to Hive being
welcome
What is Hive Being, and Why the Name?
You have likely heard talk of a hive mind, where one global mind finds more or less figurative expression in various local minds. Such talk is common enough in nature documentaries, especially ones concerning ants or bees, and in sci-fi programs. Take that notion, at least a loose version of it, and broaden its scope. That will be a decent first step in understanding the title I have chosen both for my Blog and for the first five-volume installment of my magnum opus Made For You and Me, a fragmentary collection of minimalist stanzas from 2016 to 2020.
In alignment with Spinoza (the 17th Century Rationalist to whom I devoted my doctoral studies), I view reality in its totality as a grand hive Being: all entities are but pulsating manifestations of the buckstopping fount of everything, an ultimate being we might call “God” or “Nature” (so long as, out of respect for the capital “G” and the capital “N,” we limit it neither to some anthropomorphic cloud father hurling lightning bolts nor to mere wilderness untouched by human smog). According to the hive-Being view (where reality is one lone superorganism, a monistic—and we might even say unividualist—conception I defend in both my creative and academic capacities), each non-foundational being (each being, that is, whose essence does not involve existence) is an utterly necessitated expression or eruption or exudation of this eternal source—each is, perhaps better put, a mode or manner of being, and so a focal point through which is disclosed, what classical theists sometimes call “being itself” (ipsum esse subsistens): the realness of the real, the being of whatever may be, the sheer activity of being, the very isness of whatever is. This Blog, which duplicates my Substack, throbs as but one among many literary unfurlings of this self-necessitated foundation, this supreme wellspring, of which we—like black holes and broken beliefs, like fractal ferns and flickering flames—are the inevitable stylings.
My Journey
I am an academic who found himself pressured into early retirement by the rising tides of cancel culture. The illiberal scourge of censoring, silencing, and shaming—although always with us throughout our evolution—reached a local peak around 2021. That was the turbulent year my creative pursuits, which the old left once encouraged as a healthy outlet for the stresses of a childhood steeped in poverty and illiteracy, drew the ire of the new safe-space left. A small cadre of self-proclaimed victims and their allies, several of whom continue to berate me years later under pseudonyms as see through as their sexual infatuation, sought to erase me and my heterodoxy. They found support from a wannabe-woke dean, covered in the grand inquisitor robes of our decadent modernity (full-body tattoos) and just itching to signal his commitment to protecting “vulnerable populations” from triggering material (even if just, as it was in my case, off-duty poems “unbecoming for someone calling himself a teacher”). Although I eventually won my due-process case with the help of The Foundation for Individual Rights and Expression, I slunk away from a college that turned its back on protecting freedom of expression and from an institution increasingly intolerant of intellectual diversity.
The wrecking ball to my too-comfy office in the windowless ivory tower came with a silver lining. From the ashes of my professional aspirations rose a phoenix of increased freedom to fulfill the literary calling I have pursued for decades. Reputation concerns never stopped me, even within academia’s sterile halls of conformity. Indeed, my unapologetic defiance, which has long baffled friends and family, no doubt chummed even safe waters—almost as if I were asking for it all along—until the cancel shiver grew too frenzied to hold back its blind thrashings. But now, now I piston the most forbidden territories of human thought with no longer even a twinge of conscience. The newfound freedom means extra time to hone my craft. When not assisting special-needs communities (a day job far more rewarding than freeway-flyer drudgeries), I pursue my literary mission with Dionysian fervor.
Call for Co-Conspirators
This space, my digital sanctuary, showcases the fruits of my mission. Think of my posts, even those linking to my publications, as works in progress. I want your input, unflinching brutality included. Each post begins with an invitation to action: “Let’s workshop this [draft about x, y, z].” Your contributions, whether through public comments or my contact page, help hammer scraps of ore into polished blades fit for magazine publication.
Your input is valuable, even if you are neither a writer nor a reader of literature—twin disciplines dying by the cyber nanosecond. Sometimes—even if at the risk of uttering banalities—an outsider’s fresh vantage can pierce the veils of convention to reveal what insiders miss. It often takes an outsider to make us even think to question our ingrained presuppositions and attitudes. I stand by the hygienic value of contagion. That is one reason I advocate so strongly for intellectual diversity and freedom of expression. And that is also one reason I was so harrowed by the anti-diversity swell of cancel culture in academia (an institution that should be the utmost caretaker of such values)—harrowed especially insofar as that swell masqueraded under the gaslighting guise of “diversity”).
You will witness the breathing evolution of my writings over time. To track these changes, I label each revision by round: “ROUND 2,” ROUND 3,” and so forth. Each piece undergoes continuous refinement based on your feedback and my own revisitations. Sometimes changes will mar the work. That is the risk of creative tinkering as a finite creature. I hope you will alert me to missteps. After many semesters of university writing workshops, one rule has impressed itself upon me: when someone senses a flaw, something almost always needs to change—even if, yes, the proposed solution misses the mark (which often it does). From a quick look into the archives, accessible here, you can see how much I have benefited from your feedback so far.
My Hope
Sharing drafts can be daunting. But showing you the ravaged and unperfumed real deal unfiltered by makeup (stuttering starts and falsities, awkward line breaks and clumsy word choices, grammatical errors and misspellings)—that not only makes my work more relatable, but helps me refine things through your input. I hope the unfiltered look at the raw process of fumbling, rather than just the polished product, also helps other writers develop their craft. Imperfect works often instruct more than perfect ones: whereas the perfect ones tend to have a grace by which they slip inside us without activating our scrutiny, the imperfect ones—especially the near perfect ones—show us glaringly what not to do.
