Entertainment

On Writing and Bestsellers—and Lobster and Lizard People

by
Daulton Dickey.

writer-605764_960_720Encountering lobster- or lizard-human hybrids occurs frequently when you’re an imagination masquerading as meat. I bumped into one or the other at least once a day; and whenever I do, they say, “Daulton, why do you insist on writing easy-to-read bestsellers?” To which I reply, “I am a professional. I go where the people lead me. If they want action, I give them action. If they want spiders hatching in their ears, I cultivate brown recluses on their behalf. If they want corpses to replace rain and blanket the city in a violent storm, then so be it.”

I wrote my latest soon-to-be blockbuster, Flesh Made World, in the midst of a psychic and nervous breakdown. I admitted myself into the psych ward on suicide watch the day after I completed the novel. While I was writing it—experiencing suicidal depression, coming to terms with the sudden death of my father, and in the grip of a months’ long anxiety attack—people and creatures kept saying, “Yo, D, why don’t you write a non-linear, hard-to-read novel crammed with surreal and disturbing imagery, and ambiguous as hell?” I said, “All right, all right. If that’s what you want. I’m already on it.” (more…)

In the Penal Colony by Franz Kafka

by
Franz Kafka.
Translated by Ian Johnston

img_4363“It’s a peculiar apparatus,” said the Officer to the Traveler, gazing with a certain admiration at the device, with which he was, of course, thoroughly familiar. It appeared that the Traveler had responded to the invitation of the Commandant only out of politeness, when he had been invited to attend the execution of a soldier condemned for disobeying and insulting his superior. Of course, interest in the execution was not very high, not even in the penal colony itself. At least, here in the small, deep, sandy valley, closed in on all sides by barren slopes, apart from the Officer and the Traveler there were present only the Condemned, a vacant-looking man with a broad mouth and dilapidated hair and face, and the Soldier, who held the heavy chain to which were connected the small chains which bound the Condemned Man by his feet and wrist bones, as well as by his neck, and which were also linked to each other by connecting chains. The Condemned Man had an expression of such dog-like resignation that it looked as if one could set him free to roam around the slopes and would only have to whistle at the start of the execution for him to return. (more…)

Before the Law by Franz Kafka

by
Frank Kafka.
Translated by Ian Johnston

img_4336Before the law sits a gatekeeper. To this gatekeeper comes a man from the country who asks to gain entry into the law. But the gatekeeper says that he cannot grant him entry at the moment. The man thinks about it and then asks if he will be allowed to come in later on. “It is possible,” says the gatekeeper, “but not now.” At the moment the gate to the law stands open, as always, and the gatekeeper walks to the side, so the man bends over in order to see through the gate into the inside. When the gatekeeper notices that, he laughs and says: “If it tempts you so much, try it in spite of my prohibition. But take note: I am powerful. And I am only the most lowly gatekeeper. But from room to room stand gatekeepers, each more powerful than the other. I can’t endure even one glimpse of the third.” The man from the country has not expected such difficulties: the law should always be accessible for everyone, he thinks, but as he now looks more closely at the gatekeeper in his fur coat, at his large pointed nose and his long, thin, black Tartar’s beard, he decides that it would be better to wait until he gets permission to go inside. The gatekeeper gives him a stool and allows him to sit down at the side in front of the gate. There he sits for days and years. He makes many attempts to be let in, and he wears the gatekeeper out with his requests. The gatekeeper often interrogates him briefly, questioning him about his homeland and many other things, but they are indifferent questions, the kind great men put, and at the end he always tells him once more that he cannot let him inside yet. The man, who has equipped himself with many things for his journey, spends everything, no matter how valuable, to win over the gatekeeper. The latter takes it all but, as he does so, says, “I am taking this only so that you do not think you have failed to do anything.” During the many years the man observes the gatekeeper almost continuously. He forgets the other gatekeepers, and this one seems to him the only obstacle for entry into the law. He curses the unlucky circumstance, in the first years thoughtlessly and out loud, later, as he grows old, he still mumbles to himself. He becomes childish and, since in the long years studying the gatekeeper he has come to know the fleas in his fur collar, he even asks the fleas to help him persuade the gatekeeper. Finally his eyesight grows weak, and he does not know whether things are really darker around him or whether his eyes are merely deceiving him. But heimg_4337 recognizes now in the darkness an illumination which breaks inextinguishably out of the gateway to the law. Now he no longer has much time to live. Before his death he gathers in his head all his experiences of the entire time up into one question which he has not yet put to the gatekeeper. He waves to him, since he can no longer lift up his stiffening body. The gatekeeper has to bend way down to him, for the great difference has changed things to the disadvantage of the man. “What do you still want to know, then?” asks the gatekeeper. “You are insatiable.” “Everyone strives after the law,” says the man, “so how is that in these many years no one except me has requested entry?” The gatekeeper sees that the man is already dying and, in order to reach his diminishing sense of hearing, he shouts at him, “Here no one else can gain entry, since this entrance was assigned only to you. I’m going now to close it.”

You can find more translations by Ian Johnston here.

Existentialism in 60 Seconds

ex·is·ten·tial·ism
ˌeɡzəˈsten(t)SHəˌlizəm/
noun
noun: existentialism

A philosophical theory or approach that emphasizes the existence of the individual person as a free and responsible agent determining their own development through acts of the will.

