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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
My Struggles with the Family Fungus
"My Struggles with the Family Fungus" is a deeply personal and graphic narrative that explores the multigenerational transmission of trauma and pathology through the lens of a hereditary fungal infection. The piece unfolds as a memoir-style recounting of the author's childhood experiences with his grandfather's toenail fungus, a condition that symbolizes the pervading sense of decay and dysfunction within his family. The narrative is infused with vivid imagery and dark humor, presenting the fungus as a metaphor for the destructive cycles of poverty, neglect, and substance abuse that afflict the family. The author's descriptive language paints a picture of a life marred by hardship and deprivation, where unsanitary living conditions and a lack of proper hygiene are normalized. The narrative spans several years, detailing the author's own gradual succumbing to the family fungus, a process that parallels his increasing psychological distress and alienation.
As the narrative progresses, the fungus becomes a focal point for the author's obsessive-compulsive behaviors, driven by fear and shame. The condition represents not only a physical ailment but also a manifestation of his internalized trauma and anxieties. His extreme attempts to eradicate the fungus—ranging from home remedies to self-mutilation—highlight his desperate need for control in an environment where he feels powerless. These efforts, however, only exacerbate his condition and contribute to his sense of isolation and mental unraveling. The story also touches on themes of toxic masculinity and familial violence, as the author reflects on the impact of his father and grandfather's behaviors, which oscillate between negligence and aggression.
The narrative is not just a literal recounting of events but also a metaphorical exploration of inherited trauma and the often cyclical nature of family dysfunction. The author's internal monologue reveals a deep-seated fear of becoming like his predecessors, and his actions are driven by a desire to break free from the destructive patterns he has inherited. Yet, his repeated failures and escalating behaviors suggest a profound entrapment within these cycles, mirroring the tenacity of the fungal infection itself. The story culminates in an act of self-harm, which serves as a cathartic but ultimately futile attempt to purge himself of the physical and metaphorical infection that has plagued him for so long.
Darkly humorous narrative that explores the author's battle with a hereditary fungal infection as a metaphor for generational trauma and family dysfunction. The story delves into themes of inherited pathology, psychological distress, and the desperate quest for control. Generational trauma, family dysfunction, psychological distress, hereditary illness, obsessive-compulsive behavior, self-harm, toxic masculinity, poverty, neglect, substance abuse, childhood trauma, dark humor, memoir-style narrative.
Let's workshop this piece about the entanglement of familial history and inherited trauma, seen through the lens of an insidious toenail fungus that threads its way through generations. The narrative begins with a vivid, visceral account of the narrator's childhood, where Grandpa bribed them with obsolete arcade tokens to "play undertaker" to his grotesque, fungus-riddled toenails. This grotesque ritual, taking place in a home marred by poverty and neglect, is depicted in almost absurd detail: brittle, crumbling toenails, and the stale, yeasty smell that lingered on their fingers like a curse. The narrator's fear of the fungus takes root in these early years, cultivated by a dramatic intervention from Grandma, who drags them outside to scrub their hands with kerosene in a kind of frenzied, infernal baptism. This moment plants a seed of fear that lies dormant but never vanishes, much like the fungus itself.
As the story unfolds, we see the narrator grow up amidst familial chaos—divorce battles that are more like literal brawls, a stint in a foster home that feels more like a prison sentence, and a mother who falls into the arms of a man living in a pay-by-the-week motel room. The fungus serves as both a literal and metaphorical thread that ties these traumatic experiences together, representing not just a physical ailment but a deeper, inherited malaise. The narrator's father, a deeply troubled man living out of a car and appearing suddenly on a school bus with bare, fungus-infested feet, becomes a figure of simultaneous shame and sympathy. This incident reignites the narrator's fear of the fungus, which becomes an obsessive, almost superstitious fixation.
The narrative is punctuated by grotesque humor and dark, absurd moments—such as the narrator's father's drunken antics, or the bizarre encounters with figures like Paul, the drinking buddy with a 'trumpet lip' perfectly suited for chugging cans. Yet, beneath this dark humor lies a deep vein of trauma and unresolved psychological pain. The narrator’s struggle with the family fungus, a grotesque symbol of inherited dysfunction, leads to increasingly desperate measures. We witness the narrator's spiral into a full-blown obsession, culminating in self-mutilation as they attempt to rid themselves of the affliction once and for all. The narrative crescendos into a scene of horrifying clarity as the narrator, in a frenzy of rage and despair, chops off an infected toe with rusty loppers—a desperate act of self-purification that only deepens their sense of isolation and alienation.
