Burt Reynolds’ Unfinished Business: Actor Was Fielding Offers, Preparing For ‘Once Upon A Time In Hollywood’ Role
In just a couple of weeks, Burt Reynolds was slated to go in front of the camera of Quentin Tarantino’s Once Upon a Time In Hollywood. Reynolds, who died unexpectedly of a suspected heart attack, was to play rancher George Spahn in the movie, set in Los Angeles in the summer of 1969 before the Manson Family murders were committed.
Reynolds, who was cast back in May and visited the Leonardo DiCaprio- and Brad Pitt-starring film’s table read in June, had received a straight offer from Tarantino, who had seen Reynolds in the 2018 release The Last Movie Star.
That feature, in which Reynolds played an ageing movie star, created a host of new opportunities for the 1970s movie icon. (You can read The Last Movie Star writer-director Adam Rifkin’s remembrance of his friend and childhood hero Reynolds here.)
OBSOLETE CAPITALISM :: CONTROL, MODULATION AND ALGEBRA OF EVIL IN BURROUGHS AND DELEUZE :: RIZOSFERA :: THE STRONG OF THE FUTURE :: SF016 :: SEPTEMBER 2018
by Obsolete Capitalism
According to Deleuze’s Pourparler the concept of “Control” can be ascribed to William Burroughs. Since the seventies, it is possible to trace a deep intellectual and political convergence between Deleuze and Bur- roughs. This has happened across three levels of analysis: control society, revolutionary communities and schizo-culture. This essay attempts an analysis of the relationship between these two giants of twentieth century counterculture by borrowing their ‘control’ perspective. With the critical figure of Foucault on the background, the crucial political and philosophical passage from “discipline” to “control” appears in all its monstrosity. The struggle against Control, according to Deleuze and Burroughs, must be perpetrated through the invention of literary and philosophical “war machines” which try to hide from established knowledge and dominant powers by gathering in communities made of unassimilable singularities. Burroughs’ untraceable and diagrammatic critique seems ever more precious as it is completely strange to the conformism of contemporary critical thought.
Charles Bukowski Explains How to Beat Depression: Spend 3-4 Days in Bed and You’ll Get the Juices Flowing Again
I felt like sleeping for five years but they wouldn’t let me
—Charles Bukowski, Ham on Rye
I don’t know about you, but the grind gets me down. Day in, day out, the same routine, never a break but the odd vacation. And you know what they say about vacations; when you get back, you need another one. Used to be days were more regular, in the zenith of the unions. You put in your time and you get some back, enough at least for a good night’s sleep. No more. The machine never sleeps, and neither can we. If you have the good fortune to live in the U.S., you and I can call ourselves blessed inhabitants of the most overworked nation in the world. Europeans may have it better, but maybe not by much.
Hayley’s murderer acknowledges all without batting an eyelid – a charming psychopath with ice in his veins
They always get their man … Sunny and Cassie. Photograph: Des Willie/ITV
In the end, there was no twin switcheroo, bad boyfriend or secret pregnancy that did for Hayley. It was stupid luck that saw her run into Tim Finch on that particular night, he in that particular mood, she being his particular sort. When the underwear in his box is matched to murdered teen Alison Baldwin, Tim confesses to her and Hayley’s murders over a cup of tea. He mentions breezily, by the by, that there are more bodies out there.
It all becomes too much for Cassie, who walks away from the case and into a much-needed sabbatical. She’s been neglecting self-care for some time and takes the chance to reconcile with her father and kickstart what looks like a very promising romance with former DCI John Bentley (a man shamelessly libelled in the comments – I expect full abjuration below the line). After all the horror, it’s good to end on a positive note. We finish in a gorgeous woodland cemetery, Cassie and Sunny joining Jessica and Suzanne at Hayley’s final resting place, facing into the sun.
We have a tendency to regard Wolfgang Amadeus Mozart's music as having appeared fully formed into the world, not least because we hear it performed almost exclusively in a highly refined state of near-perfection. That makes any glimpse into the process of its creation all the more valuable, and the British Library has now provided us with much more than such a peek: at its site you can now read Mozart's own thirty-page musical diary, a record of "his compositions in the last seven years of his life" and thus "a uniquely important document" in the history of classical music.
The British Library notes that during the period from February 1784 until December 1791 that the diary covers, Mozart "composed many of his best-known works, including his five adult operas, several of his most beautiful piano sonatas, and his last three great symphonies, as well as several famous lesser works."