People laugh at me, seeing—in my tilting at the windmills of literary excellence—a Don Quixote clunking around in Arthurian armor in a post-knight era. I am not naïve. I am well aware of the diminishing ability to read, let alone well: slowly and deeply, with gratitude. I am also aware that my style, which often nests subpoints within larger points, never waters down virtuosity for the sake of mass appeal. I watch readers stumble over my sentences, unable to unlock even just the music of the envelope let alone the semantic meat within, which—given my tendency to flashlight through the darker facets of human nature (the addicts, the miscreants, the abusers among us)—only adds an additional alienating layer of difficulty). Beholding these depressive scenes of even supportive family members getting bucked off my syntactic bronco makes me feel like a dinosaur who should get a hint and, if not succumb to the brain rot of skibidi-toilet speak, just hang himself already. Even though the decline in linguistic background and grammatical voltage makes my compositions seem quixotic in a world binging Netflix and TikTok, I persist—raging against the dying of the light—by some internal compulsion to celebrate the richness of language and thought.
My hope is that, despite social media’s unparalleled power to farm our attention, people never forget the unique power of writing. Beyond unveiling hypocrisy, teasing out complex implications, and detailing the commonalities between even the most alien phenomena, writing offers something we need today—trapped in agoraphobic cyber bubbles only thickened by the Lyme dangers of forests and the COVID dangers of cities—perhaps more than ever. Granting us rich access to the first-person perspectives of others (to how things feel to them), writing serves as one of humanity’s best tools for combating loneliness. It allows us to linger, broadly and deeply and at high resolution, within the inner lives of others in a way that other arts can only suggest.
What to Expect
My work spans a broad spectrum: from metaphysical discourses on free will and determinism and the ontology of holes to the ephemera of western culture (whether the childhood impacts of the hypersexual mono-image of black woman as squirting twerkers or Terrence Howard’s sham revolution of mathematics). Some tight and minimal, others free-flowing sprawls; some heady and abstract, others emotional and imagistic—my inkwell musings, which often blend scholarly rigor with a dark humor from both high and low culture, aim to capture the visceral intensity of our personal and social and ultimately existential predicaments.
By no means can I deny that drug abuse, sexual assault, and the tales of the broken and the damned loom large in the tag cloud of my work. My writing will never be a paradise of easy truths and comforting lies. It will challenge you, provoke you, and at times even repulse you. I offer no apologies for the monsters I unleash. They are as much a part of us, at long root scared rodent mammals scurrying in the shadows of dinosaurs, as our noblest aspirations.
But make no mistake. It is not all downer darkness. The archives are my receipts. You will find pieces exploring the pursuit of authenticity in a media-saturated world, the search for meaning in an indifferent cosmos, and the celebration of beauty in both the sublime and the profane. I locate much of my inspiration, in fact, in novelists like Dostoevsky and poets like Ted Kooser—writers unafraid to pursue moral agendas or risk Hallmark sentimentality in an age that often sneers at sincerity.
Be they satirical dissections of modern social dynamics or poignant poems about addiction or academic articles on moral responsibility, my goal is to provoke thought, evoke emotion, and foster meaningful dialogue. Fear has not and will not stop me from challenging humanity’s fundamental taboos (like bestiality and cannibalism) or self-reflecting into the dark chaos of the subconscious, even if that means exposing the Jungian shadows—the inner Goebbels—lurking within us all!
Expect posts each day, no day missed. Donations are welcome, but I impose no paywall: it feels wrong to charge for art, especially given our date with obliteration. Feel free to explore what amounts to, at the time of writing this, close to a thousand pieces of poetry and prose here. That should give you a sense of what awaits.
Join me—specula holstered—on this literary odyssey into the public and private nooks of the hive Being. Let us navigate the labyrinth of creation together, confronting our demons and even slaying our darlings if we must. Let us dance on the razor’s edge between the sublime and the profane in pursuit of an elusive literary perfection never to be confused—as it has been confused in our declining civilization—with the pursuit of popularity or likeability over truth.
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Posts
MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 43)
In this collection of fragmentary thoughts, "You Had to Have Jordans in School" reflects a chorus of voices entangled with loss, identity, and human fallibility. The fragments carry a raw immediacy, and their scope ranges from childhood insecurities to adult struggles with addiction, societal expectations, and existential dread. A recurring theme is how the human psyche navigates the tension between desire and restraint, often through complex mechanisms of projection, repression, and rationalization. By interweaving these distinct but connected vignettes, the piece crafts an overarching narrative on the ways we handle the pains and pressures that accumulate over a lifetime.
Many fragments examine compulsive or destructive behaviors as mechanisms of coping or identity reinforcement, from self-destructive relationships and addictions to a mother's internalized shame projected onto her daughter. This psychological mirroring is vividly encapsulated in lines like “estranged from friends and employment, what more reliable comfort for the troubles—even if ushered in by the drug—than the drug itself?” Here, the addiction itself becomes both the cause and the cure of alienation, illustrating the cyclical nature of dependence and the craving for relief within a state of deprivation.