Throughout, the fungus operates as a metaphor for generational trauma—an unwanted inheritance that spreads silently and inexorably, manifesting in both physical and psychological scars. The narrative explores themes of poverty, family dysfunction, and the struggle for personal agency amidst a backdrop of inherited suffering. It raises questions about identity, resilience, and the lengths one might go to in an attempt to sever ties with a past that seems doomed to repeat itself. The ending, a bleak but defiant note of ambiguity, leaves us pondering the ultimate cost of such a struggle—both in terms of what is lost and what, if anything, might be gained.
Dry Hump Bully
The poem "Dry Hump Bully" captures the tumultuous experience of early adolescent sexuality, exploring the tensions between emerging desires and social condemnation. Set against the backdrop of a fifth-grade classroom, the poem's language suggests a collision between innocence and burgeoning eroticism, creating a potent contrast that underlines the confusion and anxiety of this developmental stage. The opening lines, "nostrils / sniffing something new," metaphorically convey the awakening of sexual awareness among young classmates. This "erotic frequency," resonant even in the "playscape tunnels," signifies a shift from childhood play to the recognition of sexuality, a shift both thrilling and disturbing.
The repeated chant of "Slut! Slut!" serves as a form of social policing, wherein the children, perhaps unconsciously, enforce cultural norms regarding sexuality. This chant, however, is more than mere name-calling; it reveals the precarious boundary between fascination and fear of the unknown. The playground—a space traditionally associated with innocence—is transformed into a site of both discovery and cruelty, where emerging sexual identities are met with scorn and ridicule. The children’s reaction, driven by both curiosity and the nascent shame surrounding sexuality, underscores the poem's exploration of early sexual socialization.
Amidst this public humiliation, the poem introduces a contrasting inner world, where the protagonist finds "relief" amidst "the crust / of midnight tears." This relief hints at a complex internal reconciliation, where the external shame is tempered by a newfound self-awareness. The use of imagery such as "long rising / like the cunt reek of plushies" starkly juxtaposes the visceral with the emotional, linking the physicality of early sexual curiosity with the psychological processes of coming to terms with one's desires. The reference to plush toys, objects of childhood affection, now tinged with an adult taboo, suggests a transitional state between innocence and experience.
The final line, "now drawn into alignment," indicates a moment of clarity or acceptance, where internal suspicions about one’s sexual self find validation, even if through painful social encounters. This alignment is not necessarily peaceful or positive; it is fraught with the same tension that pervades the entire poem. Yet, it represents a critical moment of self-understanding, a painful but necessary part of growing up. "Dry Hump Bully," therefore, not only captures the specific cruelty of childhood but also delves into the universal experience of coming to terms with one’s sexuality amidst societal expectations and stigmas.
Contrapuntal Daddy
"Contrapuntal Daddy" is a complex exploration of the interwoven themes of erotic desire, moral consciousness, and paternal instincts, structured within the context of DDLG (Daddy Dom/Little Girl) dynamics, a concept often associated with power exchange in sexual relationships. The poem employs a contrapuntal structure, where contrasting emotional currents—carnal desire and paternal protectiveness—are placed in tension with one another, akin to the interdependent yet independent melodies in a musical fugue.
The poem opens with the speaker's admission of a powerful erotic attraction toward a high school jazz starlet, signified by the phrase "DDLG desire," which immediately situates the reader within the controversial terrain of age-disparate desire and power dynamics. The metaphor "inseminating octaves" not only emphasizes the intensity of the speaker's lust but also evokes a musical imagery that aligns with the starlet's identity as a jazz musician. This dual reference to both physical and artistic creation complicates the speaker’s emotions, suggesting that his desire is both creative and destructive.
However, this rising desire is abruptly interrupted by an "inner light," a moment of self-realization or perhaps divine intervention, which halts the speaker’s violent fantasy of strangulation—a symbolic act that could be interpreted as an extreme manifestation of control or dominance inherent in DDLG dynamics. The phrase "astral prayers" to her father, which the speaker paradoxically addresses to himself as a father, introduces a layer of introspection and moral complexity. This moment of reflection suggests a rupture in the speaker’s identity: he is simultaneously the desiring subject and the protective father figure, creating a profound internal conflict.
The invocation of "telepathy" and "astral prayers" indicates a metaphysical dimension to the speaker’s turmoil, where he seeks to reconcile his base desires with his higher moral duties. The repetition of "Protect that little girl" serves as both a command and a plea, blurring the lines between the speaker's own paternal instincts and his recognition of the girl's vulnerability. This repetition underscores the speaker's struggle to align his actions with his moral compass, highlighting the dissonance between his role as a father and his inappropriate desires.