Abstract: This essay discusses the notions of “extension” and “prosthesis” as two different logics and modes of being with technology. I trace the two terms to the work of Marshall McLuhan, influenced by the work of Norbert Wiener and Buckminster Fuller. I argue that the logic of softwarisation is similar to the logic of extension, while the logic of appification is similar to that of prosthesis. I argue that these logics also map onto the logics of metonymy and metaphor. I explain why such a distinction is useful for reading mobile apps and the computing practices they enable. I conclude by raising questions about users’ complicity within the bio-technological cybernetic assemblage: What does the user of these technologies want? Is she able to confront her desire through their use? Why is the demanding swarm of parasitic ‘media species’, such as apps, so determined to get under the user’s skin?
A couple of very tough months are ahead for the wildfire season and firefighting attempts in the western United States, especially California.
Approximately 110 large wildfires are burning across the U.S., and most of these fires are burning in the West, according to the National Interagency Fire Center. Countless acres of brush, which growth was spurred on by winter and spring moisture, have had all summer to dry out.
Extreme heat, dryness, burning sunshine and accidental and intentional incidents by humans have already contributed to an intimidating fire year.
As much as 90 percent of wildfires in the U.S. are generated by humans, according to the National Park Service.
Edinburgh fringe 2018. (Some)Body by PosleSlov. Photograph: Murdo MacLeod for the Guardian
Sex sells, which explains why performers have been getting their tools off at the fringe for years. But my flesh odyssey was also mind-bending – and profoundly moving
Fifteen naked people in a single day is a record for me. For a Monday, at least. I am in Edinburgh to attend the fringe, where I have been given a short to … well, avoid briefs. Ban bras, skirt skirts – free willy. Go to Edinburgh, and see the naked shows, was the plan. Bring a towel to sit on, a venue said.
Nudity is not new at the fringe, established in 1947 when eight theatre companies decided to turn up uninvited and stage their own shows alongside the Edinburgh international festival. This sounds a bit like turning up outside someone’s house with a boombox, but it obviously proved successful. Last year, the Fringe consisted of more than 3,000 shows in 300 venues.
If sexual intercourse began, as the poet Philip Larkin claimed, in 1963, nudity came at the Fringe the same year. In what became known as the Lady MacChatterley trial, 18-year-old Anna Kesselaar found herself in court on charges of lewdness for taking part in what was referred to in the press as a “happening”: being wheeled naked on a trolley across a gallery at the launch of publisher John Calder and Traverse Theatre founder Jim Haynes’ Drama Conference in the McEwan Hall.
In a 2012 interview, the then 68-year-old Kesselaar rather brilliantly told the Scotsman: “I did it for art. And £4.” At the time, Kesselaar was branded “sick in mind, hand and heart” by the city’s Lord Provost, and had to flee to London such was the scandal.
Large flames are seen on a hillside outside the village of Monchique (Picture: AP)
The blast has dashed over a slope run for seven days, in the midst of hot and dry temperatures. Experts in Portugal and Spain said they have stopped real out of control fires however cautioned the fight isn't finished yet. Bulldozers working during that time to make firebreaks helped stop a burst in southern Portugal's Algarve area, the Civil Protection Agency said. Temperatures additionally fell, with a most extreme of 26 degrees Celsius estimate for Thursday.
Be that as it may, the fire's border estimated in excess of 60 miles and blasting breezes could trigger reignitions, Patricia Gaspar, the Civil Protection Agency's delegate administrator, said. Just about 1,300 firefighters with 389 vehicles and eight airplane are conveyed at the blast. Military units are watching backwoods to check for crisp flare-ups, Gaspar said. The fire, in the zone around Monchique, around 180 miles south of the capital, Lisbon, has scorched just about 58,000 sections of land of forest, as per the European Forest Fire Information System. In excess of 40 individuals have been harmed, one of them truly, and hundreds cleared from towns and villages amid Portugal's most exceedingly bad out of control fire of the year. In neighboring Spain, light medium-term rain helped stop the advance of a fierce blaze close Valencia, on the Mediterranean drift. Experts trusted that would enable them to put the fire out Thursday following a four-day burst that burned around 7,400 sections of land. Firefighters there were bolstered by 31 flying machine.
Forrest Gordon Clark, 51, is charged with two counts of arson and other crimes.