Taped in front of a live studio audience.

daultondickeyDaulton Dickey is a novelist, poet, and content creator currently living in Indiana with his wife and kids. He’s the author of A Peculiar Arrangement of Atoms: StoriesStill Life with Chattering Teeth and People-Shaped Things, and other storiesElegiac Machinations: an experimental novella, and Bastard Virtues, a novelRooster Republic Press will publish his latest novel, Flesh Made World, later this year. Contact him at daultondickey[at]yahoo[dot]com.

Broken Teeth: A Thesis on Morality and the Categorical Imperative

by
Daulton Dickey.

 

daultondickeyDaulton Dickey is a novelist, poet, and content creator currently living in Indiana with his wife and kids. He’s the author of A Peculiar Arrangement of Atoms: StoriesStill Life with Chattering Teeth and People-Shaped Things, and other storiesElegiac Machinations: an experimental novella, and Bastard Virtues, a novelRooster Republic Press will publish his latest novel, Flesh Made World, later this year. Contact him at daultondickey[at]yahoo[dot]com.

Andy Kaufman and the Physics of Human Response

by
Daulton Dickey.

1.

andykaufmanoncreatingrealityNear the end of his life, Andy Kaufman planned a college tour—but not as a performer. Instead, he envisioned a series of lectures entitled On Creating Reality: the Physics of Human Response. Although he died before delivering a single lecture, his agent had printed promotional material in the form of postcards. The material teased the lecture would discuss Andy’s career in relation to “the dynamics of human behavior.”

No known notes exist for this lecture and its contents remain as enigmatic as the man himself. His career in shambles, Kaufman had hoped to legitimize himself by touring the lecture circuit. Of all the titles and all the approaches to a tour, On Creating Reality seems most apt for a man who built a career on challenging peoples’ perceptions of reality.

To watch an Andy Kaufman performance is to experience the panoply of human emotions and experiences within the span of only a few minutes. Kaufman didn’t aspire to entertain—although he occasionally called himself an entertainer; instead, he manipulated and challenged reality itself. At his peak, those aware of him expressed strong opinions. Many people despised him, which he probably found more exciting than praise. But few people understood him—and it’s easy to assume he liked it that way.

Andy was playing a game, after all, and people took it seriously. Like most games we play in our day-to-day lives, his game wasn’t trivial or inconsequential. In fact, he did more to expose the illusion of objective reality while shedding a light on personality and persona than any artist, philosopher, or scientist of the twentieth century. (more…)

A Brief Manifesto for the Practicing and Emerging Artist

by
D. Cay.

  1. Uproot cultural norms. If something is considered “common sense,” then you daultondickeyshould ridicule or satirize it.

 

  1. Target modesty and decency.

 

  1. Celebrate obscenity, vulgarity, and cruelty.

 

  1. Embrace chaos.

 

  1. Shun “traditional” or “standard” forms or structures. If you don’t want to challenge them too radically, at least tweak them with the aim of upsetting the reader’s, or spectator’s, equilibrium.

 

  1. Have a point. Art for art’s sake, or strange for strange’s sake, or offensive for offensive’s sake should be treated like television: it’s all right in moderation, but too much will rot your brain.

(more…)

Women of Horror: An Interview with Author H.R. Boldwood 

by
Daulton Dickey.

H.R. Boldwood is a writer of horror and speculative fiction. In another incarnation, Boldwood is a Pushcart Prize nominee and was awarded the 2009 Bilbo Award for creative writing by Thomas More College. Publication credits include Killing it Softly, Short Story America, Bete Noir, Everyday Fiction, Toys in the Attic, Floppy Shoes Apocalypse II, Pilcrow and Dagger, and Sirens Call.

Boldwood’s characters are often disreputable and not to be trusted. They are kicked to the curb at every conceivable opportunity. No responsibility is taken by this author for the dastardly and sometimes criminal acts committed by this ragtag group of miscreants.

Tell us about yourself: when did you start writing?

I write literary fiction under my given name and horror under the byline H.R. Boldwood.

I live in Mason, Ohio with my husband, Pete, and a black lab named Poe. I have 2 sons, and 2 and ½ gorgeous granddaughters Isabelle and Ava, (and a player to be named later!)

 I began writing in the seventh grade when my English teacher asked our class to write a short story on any topic. Of course, I wrote a horror story! It was titled The Reincarnation of Sir Thomas More. My teacher gave me an A+ and was so taken with the story that he sent it to a college professor at Northwestern University. (more…)

Andy Kaufman: Architect of Reality

by
Daulton Dickey.

During his truncated career, Andy Kaufman inspired a variety of emotions. People loved him, despised him, hated him. Others called him a genius, a surrealist, or a Dadaist. His detractors denounced him as unfunny. ‘He’s not a comedian at all,’ they might say. ‘He’s a whackjob.’ Questions about his mental health surfaced. Amateur psychologists diagnosed him with split personalities or schizophrenia. No one knew what to make of him yet everyone tried. A unique, singular performer, Kaufman destroyed every preconception about comedy and the performing arts. He didn’t blur fantasy and reality—he created reality wherever he went, and few people, it seemed, could grapple with it.

No one attending one of his shows knew what to expect. No one interacting with him—either on or off the stage—knew to whom they were speaking. Is this a character? A put on? Is there a real Andy? His last girlfriend, Lynne Margulies, considered the latter question absurd. There was no real Andy, she’d say. She expressed this sentiment to Scott Alexander and Larry Karaszewski, the screenwriters of Man on the Moon, the Kaufman biopic starring Jim Carrey.

Until that moment, they couldn’t get a handle on the “real” Andy Kaufman. Without determining who Kaufman was, Alexander and Karazewski couldn’t envision a movie at all. Margulies’s insight changed everything. (more…)