The poem’s brevity and its fragmented structure reflect the disjointed nature of the speaker’s thoughts, as he oscillates between his conflicting roles. The use of the term "contrapuntal" in the title is particularly significant, as it draws from a musical term that describes the technique of composing with two or more independent melodies that harmonize when played together. This not only underscores the duality of the speaker’s internal conflict but also suggests that these opposing desires—erotic and protective—are inextricably linked, forming a complex and unresolved emotional and ethical harmony.
"Contrapuntal Daddy" is a nuanced exploration of desire, power, and the complexities of the father-daughter relationship. Through its contrapuntal structure, the poem reveals the speaker's internal conflict between his desires and his conscience. The themes of protection and self-preservation are central to the poem, suggesting that the speaker's desires may be rooted in a longing for childhood innocence. By examining the implications of the speaker's internal conflict, the poem offers a thought-provoking exploration of human nature and the complexities of desire.
Milk
This poem, "Milk," explores the contentious and often contradictory terrain of reproductive rights, legal responsibilities, and societal ethics. By juxtaposing the legal permissibility of abortion with the absence of a corresponding right for men to opt out of child support, the poem highlights the gendered asymmetries in how society allocates reproductive responsibility. The rhetorical question posed at the poem's climax—why men cannot opt out of child support—invites a critical examination of the ways in which legal systems enforce paternal obligations, even as they grant women significant autonomy over reproductive decisions.
The reference to Innuits leaving "surplus mouths on ice drifts" serves to underscore the cultural relativity of moral norms. This allusion reminds the reader that ethical frameworks around life and death, far from being universally fixed, are deeply influenced by historical, environmental, and cultural factors. By evoking a practice that is morally anathema in many contemporary societies, the poem compels us to confront the often uncomfortable reality that our own moral judgments are similarly contingent and context-dependent.
The poem also makes a stark comparison between the legal rights afforded to a fetus and the everyday cruelty inflicted on animals, specifically cows. This contrast not only points to societal hypocrisies but also raises questions about the selective nature of empathy and moral concern. The fetus, which "feels no pain," is legally protected to a degree that the poem suggests is disproportionate when compared to the routine suffering of sentient beings in industrial agriculture. This comparison challenges the reader to consider the inconsistencies in societal attitudes toward life and suffering, questioning why certain lives are deemed worthy of protection while others are systematically exploited.
In its brevity, "Milk" distills complex legal, ethical, and philosophical debates into a series of sharp juxtapositions, provoking reflection on the intersections of gender, power, and morality. The poem does not offer easy answers but instead urges the reader to grapple with the paradoxes and inequalities that characterize contemporary discussions of reproductive rights and responsibilities.
reproductive rights, legal responsibilities, gender asymmetry, cultural relativism, societal ethics, moral inconsistency, autonomy, paternal obligations, animal rights, contemporary poetry.
MAPs
"MAPs" serves as a potent, albeit minimalistic, exploration of the dark and complex relationship between early childhood experiences and the development of deviant sexual attractions, particularly among minor-attracted persons (MAPs). Through a juxtaposition of vivid, culturally resonant imagery, such as the iconic Judy Garland ruby slippers and the innocent setting of monkey bars, the poem subtly yet powerfully reflects on how moments from childhood, often marked by innocence, can crystallize into disturbing fetishes in adulthood. The poem’s brevity intensifies its impact, leaving much to the reader’s interpretation, which mirrors the often elusive and shadowy nature of such psychological developments.
The work encourages a scholarly dialogue on the ways in which early formative experiences, including those that might seem insignificant or innocent at the time, can leave indelible marks on the psyche, potentially steering individuals towards complex and problematic sexual identities. By using minimal language to evoke powerful and disturbing images, the poem suggests that these early encounters with seemingly benign objects or scenarios can become deeply embedded in the psyche, shaping future sexual inclinations in ways that are difficult to unpack or confront.
The poem also touches on broader themes such as the societal taboo surrounding discussions of MAPs, the stigma that obscures open discourse on how such predilections form, and the often tragic outcomes when these tendencies are not understood or addressed early on. The minimalism of the poem is intentional, reflecting the stark and often unspoken reality of these issues, forcing the reader to confront the unsettling implications without the comfort of elaborate explanations or justifications.
MAPs, minor-attracted persons, sexual fetishes, psychological development, childhood experiences, deviant attractions, human sexuality, taboo, societal stigma, poetry analysis, minimalist poetry, disturbing imagery.
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.