The man charged for starting a Southern California blaze that forced the evacuation of 20,000 residents sent a text to a volunteer fire chief two weeks ago saying, "The place is going to burn," the chief said Thursday.
The Holy Fire began in Monday in the Cleveland National Forest's Holy Jim Canyon and has so far destroyed a dozen structures, according to fire authorities.
Holy Jim Volunteer Fire Department Chief Mike Milligan, 71, says he's known the pyromania suspect, Forrest Gordon Clark, for decades and has long warned that he posed a danger to the community.
"I've been trying for years to get someone to pay attention and nobody has really had the opportunity to do that until now," he said.
Milligan said he was so careful of Clark that he avoided altogether going to the area of the remote Orange County canyon where the 51-year-old Clark lives, he said. Nonetheless, Clark came to his home two weeks ago to return article he said he had "borrowed" from the fire department, he said.
"I said 'I want nothing to do with you, Forrest. Just go,'" Milligan said. "He was being gentlemanly in the beginning and turned and then swore at me and turned and left and was quoting the Bible. Later, he came back and told me what a jerk I was and everyone was after him."
Tom Bossert (Photo illustration: Yahoo News; photos: AP (2), Getty Images)
Midst mounting warnings about another Russian cyber attack on the 2018 midterm elections, President Trump’s former homeland security adviser said a recent staff alarm ordered by national security adviser John Bolton has left the White House with nobody in charge of U.S. cyber policy and raised concerns about “who is minding the store.”
“On cyber, there is no clear person and or clear driver, and there is no clear muscle memory,” said Tom Bossert, who served as White House homeland security adviser until last April, in an interview with the Yahoo News podcast Skullduggery.
“In some way playing jazz music, improvising policy because there is no clear playbook for it,” Bossert said. “And so, yes, if you’re asking me do I have any concerns? The concern would be who’s minding the store in the coordination and development … of new and creative cyber policies and strategies.”
The grandest contest in British literature is about to begin. Whose numbers will rise up this year?
Photograph: Sherry Moore/Alamy
Sports fans still lamenting the end of FIFA’s football fiesta can perhaps console themselves with the opening round of the literary world’s favorite game: posh bingo. The Booker prize will unveil the runners and riders on this year’s longlist as Monday night turns into Tuesday morning.
So who will it be? Jostling this year to fill the slots generally reserved for former winners are Michael Ondaatje – fresh from his Golden Booker triumph – Pat Barker, Peter Carey, Alan Hollinghurst and Julian Barnes. Lining up to feature as American invaders are Anne Tyler, Richard Powers, Rachel Kushner and Madeline Miller, who face off against established home-team names such as Aminatta Forna, Jim Crace, Andrew Miller and Rachel Cusk. And could this be the year that Ali Smith finally gets a Booker prize? Or indeed Kate Atkinson – maybe Transcription will dictate this year’s conclusion.
Rob Zombie and Marilyn Manson commence their doubleheader Twins of Evil: The Second Coming tour of the US and Canada today, and to celebrate – and maybe demonstrate that they haven't turned out to be sheltered in their seniority – the combine have recorded a front of The Beatles track Helter Skelter – the tune that professedly propelled Charles Manson (it most likely didn't, yet how about we not ruin the folklore). It's a quite splitting front of maybe the best Beatles track, we think. In spite of the fact that Siouxsie and the Banshees presumably still have the edge on fronts of the tune.
The 10 Rules for Students and Teachers Popularized by John Cage: “Nothing Is a Mistake,” “Consider Everything an Experiment”
The Brian Eno archive More Dark than Shark recently posted on its Twitter account a list of posted on its Twitter account and teachers used by John Cage. Though much has been written about the artistic affinities between Eno and Cage, both of whose compositions have pushed the boundaries of how we think about music itself, they also both have a deep connection to the idea of using rules to enhance the experience of creation. Where Eno has his bedeck of creative process-enhancing Oblique Strategies cards, Cage had this list of rules first composed by an educator, silkscreen artist, and nun named Sister Corita Kent..