Several of the fragments speak to the need for validation and belonging. The impulse to maintain appearances, avoid confrontation, or adopt a group identity despite personal ambivalence is shown through lines like “he alienates others to prove his alienation,” or the sardonic depiction of a funeral as “the only time they could all get along, but even here only if it had been one of them dead.” This ironic observation implies a pervasive struggle to achieve genuine connection in a culture that often prioritizes performance or decorum over authenticity, whether through social façades or token gestures of solidarity.
The work also delves into taboo topics, using the body and the senses as vehicles for vulnerability and disillusionment. Images of compulsive behaviors and existential reckoning—such as a mother’s desperation to shield her daughter from perceived moral peril or the fearful hesitation before an AIDS test—reveal the darker facets of intimacy, where love, shame, and duty intertwine uncomfortably. The text suggests that these internal conflicts are universally experienced but often publicly suppressed, amplifying the isolation and pain they cause.
Finally, the piece employs ritualistic imagery to hint at how humans seek control over the chaotic aspects of life. Rituals are invoked as means to placate fears, as seen in phrases like “conjure into reality, through ritual, what you are afraid about: cancer stress, repulsive jealousy, or so on,” evoking an almost primal need to stave off misfortune or catastrophe. By framing rituals as grounded in psychological necessity, the text juxtaposes them with fleeting, artificial consolations like drugs, highlighting the human tendency to seek grounding in a reality that often feels as fragile as the rituals themselves.
identity, addiction, repression, human frailty, ritual, psychological conflict, coping mechanisms, societal expectations, existential dread, compulsive behavior, isolation, cultural pressures, vulnerability, belonging, taboo
MADE FOR YOU AND ME 2: hive Being (Stanzas 2017--part 42)
This compilation of fragmented musings and observations draws upon various aspects of contemporary life, touching on the human condition, societal values, and the often absurd or grotesque ways we confront mortality, identity, and interpersonal relationships. Each vignette, while brief, offers a glimpse into a range of experiences, from addiction and self-destruction to social and existential commentary. The poems move between personal and collective reflections, revealing the complexities of human psychology, the tensions between societal expectations, and the inner workings of individuals who struggle with the realities of existence.
The recurring motif of addiction, both in its literal and metaphorical forms, is one of the central themes of the piece. Addiction is not limited to substances but extends to self-perception, identity formation, and the ways we navigate societal roles. Lines such as "no longer able to tell herself with any shred of persuasion that she can quit" illustrate the overwhelming sense of inevitability in the face of addiction's grip. There is also a clear critique of societal norms and institutions, as seen in references to "self-help books" and "curated digital identities," pointing to the artificiality and performance required to maintain a semblance of order in chaotic lives.
The use of humor and irony throughout the text serves as a coping mechanism, a way to mitigate the harshness of the observations made. For instance, the line about "organic panhandler conventions under night overpasses" reflects a satirical take on identity politics and societal shifts in discourse around gender and social justice. Similarly, the commentary on religion and belief, such as the claim that a "God who prioritizes belief over good deeds is a false god," underlines the inherent contradictions in certain theological or ideological stances. The poems oscillate between bleak existential truths and moments of dark humor, reflecting a nuanced understanding of both despair and resilience.
Themes of isolation and connection also pervade the work. The desire for belonging, whether in familial relationships, romantic partnerships, or within societal constructs, is palpable. Yet, the poems frequently reveal the fragility and failure of these connections, emphasizing the alienation that accompanies modern life. The “boredom displayed by a child,” or the laughter at "pathetic lunges at significance," points to an overarching sense of disillusionment and the search for meaning in a world that offers no easy answers.
Ultimately, this compilation of insights reflects on the contradictions and complexities of human experience. It exposes the insecurities, addictions, and absurdities of life, while also acknowledging the yearning for connection, meaning, and significance. In its fragmented and often disjointed form, the text mirrors the disarray of the lives it portrays, leaving the reader with a sense of both unease and recognition.
addiction, societal norms, alienation, existentialism, identity formation, human condition, satire, dark humor, religion, self-deception, modern life, isolation, interpersonal relationships, addiction recovery, societal critique.
Cram Session
“Cram Session" delves into the complex dynamics of online interactions, personal insecurities, and the pressures of contemporary social engagement. The poem offers a brief yet incisive glimpse into the protagonist's mental and emotional state as he grapples with his intention to connect with a digital acquaintance under the veil of secrecy from his spouse.
The title "Cram Session" sets the tone, suggesting a hurried, pressured attempt to absorb or perform, much like a student preparing last-minute for an exam. This metaphor extends to the protagonist's plan to cold call his DM (direct message) pal, implying a rushed and somewhat desperate attempt to establish a connection or to fulfill a social obligation.
The protagonist's decision to call while his wife showers highlights a clandestine nature to his actions. This secrecy adds a layer of tension and guilt, suggesting that his motivations might not be entirely pure or that he fears judgment from his spouse. The act of "cold calling" someone he knows only through digital interactions underscores the impersonal and awkward nature of such connections, emphasizing the artificiality and uncertainty inherent in online relationships.
The poem's focus on the protagonist's intention "just to praise her brave tweet" brings forth the theme of social validation. In the age of social media, where affirmations and likes often substitute for meaningful interactions, the protagonist's desire to praise the tweet can be seen as an attempt to gain favor or to participate in the performative aspect of digital culture. This desire to praise, however, is undercut by his inability to recall the specific content of the tweet, exposing the superficiality of his engagement. He remembers it as "brave" and "controversial," but these descriptors are vague and reveal more about the social currency of controversy and bravery than about the actual substance of the tweet.