A Goonie (like Lady Bunny)
The piece titled "A Goonie (like Lady Bunny)" engages with the complex intersections of radical individualism, social taboos, and the contemporary culture wars. Drawing inspiration from controversial figures like Georges Bataille and the Marquis de Sade, the author constructs a persona who champions an eclectic set of beliefs and practices, ranging from miscegenation and crossdressing to more extreme behaviors such as cannibalism and zoophilia. This persona is framed as an unapologetic opponent of societal norms, particularly those that the persona views as hypocritical—such as the consumption of certain animals while condemning others, or the harvesting of plant life while decrying the use of animal byproducts.
The piece further explores the persona's war against what he perceives as the "safe-space ethos" pervasive in contemporary culture, particularly in the context of cancel culture, censorship, and the suppression of dissenting views. The persona criticizes the anti-Nietzschean tendencies of modern society, where intellectual and artistic freedom is curtailed in the name of protecting sensitivities. This critique extends to the policies of HR and DEI (Diversity, Equity, and Inclusion) departments, which the persona sees as reinforcing this ethos beyond the theoretical level.
Interestingly, the persona's alignment against cancel culture and safe-space mentality brings him into uncomfortable proximity with right-wing figures who, despite sharing his disdain for censorship, harbor regressive views on issues like gender identity and body positivity. The piece highlights the irony of this entanglement, as the persona finds himself allied with those who mock trans and fat people, despite his own advocacy for freedom from societal norms. The tension between the persona's radical libertarianism and the bigotry of some of his allies underscores the complexity and contradictions inherent in the modern discourse on freedom, identity, and social justice.
radical individualism, cancel culture, censorship, social taboos, Nietzschean critique, safe-space ethos, Bataille, de Sade, trans rights, fat shaming, identity politics, social justice, DEI, cultural hypocrisy.
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.
On The Forest Trail
Michael Anthony Istvan Jr.'s poem "On the Forest Trail" offers a harrowing exploration of memory, guilt, and moral corruption through the narrator’s troubled relationship with a mentally impaired girl from his past. The poem, divided into three sections, meticulously unveils layers of darkness and complexity, reflecting Istvan's deep engagement with the themes of exploitation and psychological trauma.
The first section immerses the reader in a series of grotesque and vivid images that delineate the girl’s existence. Her compulsive hoarding and secretive consumption of Tootsie Rolls in hidden, filthy nooks reflect a desperate search for comfort in an environment marked by neglect and decay. Istvan’s language is stark and unflinching, describing the girl’s hiding places under a urine-soaked mattress, within a closet contaminated with cat excrement, and in a drainpipe near a bus stop. These settings, alongside the girl's physical description—her bull-necked frame, her scissored bangs, and cross-eyed glare—construct a portrait of someone marginalized and dehumanized. The narrator's detailed observations hint at a voyeuristic fascination, compounded by an underlying sense of complicity and guilt.
Transitioning to the forest trail in the second section, Istvan juxtaposes the girl's primal existence with the narrator's more complex and morally ambiguous feelings. The forest trail becomes a setting where the narrator momentarily escapes societal norms, finding a perverse solace in the girl’s presence. She is depicted as almost elemental, an embodiment of pure, unfiltered existence. This stark contrast to the narrator's internal turmoil highlights his envy of her simplicity and unawareness. However, the narrative quickly takes a darker turn as the narrator describes his sexual exploitation of the girl with brutal honesty. The explicit details serve to underscore the depth of his moral depravity and the girl's complete vulnerability.
The final section of the poem confronts the lasting impact of these experiences on the narrator. The image of the girl's oversized, neon windbreaker becomes a powerful symbol of his unresolved guilt and the omnipresent weight of his past actions. This piece of clothing, with its faded vibrancy, haunts the narrator throughout his life, intruding into his domestic and professional spaces. It represents the inescapable nature of his moral failings and the enduring presence of his guilt. The narrator’s reflection on his actions reveals a profound self-recrimination, acknowledging his cowardice and the priority he gave to societal perception over genuine care and responsibility.
Istvan’s "On the Forest Trail" is a potent exploration of the darker aspects of human nature, forcing readers to confront uncomfortable truths about exploitation, guilt, and the long-term consequences of our actions. The poem's unflinching language and vivid imagery create a compelling narrative that challenges readers to grapple with the complexity of moral decay and psychological trauma.
Keywords:
Michael Anthony Istvan Jr., On the Forest Trail, memory, guilt, moral corruption, mental impairment, exploitation, vivid imagery, grotesque imagery, neglect, psychological trauma, voyeurism, forest trail, primal existence, sexual exploitation, haunting past, neon windbreaker, unresolved guilt, self-recrimination, human nature, moral decay.
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Visit my Substack: Hive Being
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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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