Kent came up with the list, writes Brainpickings' Maria Popova, "as part of a project for a class she taught in 1967-1968. It was subsequently appropriated as the official art department rules at the college of LA’s Immaculate Heart Convent, her alma mater, but was commonly popularized by Cage, whom the tenth rule cites directly." That tenth rule, more of a meta-rule, reminds the reader that "we're breaking all the rules" by "leaving plenty of room for X quantities." But one can easily imagine how the previous nine, having as much to do with the pleasure of the work of learning, teaching, and creating as with its rigorous performance, might appeal to Cage as well. The complete list runs as follows:
The Fawlty Towers star rails against the government, the BBC and British newspapers in an platform appearance for Hacked Off
It was hard to know what to expect of a solo show by John Cleese, organised by the campaign group. On 29 June, the comedian tweeted that it would be a “speech” but, by 5 July, he was calling it a “new one-hour comedy show”.
Cleese has experimented with standup as crowd-funding before. The audience helped to pay for his third divorce. The £30 ticket for this event (including an entry in a draw for a dinner with Cleese) was bankrolling Hacked Off’s campaign to seek judicial review of the government’s decision to leave the planned second phase of the Leveson probe into journalistic ethics, which would investigate the relationship between the press and police.
On Sunday at 7.30pm, there were 250 people in the at London’s Royal Geographic Society, which seems popular with former members of Monty Python: Michael Palin has been the society’s president for three years.
Above the stage hung a vast black and white photograph of Cleese looking gloomy, next to the words, “Why There Is No Hope”. It soon became clear that anyone drawn in by the love of would get only the intemperate manner, as Cleese read a 45-minute lecture from a large Autocue screen about how culture has been engulfed by stupidity.
Every artist explores dimensions of space and place, orienting themselves and their works in the world, and orienting their viewers. Then there are artists like Vincent van Gogh, who make space and place a primary subject. In his early paintings of peasant homes and fields, his figures’ muscular shoulders and hands interact with solid walls and knotted trees. Later country scenes—whether curling and delicate, like Wheatfield with a Reaper, or heavy and ominous, like Wheatfield with Crows (both below)—give us the sense of the landscape as a single living entity, pulsating, writhing, blazing in brilliant yellows, reds, greens, and blues.
Van Gogh painted interior scenes, such as his famous The Bedroom, at the top (the first of three versions), with an eye toward using color as the means of making space purposeful: “It’s just simply my bedroom,” he wrote to Paul Gauguin of the 1888 painting, “only here color is to do everything… to be suggestive here of rest or of sleep in general. In a word, looking at the picture ought to rest the brain, or rather the imagination.”
When Jean-Paul Sartre Had a Bad Mescaline Trip and Then Hallucinated, for Years, That He Was Being Followed by Crabs
Sometimes when confronted with strange new ideas, people will whoop “you must be on drugs!”—a charge often obtruded at philosophers by those who would rather dismiss their ideas as hallucinations than take them seriously. But, then, to be fair, sometimes philosophers are on drugs. Take Jean-Paul Sartre. “Before Hunter S. Thompson was driving around in cabriolet stocked full of acid, cocaine, mescaline and tequila,” notes Critical Theory, Sartre almost approached the gonzo journalist’s habitual intake.
According to Annie Cohen-Solal, who wrote a biography of Sartre, his daily drug consumption was thus: two packs of cigarettes, several tobacco pipes, over a quart of alcohol (wine, beer, vodka, whisky etc.), two hundred milligrams of amphetamines, fifteen grams of aspirin, a boat load of barbiturates, some coffee, tea, and a few “heavy” meals (whatever those might have been).
The film-maker weighs in on the disagreement surrounding BBC comedy chief Shane Allen’s comment about ‘six Oxbridge white blokes’
Terry Gilliam has responded to the BBC diversity debate which referenced Monty Python by saying: “I tell the world now I’m a black lesbian.”
Gilliam was commenting on the line over diversity triggered by the BBC’s unveiling of its new comedy programming, offered in June, at which the BBC’s controller of comedy commissioning Shane Allen emphasised the corporation’s commitment to “the stories that haven’t been told and the voices we haven’t yet heard”. In response to a question about Monty Python’s Flying Circus, Allen said: “If you’re going to assemble a team now, it’s not going to be six Oxbridge white blokes. It’s going to be a diverse range of people who reflect the modern world.”
Speaking at a press conference at the Karlovy Vary film festival, where he was presenting his new film The Man Who Killed Don Quixote, Gilliam said: “It made me cry: the idea that ... no longer six white Oxbridge men can make a comedy show. Now we need one of this, one of that, everybody pleaded... this is bullshit. I no longer want to be a white male, I don’t want to be blamed for everything wrong in the world: I tell the world now I’m a black lesbian... My name is Loretta and I’m a BLT, a black lesbian in transition.”