The protagonist's anxiety is further amplified by his "what-if worries of pressure to spell out the praise." This line captures the fear of being exposed as insincere or uninformed. The pressure to articulate specific praise highlights the fragility of online interactions, where one's value and sincerity are constantly scrutinized. The protagonist's realization that he cannot remember her point "beyond it being controversial" underscores the performative nature of his praise. It suggests that what matters in digital interactions is not the depth of understanding or genuine engagement, but rather the adherence to social norms of validation and support.
The poem subtly critiques the performative aspects of social media, where interactions are often reduced to superficial affirmations and where controversy itself becomes a marker of value. The protagonist's internal struggle and the resulting inarticulateness reflect a broader societal issue: the challenge of maintaining genuine connections and meaningful discourse in an increasingly digital and performative world.
online interactions, social media critique, personal insecurities, digital relationships, performative praise, social validation, superficial engagement, contemporary social dynamics, mental and emotional state, secrecy, artificial connections, meaningful discourse.
Hive Being About Page
"Welcome to Hive Being: M. A. Istvan Jr.'s Academic and Creative Writing" introduces readers to the intricate and profound literary world of Michael Anthony Istvan Jr. The name "Hive Being" draws from Spinoza's philosophical framework, presenting reality as a unified organism where every entity is a necessary manifestation of the ultimate being—whether termed "God" or "Nature." This conceptual foundation informs Istvan's expansive body of work, encompassing both academic and creative endeavors. His literary journey is marked by resilience in the face of cancel culture, a phenomenon that pressured him into early retirement but also granted him the freedom to pursue his craft with unbridled passion.
The narrative describes how Istvan's unapologetic defiance and commitment to intellectual freedom often placed him at odds with the safe-space ideologies permeating modern academia. Despite winning a due-process case with the help of The Foundation for Individual Rights and Expression, he chose to distance himself from an increasingly intolerant institution, redirecting his energies towards more rewarding and creative pursuits. His Substack serves as a digital sanctuary for his diverse writings, inviting readers to engage with and critique his evolving work.
Istvan's call for co-conspirators emphasizes the importance of diverse perspectives in refining his work. He welcomes input from both insiders and outsiders, valuing fresh viewpoints that challenge conventions and reveal overlooked insights. His commitment to continuous refinement is evident in his practice of labeling each revision by round, encouraging readers to witness and contribute to the evolution of his pieces.
Sharing drafts publicly, Istvan highlights, serves not only as a means for personal growth but also as an educational tool for other writers. By exposing the raw, unpolished stages of his work, he hopes to offer relatable insights into the creative process, illustrating that imperfection often teaches more than perfection. Despite the challenges posed by the decline in linguistic and literary engagement, Istvan remains driven by an internal compulsion to celebrate the richness of language and thought.
The introduction culminates in a declaration of Istvan's hope for writing's enduring power. In a world increasingly dominated by fleeting digital distractions, he underscores writing's unique ability to combat loneliness by providing rich, first-person perspectives. His work spans a broad spectrum, from metaphysical discourses to critiques of Western culture, blending scholarly rigor with dark humor. While his themes often delve into the darker facets of human nature, Istvan also draws inspiration from writers unafraid to pursue moral agendas and sincerity.
The narrative assures readers of a regular stream of content, emphasizing the absence of a paywall to keep art accessible. With nearly a thousand pieces available at the time of writing, Istvan invites readers to explore his extensive archive. He concludes with a representative poem, inviting readers to join him on a literary journey through the public and private nooks of the hive Being.
Michael Anthony Istvan Jr., Hive Being, Spinoza, academic writing, creative writing, cancel culture, intellectual freedom, literary journey, resilience, metaphysical discourse, Western culture critique, literary odyssey, public engagement, continuous refinement, Substack, literary sanctuary.
Morse Code of Distress
Morse Code of Distress is a concise, evocative poem that captures the turmoil and desperation of a young boy. It highlights his compulsive need to scrape a concealed weapon against the rough textures of the urban environment. This act, set against the twilight backdrop, symbolizes his search for a decisive action that could end his life, a life from which he feels trapped and unable to escape on his own. The poem powerfully conveys themes of distress, compulsion, and the silent cries for help through the boy's actions.
White Supremacy on Its Deathbed
"White Supremacy on Its Deathbed" is a bold and confrontational work that challenges the mainstream antiracist movement and its implications for black empowerment. Through a mix of lyrical prose, scholarly critique, satire, and polemic, the author seeks to expose the paradoxical harms inflicted by well-intentioned but misguided efforts to dismantle white supremacy.
The book argues that the contemporary antiracist movement, exemplified by figures like Robin DiAngelo and Ibram X. Kendi, promotes an ideology that, while purporting to empower black Americans, ultimately infantilizes and debilitates them. This movement, according to the author, fosters a narrative of perpetual victimhood and helplessness among black people, which reinforces negative stereotypes and undermines genuine progress. By insisting on the omnipresence of white supremacy in every aspect of society—from everyday interactions to cultural and intellectual achievements—the antiracist movement inadvertently perpetuates the very divisions it seeks to eliminate.
The author critiques the tendency to attribute all disparities in health, education, and crime to systemic racism, while dismissing the role of personal responsibility and cultural factors. This approach, the book contends, not only demoralizes black individuals by suggesting that their fate is entirely dictated by external forces but also fuels racial tensions by framing white people as inherently oppressive and black people as inherently oppressed.
