A platform to get your cultural two cents out there.
Everyone knows writers are depressed. As a species we are invariably portrayed as near suicidal heavy drinkers and odd, chronic overthinkers who tug at our hair, howl at the moon, and cover ourselves in proverbial ashes. The world of literary respect seems to honor this heritage by giving critical consideration and praise only to authors who possess a flair for the tragic, and who keep humanity’s dying ember held on their tongues. Happy writing is relegated to the likes of the commercially packaged, pastel drenched Nicholas Sparks or, at best, the demure Jane Austen who insists on a neat and satisfying ending. We all want our light romances to end well, but the preponderance of respected literature is dealt a much heavier hand; serious literature must be serious.
Nostalgia flourishes when the present is cloaked with uncertainty. The album of the month soundtracks one of the year’s best new show: Stranger Things. A duo from Austin have crafted a score so enchanting that the finished product can stand on its own and be enjoyed if you have not yet discovered Netflix’s little gem. Both the show and music are fandom ecstasy. The soundtrack smartly sticks to three clear influences: John Carpenter scores, B–Horror movie ambience and glorious cheesy 80s synths. Fans of the show have something to hold them over until season two.
On Sept. 9th, The Wild Detectives will host the Wordspace sponsored Utopian Fantasies event, featuring rapper Fidel, filmmaker Michael A. Morris, and writers Lee Escobedo and Patrick Patterson-Carroll. Curated by Randall Garrett, it will be the second of nine multimedia art events for the Utopia/Paradise themed Freefall Festival beginning Sept. 8th and ending on Dec. 17th.
A recent study concluded that college students prefer paper to e-books at an alarming rate, almost nine to one. Does our preference for paper sound the death knell of e-books? Or have e-books simply failed to live up to their potential? In this writer’s opinion, we may interpret the successes, and shortcomings, of e-books by understanding simply that the way which we consume literature, its method of delivery, can be as important as the words themselves.
Some of us felt something close to an existential emptiness after we finished watching The Wire’s finale. It was so rich and stimulating that it seemed almost impossible to find something slightly close to that level of entertainment.
Marvin Gaye’s What’s Going On is a spiritual heartbreaking haunting plea for change. America is on fire. Civil conversations have turned into shout fests, nonsense fueled with self-serving agendas. Some politicians seem to blame everyone but themselves. How much unnecessary bloodshed and loss do we need to go through for things to change? Bullet shells and tears are flooding the streets. What’s Going On is more relevant than ever. Sadly the issues being addressed within the record are clear and present in 2016.
Mid 90’s, grunge, Deep Ellum. It’s been almost two years since the punk-obsessed teen Nathan developed his unlikely crush on Vanessa, the daughter of a local Baptist preacher. Now, in the midst of producing his first low budget zombie film, his young love has just returned from a mysterious freshman year of college giving him a chance to revive their relationship. But Nate has only a few days to rush in before she leaves yet again, for a summer-long backpacking adventure through Europe. Can he reconcile the conservative values of her father—who became something of a father to him as well—with the exciting attitudes of his stage-diving, cop-trouncing companions? And who can possibly resist the charms of their neon-haired, pill-popping friend Roxy, as cutely endearing as she is dangerous? Read the rest at Jukepop and help me win the contest and get this work published by remembering to vote for each chapter!
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