There’s no denying that Ingmar Bergman made a lasting impression on so many great filmmakers. But it’s often hard to wrap our heads around the fact that Bergman changed the whole course of cinematic history and helped to shape the landscape of filmmaking today.
There’s something wonderful about seeing the likes of Alejandro Gonzalez Inarritu, Claire Denis, and Wes Craven, going out of their way to make the journey to visit Bergman’s humble residence on the remote island of Faro. And seeing their reactions as they first step inside the house. Their gleeful, awestruck expressions show us a human side to this highly acclaimed and talented directors. It feels like we are witnessing something deeply personal, and we feel worshipful to be along for the journey. This is a rare event, very few have stepped inside the house of Bergman.
Directors Jane Magnusson and Hynek Pallas’ decision to use previously unseen behind-the-scenes footage from the making of Bergman’s films, along with candid conversations with other filmmakers, help to weave the story of the great director. Detailing his early days, to his peak in the 50s and 60s, to his slump in the 70s and the return to his form in the 80s.
The feature came out of a six-part 2012 TV series titled “Bergman’s Video.” with each episode centering with a central topic from Bergman’s films (for example, “Death,” “Fear,” “Silence”) and how that theme played out in the interviewed filmmakers’ work. For Trespassing Bergman, the directors decided to focus on the effect and impression that Bergman’s work had on the likes of great directors such as Martin Scorsese, Woody Allen, Michael Haneke, Ang Lee and Zhang Yimou.
Exchanging their shoes for slippers at the door, the Bergman property guests explore the carefully preserved building, which, which after Bergman’s death in 2007, was turned into a museum (everything left how it was when the man died, a bedside table complete with his scribblings reveals something pedantic about the director). Most of the guest often sit down into comfy chairs in the TV room to talk. The room has an extensive, carefully alphabetized collection of VHS tapes, (we discover that Bergman had a copy of Die Hard, it seems surreal to think of him sitting down to watch the 80s action flick).
According to Ted Morgan, author of William S. Burroughs biography Literary Outlaw (which Burroughs hated), the hard-living Beat writer added “teacher” to the list of jobs he did not like after an unhappy semester teaching creative writing at the City College of New York. He complained about dimwitted students, and disliked the job—arranged for him by Allen Ginsberg—so much that he later turned down a position at the University of Buffalo that paid $15,000 a semester, even though he desperately needed the money. That Burroughs had recently kicked heroin may have contributed to his unease with the prosaic regularities of college life. Whatever the story, he later remarked that the “teaching gig was a lesson in never again.”
Making friends with similar interests can be a challenge for anyone. But imagine you are the founder of an entirely new discipline, with its own peculiar jargon, set of practices, and conceptual categories. Imagine, for example, that you are Sigmund Freud, who in 1896 made his break with medicine to pursue the work of psychoanalysis. Drawing on clinical experience with patients, his own self-analysis, cocaine-induced reveries, and an idiosyncratic reading of Greek mythology, Freud invented his strange psychosexual theories within the confidence of a very small circle of acquaintances and admirers.
One of his close relationships during those productive and turbulent years, with eccentric ear, nose, and throat doctor Wilhelm Fliess—a collaborator, influence, “confessor and moral supporter”—ended badly in 1906. It was in that same year that Freud met the much-younger, Carl Jung. At their first meeting, the two “talked nonstop for 13 hours,” the Aeon video above, animated by Andrew Khosravani, tells us. Thus began the intense and now-legendary six-year friendship between the psychiatrists, a “passionate and surpassingly weird relationship, which, given the people involved, perhaps shouldn’t come as a surprise.” Freud settled upon Jung as his protege and successor, the “Joshua to my Moses,” overjoyed to have found a friend who seemed to understand his ideas intimately.
ATHENS (Reuters) - British singer and actor Sting called world leaders “half men and cowards” on Saturday for their incapacity to find a solution for refugee crisis.
German Chancellor Angela Merkel has already played down the advance of a breakthrough at hastily-arranged talks among EU leaders on Sunday on the migration dispute dividing Europe and threatening her own government.
Austrian Vice-Chancellor Heinz-Christian Strache said on Saturday he expects a series reaction across the European Union if Germany closes its borders to refugees.