One of the central theses is that the antiracist movement's focus on symbolic gestures and emotional catharsis, rather than practical solutions, fails to address the root causes of inequality. The book criticizes the movement for promoting a form of racial essentialism that mirrors the very racism it opposes, creating racial affinity groups and encouraging a hyper-awareness of racial identity that can lead to further segregation and mistrust.
The book also delves into the economic and social incentives that drive the racism-training industry. It argues that this industry profits from sensationalizing race issues and fostering a culture of fear and division, thereby ensuring a constant demand for its services. The author suggests that this dynamic not only distracts from substantive policy discussions but also perpetuates a cycle of dependency and resentment.
Throughout the book, the author uses a combination of personal anecdotes, historical analysis, and cultural critique to make the case that the current approach to antiracism is counterproductive. By portraying black Americans as fragile and in need of constant protection, the movement undermines their agency and dignity. The author advocates for a shift towards a more empowering narrative that emphasizes resilience, personal responsibility, and a commitment to universal principles of merit and equality.
In essence, "White Supremacy on Its Deathbed" challenges readers to reconsider the dominant narratives around race and to recognize the complex, often unintended consequences of well-meaning but ultimately flawed antiracist strategies. It calls for a more nuanced and constructive approach to addressing racial disparities, one that respects the individuality and capability of black Americans while fostering genuine dialogue and understanding across racial lines.
An Olive Branch to the Cancelers
**An Olive Branch to the Cancelers** is a nuanced and provocative essay that addresses the complex interplay between free expression and the impulse to cancel unsettling art and ideas. The essay seeks to empathize with those who believe in canceling problematic content while proposing a solution that honors both the value of free expression and the dangers it can pose.
The essay begins by acknowledging that even the most well-intentioned cancelers of divergent art and thought, those who believe they are protecting vulnerable groups, have a point. They genuinely feel that their actions are just, even if they resort to extreme measures like censoring, shaming, and destroying the careers of artists and thinkers. This perspective is driven by a belief that unsettling art and ideas can cause real harm to certain groups, and that any length of cruelty against creators is justified to protect these groups.
The essay then delves into the genuine risks posed by artists and thinkers. These individuals hold up a mirror to society, revealing uncomfortable truths and challenging cherished beliefs. The reflections they present can be deeply unsettling, leading to crises of identity and belonging. Art and thought can expose the fragility of human existence, the inherent cruelty in our actions, and the disturbing realities of the universe. For many, facing these truths is intolerable, leading to a desire to suppress and cancel the sources of such discomfort.
The author illustrates how the immune systems of those who cannot digest these dangerous truths often protect them through mechanisms like ignorance, ridicule, and evasion. However, there are exceptions—individuals whose defenses are too weak to block out these truths, leading to significant psychological harm. The canceling impulse is thus seen as a reasonable response to protect these vulnerable individuals.
Despite acknowledging the validity of canceling impulses, the essay also argues that these dangers are often overblown. It highlights the resilience of most people to withstand unsettling art and ideas, suggesting that exposure to such content can foster growth and resilience. The essay contends that the widespread fear of art and thought is often performative and driven by a desire for power and control rather than genuine vulnerability.
The author proposes a radical solution: instead of restricting artists and thinkers from creating, restrict the audience from accessing their work. This gatekeeping approach would involve testing and vetting individuals to determine their ability to handle potentially triggering content. The aim is to protect both the creators and the vulnerable individuals, ensuring that only those with the requisite resilience and critical acumen can engage with challenging art and ideas.
The essay suggests that this approach would not only safeguard artistic expression but also elevate the respect for art and thought. By requiring individuals to prove their worthiness to access certain content, society would foster a deeper appreciation for the value and power of art and thought. The proposal is admittedly extreme and satirical, born out of frustration with the current cancel culture, but it aims to spur discussion on balancing free expression with the need to protect vulnerable individuals.
In the concluding section, the author clarifies that the gatekeeping solution is not an ideal in itself but a tactical response to the rampant censorship and cancel culture. While the author personally leans towards open discourse and the cultivation of emotional resilience, the essay emphasizes the need to counter the performative outrage of cancelers by taking their claims seriously and restricting their access to unsettling content. The proposal serves as a rhetorical jujitsu, flipping the script on cancel culture and exposing its performative nature.
**An Olive Branch to the Cancelers** is a thought-provoking essay that seeks to bridge the gap between free-expression advocates and cancelers. It highlights the genuine dangers posed by unsettling art and ideas while proposing a controversial solution to protect both creators and vulnerable individuals. The essay ultimately calls for a nuanced approach to preserving and celebrating artistic expression while minimizing its potential harm.
Foster Home at Five
"Foster Home at Five" is a deeply moving narrative that delves into the traumatic and transformative experience of a young child placed in foster care during a tumultuous period of parental conflict. The story is recounted with vivid, sensory detail, capturing the confusion, fear, and resilience of a five-year-old boy navigating an incomprehensible situation. Through the child's eyes, we see a world that is both mundane and surreal, where everyday objects and interactions take on heightened significance against the backdrop of familial disruption.
The narrative begins with the child's attempt to stay awake at his grandmother's kitchen table, a symbolic representation of his struggle to remain grounded amid the chaos of his parents' custody battle. The rainy gray outside mirrors the internal turmoil of the child's life, characterized by yelling, crying, and the instability of moving between different homes and environments. This setting establishes a tone of disorientation and helplessness that permeates the story.
