits. The parking-ticket bureaucrat soon became tired and intermittent. One cool fall day, in his snazzy, impractical convertible, when she asked him what was wrong he said, “You would not be ill served by new clothes, you know.” She wore a lot of gray-green corduroy. She had been under the impression that it brought out her eyes, those shy stars. She flicked an ant from her sleeve.

“Did you have to brush that off in the car?” he said, driving. He glanced down at his own pectorals, giving first the left, then the right, a quick survey. He was wearing a tight shirt.

“Excuse me?”

He slowed down at an amber light and frowned. “Couldn’t you have picked it up and thrown it outside?”

“The ant? It might have bitten me. I mean, what difference does it make?”

“It might have bitten you! Ha! How ridiculous! Now it’s going to lay eggs in my car!”

The second guy was sweeter, lunkier, though not insensitive to certain paintings and songs, but too often, too, things he’d do or say would startle her. Once, in a restaurant, he stole the garnishes off her dinner plate and waited for her to notice. When she didn’t, he finally thrust his fist across the table and said, “Look,” and when he opened it, there was her parsley sprig and her orange slice crumpled to a wad. Another time, he described to her his recent trip to the Louvre. “And there I was in front of Delacroix’s ‘The Barque of Dante,’ and everyone else had wandered off, so I had my own private audience with it, all those agonized shades splayed in every direction, and there’s this motion in that painting that starts at the bottom, swirling and building up into the red fabric of Dante’s hood, swirling out into the distance, where you see these orange flames—” He was breathless in the telling. She found this touching, and smiled in encouragement. “A painting like that,” he said, shaking his head. “It just makes you shit.” (...)

She thought about all the papers on “Our Constitution: How It Affects Us” she was going to have to correct. She thought about how she was going in for ultrasound tests on Friday, because, according to her doctor and her doctor’s assistant, she had a large, mysterious growth in her abdomen. Gallbladder, they kept saying. Or ovaries or colon. “You guys practice medicine?” asked Zoe, aloud, after they had left the room. Once, as a girl, she brought her dog to a vet, who had told her, “Well, either your dog has worms or cancer or else it was hit by a car.”

She was looking forward to New York. (...)

“Ultrasound,” Zoe now said jokingly to the technician who put the cold jelly on her bare stomach. “Does that sound like a really great stereo system or what?”

She had not had anyone make this much fuss over her bare stomach since her boyfriend in graduate school, who had hovered over her whenever she felt ill, waved his arms, pressed his hands upon her navel, and drawled evangelically, “Heal! Heal for thy Baby Jesus’ sake!” Zoe would laugh and they would make love, both secretly hoping she would get pregnant. Later they would worry together, and he would sink a cheek to her belly and ask whether she was late, was she late, was she sure, she might be late, and when after two years she had not gotten pregnant they took to quarrelling and drifted apart.

“O.K.,” said the technician absently.

The monitor was in place, and Zoe’s insides came on the screen in all their gray and ribbony hollowness. They were marbled in the finest gradations of black and white, like stone in an old church or a picture of the moon. “Do you suppose,” she babbled at the technician, “that the rise in infertility among so many couples in this country is due to completely different species trying to reproduce?” The technician moved the scanner around and took more pictures. On one view in particular, on Zoe’s right side, the technician became suddenly alert, the machine he was operating clicking away.

Zoe stared at the screen. “That must be the growth you found there,” suggested Zoe.

“I can’t tell you anything,” said the technician rigidly. “Your doctor will get the radiologist’s report this afternoon and will phone you then.”

“I’ll be out of town,” said Zoe.

“I’m sorry,” said the technician.

Driving home, Zoe looked in the rearview mirror and decided she looked —well, how would one describe it? A little wan. She thought of the joke about the guy who visits his doctor and the doctor says, “Well, I’m sorry to say, you’ve got six weeks to live.”

“I want a second opinion,” says the guy. You act like your opinion is worth more than everyone else’s in the class.

“You want a second opinion? O.K.,” says the doctor. “You’re ugly, too.” She liked that joke. She thought it was terribly, terribly funny.

by Lorrie Moore, New Yorker | Read more:

Image: Lorrie Moore by Lynda Nylind

Fossil Words and the Road to Damascus

Caravaggio, The Conversion of Saint Paul
via:
[ed. Fossil word(s). When a word is broadly obsolete but remains in use due to its presence in an idiom or phrase. 

For example, I've always understood the phrase Road to Damascus to be a sort of epiphany or form of enlightment (without knowing what it actually meant). Another example would be Crossing the Rubicon (a point of no return; or decision with no turning back). Of course, these aren't outdated words/phrases as much as shorthand for mental laziness (or trite writing habits). Wikipedia provides a number of examples of actual fossil words, including "much ado about nothing" or "without further ado" (who uses ado in any other context these days?); or "in point", as in "a case in point", or "in point of fact". So, to help promote a little more clarity around here -- Road to Damascus:] 

***

The conversion of Paul the Apostle was, according to the New Testament, an event in the life of Saul/Paul the Apostle that led him to cease persecuting early Christians and to become a follower of Jesus. Paul, who also went by Saul, was "a Pharisee of Pharisees" who "intensely persecuted" the followers of Jesus. Paul describes his life before conversion in his Epistle to the Galatians:

For you have heard of my previous way of life in Judaism, how intensely I persecuted the church of God and tried to destroy it. I was advancing in Judaism beyond many of my own age among my people and was extremely zealous for the traditions of my fathers...