The line-up for this origin film is getting more stellar and award-worthy by the moment – enter Mr. Robert De Niro! (Picture: Getty, DC Comics)
Who is Murray Franklin?
That is the question we all need to be asking ourselves right now, as according to new reports he is a central supporting character in the standalone Joker film.
Not the newly announced Jared Leto one, but the one which Joaquin Phoenix has been attached to since February.
You know, the one being helmed by Todd Phillip and produced by Martin Scorsese?
Well there’s something interesting about this role in particular, as character Robert De Niro is being pegged for the by an insider.
Quentin Tarantino’s star-studded “Once Upon a Time in Hollywood” just landed another legendary actor: Al Pacino.
Pacino will play Marvin Shwarz — Leonardo DiCaprio’s character’s agent in the Sony film — marking his first collaboration with Tarantino. Dating back to his first feature film, 1992’s “Reservoir Dogs,” Tarantino has always cast movie stars he grew up watching, from Robert Forster in “Jackie Brown” to David Carradine in the “Kill Bill” films. Pacino fits that matrix of actors who rose to fame in the 1970s.
Also joining the cast are Damian Lewis, who will play acting icon Steve McQueen, Luke Perry as Scotty Lancer, Emile Hirsch as hairstylist Jay Sebring, Dakota Fanning as Lynette “Squeaky” Fromme — a member of the Manson family — Clifton Collins as Ernesto the Mexican Vaquero, Keith Jefferson as Land Pirate Keith, and Nicholas Hammond as executive Sam Wanamaker.
by Steven Craig Hickman
THERE HE WAS, laughing, but in trying to laugh in a more abandoned manner he had become preoccupied with the question of whether there was any difference at all between the burden of futility on the one hand and the burden of scorn on the other as well as with what he was laughing about anyway, because the subject was, uniquely, everything, arising from an everything that was everywhere, and, what was more, if indeed it was everything, arising out of everywhere, it would be difficult enough to decide what it was at, arising out of what, and in any case it wouldn’t be full-hearted laughter, because futility and scorn were what continually oppressed him…
—László Krasznahorkai The Last Wolf & Herman
László Krasznahorkai was born on 5 January 1954, in Gyula, Hungary, to a lawyer and a social security administrator. He studied law and Hungarian language and literature at university, and, after some years as an editor, became a freelance writer. His first novel, Satantango (1985), pushed him to the centre of Hungarian literary life and is still his best known. He didn’t leave Communist Hungary until 1987, when he travelled to West Berlin for a fellowship – and he has lived in a number of countries since, but returning regularly to Hungary.
His main literary hero is, he says, Kafka: “I follow him always.”
Reading Krasznahorkai is like entering one of Kafka’s burrows and realizing there will never be an exit, that the darkness, the bleak walls of dampness, the hollows and interminable false passages leading nowhere is all there is: a labyrinth of endless futility and despair. And, yet, in the midst of this monstrous world of bleakness one begins to laugh, one understands that the deft markers of some strangeness and vision of life within the decay and rottenness harbors an infernal paradise full of something else, an excess: a life unbidden and away. To enter these bleak hollows is to know that life offers no hope, only the power of the mind to challenge itself and explore what is in excess of itself. Even in the most terrible corners of this blasted universe of death we find certain forms of contingent change, moments of clarity and brilliance that catch us off-guard and bring us not hope but rather that surprise we so long for of something new arising out of the pure negativity of all that is. This is what it is like to come upon the works of Krasznahorkai.
His first novel Satantango reviewed in the Guardian. Which it calls “brutal, relentless and so amazingly bleak that it’s often quite funny”. One might be reminded here of Kafka’s Castle where the protagonist wanders around a fortress world that has the flavor of an anti-gnostic gnosis in which nothing is ever revealed yet everything, every object hints at even darker regions below the threshold of our paranoid gaze. If Krasznahorkai is a parodist of strange ideas, a prophet not so much of those hidden recesses of a monstrous universe but of the openness of the human heart to the incompleteness surrounding it, then he is in actuality a gifted martyr of those broken worlds we all inhabit, a guide into the corrupted corridors of our decaying and unraveling universe. Another Stranger in a Strange Land seeking neither solace nor salvation, but rather the powers of mind over the universe of death surrounding it. Crafting words that break the vessels of meaning and bring forth light out of the decay of broken things. Bleak? Only if you do not know how to laugh.
Enter if you dare! His books on Amazon.com: here!