The father's unexpected appearance in a suit, a departure from his usual attire, adds to the child's sense of unreality. The father's emotional vulnerability, expressed through his tearful eyes and the tender gesture of carrying the child to the couch, contrasts sharply with the cold, procedural nature of the foster care system that soon intervenes. The father's promise to get the child back "soon" underscores a sense of urgency and desperation, highlighting the father's impotence in the face of legal decisions.
As the child is taken away by the social worker, the narrative shifts to the sensory and emotional experiences of the journey. The social worker's attempt to engage the child with offers of McDonald's serves as a stark juxtaposition to the child's inner turmoil. The child's refusal to eat reflects his emotional withdrawal and guardedness, a coping mechanism that resurfaces later in his interactions with a family violence counselor. This guardedness is a recurring theme, suggesting a long-standing pattern of self-protection in response to trauma.
The description of the foster home, with its lively atmosphere and numerous children, provides a brief respite from the child's anxiety. The interactions with other children, particularly the empathetic gesture of the little black boy offering his corndog, highlight moments of human connection and kindness amid the broader context of displacement and uncertainty. These interactions also underscore the child's sense of isolation, as he struggles to engage with his new environment while grappling with the loss of his family.
The narrative's most poignant moments occur during the child's visits to city hall, where he reunites briefly with his parents. These visits are marked by a profound sense of transience and impermanence, as the child clings to familiar objects like his teddy bear and absorbs the emotional atmosphere of the brief encounters. The child's internalization of these visits, coupled with his eventual acclimation to the foster home, illustrates the adaptive resilience of children even in the face of profound instability.
The climactic moment of the story occurs when the child, mistaken in his belief that he has been forgotten, chases after the foster family's van in a panic. This scene encapsulates the child's deep-seated fear of abandonment and his desperate need for reassurance. The foster father's calm explanation that they were merely going to the supermarket provides a moment of relief, but it also underscores the persistent anxiety that shadows the child's experience.
The narrative concludes with the child's return home, marked by a mixture of joy and lingering apprehension. The child's game of blinking to "cut" power lines with the car's antennae symbolizes his attempt to exert control over an unpredictable world. The final interaction with the social worker and the crying black girl serves as a poignant reminder of the shared suffering and resilience of children within the foster care system. The child's unspoken urge to console the girl reflects his emerging empathy, tempered by the realization that her journey may not mirror his own.
"Foster Home at Five" is a powerful exploration of childhood trauma, resilience, and the complexities of the foster care system. The narrative's rich sensory detail and emotional depth provide a compelling window into the child's inner world, revealing the enduring impact of early experiences on one's sense of self and belonging. Through the child's perspective, the story captures the vulnerability and strength of those navigating the uncertain terrain of familial disruption and institutional care.
An Unopinionated Introduction to Philosophy (Fourth Edition)
"An Unopinionated Introduction to Philosophy" is a groundbreaking textbook designed to cater to the diverse sensitivities and needs of modern students. Celebrated for its pro-student approach, the book seeks to eliminate potential triggers and discomforts that have historically plagued the academic environment.
The textbook, praised for being exceptionally reader-friendly, is seen as a triumph in creating a truly inclusive and protective educational resource. It addresses the historical issue of selective protection in academia, ensuring that all students, regardless of their unique triggers, are shielded from potentially distressing content. Dr. Istvan, the author, emphasizes the necessity of moving beyond exclusionary practices and ensuring comprehensive protection for every student.
One of the central themes of the book is its commitment to removing all forms of distressing content, rather than merely labeling it with trigger warnings. This approach acknowledges the complexity and individuality of student triggers, advocating for a learning environment free from any form of discomfort. The book's inclusion of a bonus chapter on reporting professors highlights its dedication to empowering students to take action against perceived academic injustices.
The book's critics, however, argue that it undercuts traditional academic rigor by prioritizing student comfort over exposure to challenging ideas. Nonetheless, it has received widespread acclaim for its revolutionary approach to education, which places the emotional well-being of students at the forefront.
"An Unopinionated Introduction to Philosophy" also tackles the issue of macro-aggressions, recognizing that even seemingly minor aggressions can have significant impacts on students. By removing potentially harmful content and providing tools for students to report offensive material, the book aims to create a safe and supportive learning environment.
The textbook's success is attributed to its ability to balance the need for academic content with the imperative to protect students from harm. Its innovative approach has been likened to padding the corners of tables to prevent injuries—essentially, it removes the tables altogether to ensure complete safety.
In summary, "An Unopinionated Introduction to Philosophy" represents a significant shift in educational philosophy. It challenges the traditional notion that students must be exposed to uncomfortable ideas to foster learning and growth. Instead, it champions a model of education that prioritizes student safety and comfort, ensuring that all students can engage with philosophical concepts without fear of distress. This book is a testament to the evolving landscape of academia, where inclusivity and protection are paramount.
Open Letter to the Editor of Novel Noctule
**Open Letter to the Editor of Novel Noctule** is a bold and incisive commentary on the contemporary culture of cancellation and the suppression of heterodox voices. It critiques the lengths to which individuals and institutions go to silence those who challenge the prevailing norms, often under the guise of promoting safety and inclusivity. The letter addresses Jacqueline, responding to an anonymous accusation that she attempted to get the author fired by highlighting "problematic" aspects of his artwork.