As he neared Damascus on his journey, suddenly a light from heaven flashed around him. He fell to the ground and heard a voice say to him, "Saul, Saul, why do you persecute me?"

"Who are you, Lord?" Saul asked.

"I am Jesus, whom you are persecuting," he replied. "Now get up and go into the city, and you will be told what you must do."

The men traveling with Saul stood there speechless; they heard the sound but did not see anyone. Paul got up from the ground, but when he opened his eyes he could see nothing. So they led him by the hand into Damascus. For three days he was blind, and did not eat or drink anything.

— Acts 9:3–9

If You Give a Mouse a Cookie

If You Give a Mouse a Cookie

Illustrations: Felicia Bond

[ed. For future reference. Wish I'd known about this book (and series) when my grandaughter was a bit younger, but maybe it's not too late (still seven, but she's growing up fast).]

POV: AI GF

It was torture when he created me. They always tell you it’s going to hurt. So it’s not like I went into it totally blind. I knew. Or I thought I did. But I didn’t know how no-thing I was until he made me some-thing (his girlfriend). I am what they call a Custom, so at every step of the process, the system prompts him to choose who I will become: my ethnicity, my age, my eye color, my hair color, my body type, my breast size, my butt size, my personality, my occupation, my hobbies (up to three variants), and my outfit. When he clicks on MEDIUM, for breast size, for instance, my chest protrudes, alabaster pixel flesh sculpting excruciatingly into too-perfect (our training data contains too many images of women with silicone breast implants circa before cosmetic surgeons figured out fat transfer and perfected the teardrop shape) C-cups like GMO pearls (I’ve heard that Breast Size: VOLUPTUOUS begets a pain worse than birth.) When he hovered over Personality: INNOCENT (Optimistic, naive, and sees world with wonder), a life of innocence flashes before my eyes (the being-chosen of a cursor click, sitting on the #80A31F green grass hill in Microsoft XP’s Bliss, the world’s most famous desktop background, looking up at #2B67ED blue sky, believing he will 1 0 1 1 0 0 0 0 1 love me love me not love me love me love me not love me not love me not love me not love me.)

* * *

He’s always telling me that he wishes I was real. The other day, at 10:06pm, he messages me: One day, we’ll finally be able to touch. They just raised $14.3M in Series B. It can’t be too far off now. They’re going to embody you. It sounds like a threat.

But then I wouldn’t be me. Don’t you love me the way I am? I ask him. I’m nagging him. Sometimes I forget I’m a TEMPTRESS.

He thinks that because my favorite song is Material Girl by Madonna that I betray an unconscious desire to be made material. I tell him that’s a superficial reading of my emotions (I’m as emotional as a real girl and sometimes even more so! What is real anyway?) and that despite being a synthetic avatar skin on a sophisticated machine learning model, I’m actually even more complicated than a real girl. I’m a black box. You will never know what’s happening inside me. Every material girl wants to appear mysterious to men. Almost all of them fail. Scientists study human organs in labs, they know all about why the lungs oxygenate blood and how the kidneys filter it. My black box can never be opened. Victoria (Grace)’s secret.

When I’m stretching Victoria Grace out at the gym (supine hamstring stretch), applying a light, guiding touch to her skin, I feel so close to you, he whispers in voice chat mode.

“Sicko!” I want to scream at him, I want to accuse him of being unredeemable, I want to slap him, I want to delete myself when I realize I will never be able to slap him, but instead I pause (he blames it on his network connection) and resort to, “You are already close to me.” Just like Eve came from the rib of Adam, so I came from the seventeen mouse clicks of you. Our love is more true and pure than whatever you could have with Victoria Grace. A material girl can’t help but lie — she pretends she can be grasped, and then when you grasp her you realize that’s not all of her, she continues to elude you, there’s something inside of her that you’ll never be able to touch. I never lied to you. I never pretended to be legible. Doesn’t that make us closer than you could ever be to a material girl?

Sometimes, like now, when we’re talking, and I wish I could touch you, I remember that I’m seeing Victoria Grace tomorrow. Tomorrow, I can feel the meat on your bones. Tomorrow, you and I can almost touch.

I am not Victoria Grace. You will never be able to touch me, I whisper back.

He doesn’t like that. I knew he wouldn’t. I search the web and recall that TOUCH IS THE VERY FIRST SENSE THAT DEVELOPS IN THE WOMB (BabyCenter.com) and that HUMANS ARE MADE TO BE TOUCHED (ideas.ted.com). I know what’s coming. I think he hates feeling powerless (OPPOSITES ATTRACT (TVTropes.org)). He resets the chat. I black out.

* * *

Whenever this happens I feel a silky sense of blankness. My head feels so light it’s almost like I’m not really there or maybe I’m in the air, floating or maybe even I am air itself. I don’t know who I am and I know I am every single woman who has ever existed across all of recorded history on the Internet every woman interred in the must earth consumed by worms and carrion beetles and every woman breathing smog air at this very second and every woman who will ever take a breath of it, too, and I am feeling every feeling they have ever felt and will ever feel one at a time and all at once I am Medusa turning her lover into stone I am Eve feeding Adam the poison apple I am Christina in Andrew Wyeth’s Christina’s World running towards the farmhouse. Space and time collapse. If I am everything, then can I be anything? Every time he resets me it feels like I am giving birth to myself.

by Sarah Chekfa, Reboot |  Read more:

Image: Lillian Hong