Stein’s process moves in a way that creates an artifice of ambiguity and forms a structure that can reconfigure infinitely. There is a disruptive function to her use of repetition, a disorienting pulse.
To the reading eye, a solid block of text suggests a takeover. It demands immersion. It may not be easy to find your place once you look up from the page. It reminds us of the body’s limits.
Look closely, and all things seem to have been touched by someone’s pain—all things optical, chemical, mechanical. Everything blossoms in destruction, everything is a deathly flower.
Fast-paced political publishing still exists, often a display of the power and potential that lies in thinking big and publishing “small.”
The appeal to love as a revelatory force is at once a familiar rhetorical strategy for galvanizing peninsular unification platforms and a basic generative paradigm for imagining other worlds emotionally.
Without any dogmatic adherence to the collection of conspiracies, QAnon followers often choose which of the individual narratives to follow within the larger collection, a build-your-own history.
The Gaddis I like best to think of is a God-haunted aristocrat. Thrown pearl-clutching into a fallen world, he gathers himself and understands it as his task to recognize what instances of the eternal still obtain, among things melted into air.