The author begins by acknowledging the toxic environment where slanderers and cancellers thrive, emphasizing the importance of documenting these attempts to silence dissent. He expresses skepticism about Jacqueline's guilt, suspecting that even if she did partake in the act, she might have been influenced or pressured by someone else, possibly the informant herself. The author extends forgiveness to Jacqueline, contrasting it with the often condescending and weaponized forgiveness used by cancel culture advocates.
The letter then humorously addresses Jacqueline, referencing a comedic skit that has tainted the name for the author. He recounts the accusation: Jacqueline allegedly found the author's poetry so traumatizing that she combed through his social media for more material, eventually compiling a thorough record and writing to his university demanding his termination. The author finds this scenario implausible, questioning how any self-respecting artist would seek to eradicate another's artistic expression.
The letter delves into a critique of the current cultural moment, where diversity in expression is stifled, and individuals weaponize systems against those who unsettle them. The author draws parallels between historical and contemporary examples of weaponizing power structures, illustrating how today's cancellers are akin to those who historically manipulated systems for personal vendettas.
The author reflects on the absurdity of the accusation, discussing the performative and often hypocritical nature of those who claim to be offended by transgressive art. He describes how many of the "offended" are disingenuous, using their claimed trauma as a means to exert power and disrupt others' lives. This, he suggests, is driven by a deeper, systemic resentment and emptiness in modern life.
Despite the harsh critique, the author maintains a tone of understanding and forgiveness, recognizing the difficulty of resisting the allure of participation in cancel culture. He encourages Jacqueline, and by extension others, to approach diverse artists with kindness or indifference rather than brutality. The letter concludes with a call to rise above petty cancellations and embrace a more tolerant and open approach to artistic expression.
This is a searing indictment of the modern cancel culture, highlighting its pettiness, performativity, and underlying resentment. It calls for a return to genuine tolerance and the protection of diverse and unsettling artistic expressions, emphasizing the importance of challenging, rather than silencing, uncomfortable truths.
Letter of Grievance
In this letter, the author passionately appeals their recent termination, arguing that their constitutional rights have been violated. They cite their lawyer’s belief that the actions taken against them were excessive and lacked due process, highlighting the support from the Foundation for Individual Rights in Education as evidence of the seriousness of their case.
The author details the events leading up to their termination, noting the abrupt and final nature of the decision by the dean of the Liberal Arts college at XXX. The dean cited the use of official email to direct students to the author’s YouTube page, where some students encountered "objectionable material." The author argues that the termination was extreme, especially given their support from colleagues and students.
The author expresses shock at the lack of due process, as they received no notice of complaints or investigation prior to their termination. They criticize the bypassing of standard procedures such as written warnings, training, or probation, emphasizing the severity and suddenness of the judgment.
Despite their skepticism about the current state of free speech and artistic freedom, the author believes they deserved more fairness. They argue that their termination was driven by a desire to avoid controversy and appease students, who are viewed as customers in the modern academic business model. The author questions why a less severe disciplinary measure, such as stopping the YouTube links, wasn’t sufficient.
The letter also addresses the specific content of the author’s YouTube page, particularly the characters Mrs. Tong and Mr. Slow Man, which were deemed problematic. The author explains the satirical and critical intent behind these characters, drawing parallels to classic literary devices used to provoke self-reflection and critique societal norms.
The author asserts that their termination reflects a broader trend of censoring diverse viewpoints and intellectual discussion in academia. They argue that universities should be places for open debate and the exchange of ideas, not sanctuaries from discomfort. The author expresses hope that their case will lead to a reevaluation of policies at XXX and a renewed commitment to free expression and due process.
In conclusion, the author seeks to be reinstated and to ensure that other faculty members are not subjected to similar treatment. They emphasize their dedication to fostering critical thinking and ethical citizenship among students, arguing that their artistic work aligns with these goals.
The letter is a call for empathy and action, urging the administration to reconsider the decision and work towards protecting academic freedom and diversity of thought.
Istvan Creative Writing Bios
The reader should know, however, that some biographical information regarding early-childhood development might prove relevant here. Istvan grew up in a time and place where most of the people closest to him had something special going for them, a trump card—constantly leaned upon, constantly providing succor, constantly manifested in their swagger, constantly verbalized as an unconscious soothing mechanism to stoke endorphins of gratitude (healing even in the toughest times): the fact that, to cite the slogan so often used in moments grave and gay, “at least I’m not white.”
In That Way
**In That Way** is a vivid, poignant exploration of the fleeting moments of normalcy and hope experienced by a family grappling with addiction. The poem juxtaposes the harsh realities of drug use with the fragile hope of recovery, using powerful imagery and layered symbolism.
The opening lines set a stark scene: "Close to an 8-ball cut into one mother rail / on the jacket of Skynyrd’s Street Survivors / (frayed and faded by a dead father’s life)." The 8-ball, a slang term for a measure of cocaine, introduces the pervasive presence of drugs. The reference to Skynyrd's *Street Survivors* album, particularly one worn and "frayed and faded by a dead father’s life," suggests a legacy of hardship and loss. This album choice is significant; *Street Survivors* was released just days before the band's tragic plane crash, infusing the poem with a sense of foreboding and the shadow of past trauma.
