5
" I couldn't get to sleep. The book lay nearby. A thin object on the divan. So strange. Between two cardboard covers were noises, doors, howls, horses, people. All side by side, pressed tightly against one another. Boiled down to little black marks. Hair, eyes, voices, nails, legs, knocks on doors, walls, blood, beards, the sound of horseshoes, shouts. All docile, blindly obedient to the little black marks. The letters run in mad haste, now here, now there. The a's, f's, y's, k's all run. They gather together to create a horse or a hailstorm. They run again. Now they create a dagger, a night, a murder. Then streets, slamming doors, silence. Running and running. Never stopping. "
― Ismail Kadare , Chronicle in Stone
6
" The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.''Oh my God... said Jonathan, his mouth stalling the open position.'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. (" Incident On A Rainy Night In Beverly Hills" ) "
7
" No," he said, " look, it's very, very simple ... all I want ... is a cup of tea. You are going to make one for me. Keep quiet and listen." And he sat. He told the Nutri-Matic about India, he told it about China, he told it about Ceylon. He told it about broad leaves drying in the sun. He told it about silver teapots. He told it about summer afternoons on the lawn. He told it about putting in the milk before the tea so it wouldn't get scalded. He even told it (briefly) about the history of the East India Company." So that's it, is it?" said the Nutri-Matic when he had finished. " Yes," said Arthur, " that is what I want." " You want the taste of dried leaves in boiled water?" " Er, yes. With milk." " Squirted out of a cow?" " Well, in a manner of speaking I suppose ... "
12
" Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic " sound track" constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books. "
18
" Popular magazine articles and Oprah-style television shows falsely represent work-life balance as an individual challenge, a lifestyle choice available to all women. The feminism on offer is woefully thin and unpleasurable. On the high end of the income scale, feminism seems to mean working even more than men. The media celebrate women such as Yahoo CEO Marissa Mayer and former secretary of state and presidential candidate Hillary Clinton for her brutal work ethics--magazine articles report, awestruck, they they barely sleep, that their staffs struggle to match their work hours, that they've become the rare female leaders in their spheres by laboring harder than male colleagues. Mayer reported proudly that while at Google, she would sleep under her desk. By this measure, feminism, that Utopian striving for equality that we've carried through centuries of opposition, is boiled down merely to the right to work ourselves to death. If feminism means the right to sleep under my desk, then screw it. And this is a vision that can be palatable, just barely, only at the high end of the economy where work is plausibly couched in self-actualization. . . . If any feminism is going to be worth its name, it will improve the lives of all women instead of setting them in competition with each other or applying only to this or that region or income stratum. Liberal feminism would grant women the right to compete. A radical feminism would grant women a good life in which they have real power. "
