The power of the human imagination lies not in its ability to represent events but in its ability to exaggerate them. Such exaggerations give birth to absurdity, which, when properly executed, reflects culture and the human condition more honestly than mimesis.
In The Complete Idiot’s Guide to Saying Goodbye, Ben Arzate serves us a melange or absurd people and scenarios in fragmented, or cartoonish, plates. When taken together, the sum of absurd representations exceeds the parts. (more…)
“Language is a trap. To deny the existence of whatever. A melancholy enticement. Like balloons. Language is a fucking disaster. I’m unsure of how to birth the participle. Underneath. No reason to ever go outside any more. The days choke in the darkness & supplicate to endless rest. There’s no question of what will happen in the future because there is no future. Life is a fatal attraction.”
M Kitchell’s In the Desert of Mute Squares is difficult to classify. Its publisher, Inside the Castle, describes it as a “text object,” which seems the most appropriate name for it. The form of the book, from its text placement, to its spacing, to its images, to the reader’s interactions with the book itself are just as essential as the text. As the excerpt above implies, this seems to be an attempt to transcend the frustrating limitations of language.
Even the title seems to be a self-deprecating acknowledgment of literature’s limitations, referring to itself as a wasteland of pages that can’t truly communicate. Slaughtered trees which can never truly convey the impossible. It includes the equally self-deprecating subtitle of or Errors; or, Dreams I Never Had; or, Late Capitalism. (more…)