The phrase "in that thinning sliver before / tunnel vision cloisters them again" captures the transient clarity before the drugs' effects take hold. The "kitchen glow" symbolizes a brief return to the familial and familiar, where the boys, "conjoined by mistrust of solo-detour sniffs," hint at the communal nature of their addiction, bound together by both camaraderie and suspicion.
The "Blackhole pupils" are a striking metaphor for the emptiness and allure of drug use, where the "fool’s gold" represents the false promises and illusory rewards of their addiction. Yet, despite this, "the boys sparkle in that way that fills Mom," suggesting that even in their altered state, there remains a glimmer of their former selves that brings fleeting comfort to their mother.
Mom's actions, "stirring a big pot of what they will not eat," underscore the futility and heartbreak of her efforts to care for them, juxtaposed with the boys’ "frenetic voltage," an image conveying both their hyperactive state and the electric, unstable energy they exude.
The final lines evoke a wistful hope: "where there is talk, daylight / talk, of sports and crushes, school and jobs; / talk, as seasons turn, of kicking the habit." This "daylight talk" contrasts sharply with the darkness of their addiction, reflecting ordinary aspirations and the cyclical nature of their lives. The reference to "seasons turn" suggests the passage of time and the recurring hope for change and recovery, even as the reality remains fraught with difficulty.
In sum, **In That Way** captures the complex interplay of despair and hope within a family affected by addiction. It highlights the moments of human connection and normalcy that persist despite the overarching shadow of drug use, offering a nuanced portrayal of the struggle for recovery and the enduring, if fragile, bonds of family.
The Printout
The Printout is a vivid, emotionally charged narrative that plunges the reader into the frantic, anxiety-ridden world of a latchkey adolescent. The poem meticulously chronicles the boy’s desperate attempts to cover up evidence of his secret, deviant activities before his mother’s inevitable return, capturing both his internal turmoil and the oppressive atmosphere of his home.
The opening lines set the tone of urgency and fear: "It was a heart-pounding last-minute scramble— / a dance the barely-teen latchkey knew by heart." This immediately draws the reader into the boy’s routine of hiding his transgressions, indicating that this is a familiar, albeit distressing, ritual.
The boy’s actions are described with a stark, almost clinical precision: "He washed his lather-proof hand (over dishes) / as best he could, his pelvic floor still echoing." The mention of his "pelvic floor still echoing" suggests recent masturbation, adding to the sense of guilt and shame. The detailed hiding of various incriminating items—petroleum jelly, a makeshift masturbatory device, and skid-stained panties—paints a picture of a young boy grappling with his burgeoning sexuality in isolation and fear.
The imagery of "rocks in its radon walls like eyes" and "curtain shadows ghostly on wood-panel walls" evokes a sense of surveillance and paranoia, as if the house itself is judging him. This feeling is compounded by the anticipation of his mother’s arrival, marked by the "door slam / reverberating through the uninsulated hollows."
The poem’s climax centers around the titular printout, an inkjet image of a pornographic nature that the boy had used moments before: "Smackdab on the living room carpet, / in the traffic-worn path, lay an inkjet image— / washed out from a cartridge low on black, / too yellow from an empty cyan—pixilated / on printer paper: black thighs, spread-eagle." The boy’s meticulous efforts to conceal his actions are rendered futile by this overlooked detail, which his mother discovers with horror.
The mother's reaction—"What the fuck is this?!"—heightens the tension, her repeated exclamations underscoring the shock and disgust she feels. The boy's simultaneous dread and curiosity are palpable: "Yet by the time he reached the cold doorknob, / confident there was no way he failed to cover / every taboo track, he found himself possessed / more so by a twisted curiosity to learn, that if / by some crazy chance he had been found out, / what damning detail he could have missed."
The final lines of the poem convey the boy’s paralysis and fear: "she thrust the gleaming gorgon head (half-balled) / out in his direction (arm’s length), turning him / to stone in the ramshackle threshold, his expiry / dribbling coagulated to black waitress sneakers." The "gleaming gorgon head" metaphorically transforms the printout into a Medusa-like figure, turning the boy to stone with its damning revelation. The imagery of his "expiry / dribbling coagulated to black waitress sneakers" suggests both his psychological death and the physical evidence of his shame.
The Printout masterfully explores themes of secrecy, shame, and the complexities of adolescent sexuality. Through its detailed narrative and rich imagery, the poem captures the intense emotions of a young boy caught between his private desires and the harsh judgment of the outside world.
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Don’t let anyone tell you that real life is lacking in poetic interest. This is exactly what the poet is for: he has the mind and the imagination to find something of interest in everyday things. Real life supplies the motifs, the points that need to be said—the actual heart of the matter; but it is the poet’s job to fashion it all into a beautiful, animated whole. You are familiar with Fürnstein, the so-called “nature poet”? He has written a poem about growing hops, and you couldn’t imagine anything nicer. I have now asked him to write some poems celebrating the work of skilled artisans, in particular weavers, and I am quite sure he will succeed; he has lived among such people from an early age, he knows the subject inside out, and will be in full command of his material. That is the advantage of small works: you need only choose subjects that you know and have at your command. With a longer poetic work, however, this is not possible. There is no way around it: all the different threads that tie the whole thing together, and are woven into the design, have to be shown in accurate detail. Young people only have a one-sided view of things, whereas a longer work requires a multiplicity of viewpoints—and that’s where they come unstuck.—Goethe (Conversations with Eckermann)
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