Shame (Stop Fucking Aliens) - A leering sex addict can’t stop fucking aliens on a post-apocalyptic Arizona State University campus. All fucked aliens are presented in a pre-Giuliani yet post-apocalyptic Ninth Avenue light.
The Road - Splendid Homeric meaning is imparted in tremendously compressed paragraphs in this post-apocalyptic tale of a hamlet where forty people have always done things differently, until now.
Scenes from the Paramus Park Mall - Giamattiesque tragicomedy strikes a humble post-apocalyptic New Jersey town when a skateboard owed by the son of a tollbooth operator not only gains magical powers, but can be trademarked.
Rudy - Everyone who’s anyone who’s against the 1% boycotts professional and collegiate sports in this major post-apocalyptic fantasy.
A Brook for Joseph Smith - Mitt Romney secludes himself on a verdant bank in this post-apocalyptic sequel to Description of Clairvaux.
Larry Johnson, Going Forward - In this traumatological post-apocalyptic sequel to The Strange Thing About the Johnsons, Larry Johnson breeds with the last chicken standing. And that’s weird because white meat is good for you.
The compact disc. It doesn’t wear out, even if you use it. Terrifying. It’s as though you’d never used it. So it’s as though you didn’t exist. If things don’t get old any more, then that’s because it’s you who are dead.
When it reaches perfection, music technology becomes a dark room, musical delight becomes posthumous delight.
In time, they will no doubt reintroduce acoustic interference and viruses, to provide an illusion of life and wear.
Jean Baudrillard, from Cool Memories II (1987-1990)
“Rights. Of all the words in the dictionary, this word is the most disgraceful, and the word with the most unpleasant connotations. This word is always involved in tales about tragic figures, unfortunate events, gloomy places, and cruel history. It’s a filthy word that should never be mentioned again. The unfortunate thing is, for a very long time in the future, we will continue to hear this most familiar of dirty words coming from completely unfamiliar places.”
In the mid 19th century the lives and deaths of animals would pass mostly unobserved by the majority of the European population, and the new meatpacking industry would embrace a lesson that classical art had long imparted to its audience: represent your victims as if they were taking pleasure, or at least accepting the rationality of their own annihilation. Laughing cows and dancing pigs have ever since decorated signs outside butcher shops and BBQ joints. Meat packages similarly depict the joy of carnage.
Quoted in The Abu Ghraib Effect, Stephen Eisenman
“The cities are full of women, middle-aged widows, husbands dead, husbands who’ve spent their lives making fortunes, working and working. And then they die and leave their money to their wives, their silly wives. And what do the wives do, these useless women? You see them in the hotels, the best hotels, every day by the thousands. Drinking the money, eating the money, losing the money at bridge. Playing all day and all night. Smelling of money. Proud of their jewelry but of nothing else. Horrible, faded, fat, greedy women… Are they human or are they fat, wheezing animals, hmm? And what happens to animals when they get too fat and too old?”