Capitulation

This happened to me on that fateful day.

If you’ve ever sat in a university coffee shop during an exam period, then you know that they are prime examples of how land, and space, is not a God-given right.

For example: at the University of Tennessee’s Hodge’s Library, the Starbucks is the go-to place for meeting up with study groups. And, since humans are social animals, study groups may be defined as, “A group of ten people, two of whom are doing any sort of work, crammed around a very small table.” The Starbucks on campus had two types of seating: typical Starbucks tables–the small sorts of thing where even two people feel crammed together–and these incredibly comfortable leather recliners.

For the individual studier–like me–the two leather recliners were the best thing on the planet Earth. They had the feeling of being at home, but with all the environs of a sort of place where, if you weren’t doing any work, you’d feel guilty. (That, of course, didn’t stop me from people watching around 75% of the time I managed to snag a chair and their glorious ottoman counterparts.) More importantly, they were one of the few places where you could feel comfortable grabbing a cat nap in the library.

And, by and large, the people at Hodge’s kept to the rule that the recliners were to be used by one or two people at the most, but, from time to time, you’d get groups who came in and completely ignored this unwritten etiquette. From what I could tell, they were usually business students. No judgment there; I’m just making an observation. They’d trickle in, intent on working on their presentations for whatever Business Admin class that week, and then, slowly, spreading like a cancer, take over the leather recliners.

One day, as I sat in Hodges, working on an assignment for a literature class, the group trickled in and, rather than doing anything about it, I wrote this passive aggressive piece of short fiction.

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Dada

Dada

DIE KUNST IST TOT! DADA UBER ALLES!

So.

When I was going through my undergrad at UTK, I kept running across Romantic poetry. At the time, I couldn’t stand the stuff. It was dull, it lacked life, joy, a certain music that played in the background against the words. I can’t quite pin it down, but there was definitely something in there that I just couldn’t jive to. Every line would end and I’d feel my eyes unfocus. I’d start people watching without realizing I was doing it. At the end of the poem, I’d realize that I hadn’t read anything, and I’d have to go and do the whole damn thing again.

And then, I discovered Dadaism. The absolute maddest thing on the face of the planet. Everything about it made me want to jump up and shout, “Yes!” like a character from a Jack Kerouac book. Of course, as tends to happen, we only read a couple of them and then went on to Samuel Beckett. (Which, for the record, I also got a rise out of.) But, in my opinion, there’s no real comparison. I wrote a flash fiction (micro-fiction?) piece about it. It’s untitled, but I’d have to call it “Dada” if nothing else.

For more information about the best thing ever, check out the manifesto or, perhaps, another manifesto, this time on Surrealism.

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Why Deadpool is Great, or, Aaron Tries to be Michael Chabon

This guy is the way forward.

I recently read Maps and Legends by Michael Chabon. The book is a series of essays on genre fiction, and how that’s not a dirty thing. A couple of the essays (“Kids’ Stuff” and “The Killer Hook: Howard Chaykin’s American Flagg!”) deal specifically with comics, and Chabon—a geek if I’ve ever read one—has a whole hell of a lot to say about comics as entertainment as literature. More said from more experience than I have. So, what I’m going to do is something slightly different.

I don’t think there’s a single person I know who takes comics as seriously as the clichéd comic book nerd. Even my most comic-ridden friend can take the piss out of the institution. (Usually directed at Marvel’s Stan Lee, fist in the air, shouting, “Gamma rays!” “Radioactive spiders!” and “Excelsior!” in a saliva-ridden voice.) That said, those friends of mine who have read graphic novels or comic books will tell you that there is vast potential for the genre to be just as literary as, say, 1984—largely thanks to that crazy man, Alan Moore. With the growing amount of films adapted from graphic novels and long-running comic series, the art form is entering the mainstream, but there are still plenty of things that scare off the normal folk from going into a comic book store and picking up an issue of a major title. So, in a roundabout way that’ll eventually lead us to what the title of this thing is talking about, I’m going to give my thoughts on why this is.

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