Of all the memorable scenes in Boots Riley’s enchantingly bizarre Sorry to Bother You, the most politically salient is when union organizer Squeeze (Steven Yeun) tells the fuming, disillusioned Cash (Lakeith Stanfield) why simple awareness isn’t enough. To truly puncture the veneer of spectacular (mis-)information, you need to cut off its ability to reproduce itself. “If you get shown a problem, but have no idea how to control it,” he says, “then you just decide to get used to the problem.”
Watercolor, ink and pencil on paper (11in. x 14in.) Companion to my poem “Suburban Lightsick Lullaby,” which appeared in Locust Review’s third issue.
Compared to the hellish turn events have taken over the past four years, the Great Clown Panic of 2016 is easy to forget. But as I wrote at the time, this bizarre phenomenon – part prank, part media hype, part soccer mom moral panic – was not as alien to America as it appeared. Far from it, it seemed to be symptomatic of a country whose already threadbare psyche was completely unraveling. If you believed in omens, it would be easy to see this as a preamble to something far more menacing in store.
An observation: in today’s world, “pretentious” is normally code for “this is something I would rather not think about and therefore I am going to judge it harshly without considering it.” During the 2016 American presidential election, a poll was conducted that jokingly included an option for a giant meteor. In other words, it was asked whether potential voters … Continue reading The End Has to Begin Somewhere