PeoplePeople
American Museum of Natural History, 1990 by Tetman Callis
Give war a chanceGive war a chance
“Pre-emption is among the most important philosophical and strategic underpinnings for counterinsurgency (COIN) doctrine, and after years of being honed in Fallujah and Kandahar, COIN has been imported to the West, where it compliments the growing militarization of law enforcement and the transformation of local police forces into hybrid paramilitary-intelligence organizations.” — Jacob Silverman, “City Under Siege”
PlacesPlaces
Manhattan at Night, 1990 by Tetman Callis
Reckoning on a reckoningReckoning on a reckoning
“What history can do is show that people have to take responsibility for what they activate out of their tradition. It’s not just a given thing one slavishly follows. You have to be accountable.” — Karen King, quoted by Ariel Sabar in “The Inside Story of a Controversial New Text About Jesus”
PlacesPlaces
Manhattan at Night, 1990 by Tetman Callis
But what would we read?But what would we read?
“Our species would go a long way toward full maturation if more writers and critics would declare zero tolerance for every book that insults the intellect with bathos and debases language with bromides.” William Giraldi, “Letter to a Young Critic”
PlacesPlaces
Manhattan at Night, 1990 by Tetman Callis
Truth be toldTruth be told
“Language doesn’t lie. A cliché can’t hide itself. Platitudes can’t pretend to be meaningful. Solecisms can’t convince you they are something else. Easy verbs and indolent adjectives will never have potency. An assault of the quotidian will never be intellectually charismatic. You can’t dress up sentimentality as emotional truth. No amount of rouge will ever camouflage rhetoric and sophistry. Propaganda and dogma will always reek of immorality. Defenders of the middling and bland might try to counter with the tired retort, ‘He’s not a good writer but he’s a good storyteller,’ which is rather like saying, ‘His food tastes like shit but he’s a good cook.’ Is he not telling the story with sentences? If the sentences are broken how does the story work?” — William Giraldi, “Letter to a Young Critic”
PlacesPlaces
Manhattan at Night, 1990 by Tetman Callis
To tell the truthTo tell the truth
“The problem isn’t that MFA programs homogenize fiction, or that they churn out novelists the way Detroit churns out automobiles, but that they make publication seem like every writer’s apotheosis. The publication of a book doesn’t ipso facto turn the author into an artist—the book’s mind and language have to be original and bold. Literature isn’t a children’s foot race; you don’t a get a medal simply for participating. MFA programs are useful because they allow what every writer needs most: time. But they can be poisonous in their system of false approval—a completely truthful instructor, herself fresh from an MFA, won’t stay employed very long—and in the outsized expectations they foster in their flocks.” — William Giraldi, “Letter to a Young Critic”
PlacesPlaces
Manhattan at Night, 1990 by Tetman Callis
Mammon!Mammon!
“At that time [1849] so demoralizing was the effect of the gold-mines that everybody not in the military service justified desertion, because a soldier, if free, could earn more money in a day than he received per month. Not only did soldiers and sailors desert, but captains and masters of ships actually abandoned their vessels and cargoes to try their luck at the mines. Preachers and professors forgot their creeds and took to trade, and even to keeping gambling-houses.” — William Tecumseh Sherman, “Early Recollections of California,” from Memoirs of General W. T. Sherman
PlacesPlaces
Lower Manhattan from Brooklyn, 1990 by Tetman Callis
Gotta git awayGotta git away
“To live on a day-to-day basis is insufficient for human beings; we need to transcend, transport, escape; we need meaning, understanding, and explanation; we need to see over-all patterns in our lives. We need hope, the sense of a future. And we need freedom (or, at least, the illusion of freedom) to get beyond ourselves, whether with telescopes and microscopes and our ever-burgeoning technology, or in states of mind that allow us to travel to other worlds, to rise above our immediate surroundings. We may seek, too, a relaxing of inhibitions that makes it easier to bond with each other, or transports that make our consciousness of time and mortality easier to bear. We seek a holiday from our inner and outer restrictions, a more intense sense of the here and now, the beauty and value of the world we live in.” – Oliver Sacks, “Altered States”
PlacesPlaces
30 Rock, 1990 by Tetman Callis
Getting it in writingGetting it in writing
“Before the 1770s, the idea of a magical document that ‘constituted’ your government, state, and politics—the idea that all laws and governmental authority would have to refer back to a single document, a single code—was almost as surprising as the idea that independence was something you could just speak into existence, declare. Pretty much all the other governments in the world lacked any pretense of representing the will of their people; the king was the king because he was the king, and because Fuck You, and also maybe because of the Bible. But mostly he was the king because he had all these guys with swords and guns and horses that would come to your house and burn it down and murder you.” — Aaron Bady, “Dumb Computers, Smart Cops” (emphasis in original)
PlacesPlaces
Nightclub, 1981 by Tetman Callis
Jump, jump, to the ones who came firstJump, jump, to the ones who came first
Pas auf!Pas auf!
