Ranging in scale from tiny projects by one-man development teams to titles with million-dollar production budgets, video games seem much more eager than the literary establishment to borrow and learn from other forms.
Over the course of a year, Maizal collected sound recordings of the wildlife and waterflow of the Andean moorlands under threat from mining, as well as interviews with veterans of anti-mining activism from the pueblo Nangali. The result is an imaginative archive and ambitious cartographic experiment . . .
Separating part and whole, then, is not enough to see parts of the body differently. The individual has to be sidelined, which is exactly what non-protagonist-centered fiction achieves.
Ours is a world on fire, flooded, starved, wounded, violent, and oppressive and at the same time heroic, inventive, resilient, adaptive, beautiful, and endlessly imaginative.
The triangulation of the novel and “fake news” and Werner Herzog’s whole deal signals discomfiting connections between the United States’ current flirtations with authoritarianism and certain notions of artistic freedom.
Just as this ardent, well-honed collection coaxes Mansour’s “molecules of revolt” into jewel-bright, posthumous flares, so may surrealism’s many ambient, alert, electrifying molecules flare up to reverse the annihilating currents of our present moment.
By imagining new worlds and countering Zionist mythologies that deny them their history, Palestinian poets challenge the colonial history into which they have been brutally implicated by the Israeli apartheid regime.
Perhaps, without realizing it, a part of me had begun to wish Pancake’s fame had never grown beyond the depths of the library where I found him, to wish his brutal brilliance was a secret known only within the state borders.