“Most of the time, we try to tell ourselves ‘I’m confident’ or ‘I’m doing well.’ But then, in a moment alone at home, you feel how close you are to some kind of abyss.” – Christian Tetzlaff (quoted by Jeremy Eichler in “String Theorist”)
PlacesPlaces
Santa Teresa, New Mexico, 1985 by Tetman Callis
Oh, say… can you see?Oh, say… can you see?
“The relationship between war and literature is an old one, maybe even constitutive for literature. The re-creation of a traumatic past through fiction – though this does not represent reality as it was – can have a powerful impact on people and their memory, often a much stronger impact than historiography.” — Igor Stiks (quoted by Spela Mocnik in Asymptote)
PeoplePeople
Tom and Debbie, 1974 by Tetman Callis
In the shadow of the greatsIn the shadow of the greats
“The past has many uses, and one of them is to inspire the present. People in any profession like to create an imaginary past, populated by the Ones Who Came Before. Sometimes, we figure these people to be narrow-minded fools and feel motivated to demonstrate our own superior tolerance and sophistication. More honorably, if not necessarily more accurately, we imagine our predecessors as nobler or braver than our small and anxious selves—as men and women who stuck up for principle and, by their righteousness, moved the world.” – Louis Menand, “Seeing It Now”
PlacesPlaces
El Paso, 1979 by Tetman Callis
Eat only happy animalsEat only happy animals
“Chickens and cows exist because we eat them. If we didn’t eat them they probably wouldn’t be here, at least in the same numbers. I don’t think humans are going to stop eating other animals any time soon, and I don’t think they should. But the system as it exists is sick and broken and nobody should be eating a distraught, unhappy, abused animal. We are literally making ourselves ill with them. One way that I see that a lot is when it comes to the emotional lives of captive animals or animals trapped inside the fur or meat industries. I think that’s unconscionable. But I don’t think that means we need to stop eating meat or wearing leather, instead we need to completely reevaluate the process, and there are so many great minds doing that right now. It may mean that we can’t wear leather or eat meat at the scale or in the ways we do now.” – Laurel Braitman (from Malcolm Harris interview in The New Inquiry)
PlacesPlaces
El Paso, 1980 by Tetman Callis
In fear and trembling they governIn fear and trembling they govern
“Governments fear their people. They fear we will exercise our power to change them, and they fear we will panic. The first is a realistic if undemocratic fear, since changing them is our right; the second is a self-aggrandising fantasy in which attempts to alter the status quo are seen as madness, hysteria, mob rule. They often assume that we can’t handle the data in a crisis, and so prefer to withhold crucial information, as the Pennsylvania government did in 1979 at the time of the Three Mile Island partial nuclear meltdown, and the Soviet government did during the Chernobyl meltdown in 1986. Panic is what you see in disaster movies, where people run about doing foolish things, impeding evacuation and rescue, behaving like sheep. But governments and officials are not very good shepherds. During the massacre at Virginia Tech in 2007, the university authorities locked down the administrative offices and warned their own families, while withholding information from the campus community. The Bush administration lied about the toxicity of the air near Ground Zero in New York after 9/11, putting hundreds of thousands of people at risk for the sake of a good PR front and a brisk return to business as usual. Disasters often crack open fissures between government and civil society.” — Rebecca Solnit, “Diary: In Fukushima”
PlacesPlaces
El Paso, 1979 by Tetman Callis
Wandering in the WoodsWandering in the Woods
“The writing impulse seeks its own level and isn’t always given a chance to find it. You can’t make up your mind in a Comp Lit class that you’re going to be a Russian novelist. Or even an American novelist. Or a poet. Young writers find out what kinds of writers they are by experiment. If they choose from the outset to practice exclusively a form of writing because it is praised in the classroom or otherwise carries appealing prestige, they are vastly increasing the risk inherent in taking up writing in the first place. It is so easy to misjudge yourself and get stuck in the wrong genre. You avoid that, early on, by writing in every genre. If you are telling yourself you’re a poet, write poems. Write a lot of poems. If fewer than one work out, throw them all away; you’re not a poet. Maybe you’re a novelist. You won’t know until you have written several novels.” — John McPhee, “Editors & Publisher”
PlacesPlaces
El Paso, 1973 by Tetman Callis