#this ship operates on rule of funny therefore rule of funny will probably be the thing needed to get them together

[thenamesblurrito]

Buzzard and Blurr are so cute :) really endearing ans sorta sweet, hope things work out well with em

Im really curious about the twos relationship. Do you have any thoughts you could share behind their dynamic and how they end up getting together? Or headcanons?

Keep up the good work! :D

THANK YOU ANON YOU MADE MY DAY!!!

i will be honest i would also like to know how they get together bc they are uhhhhhh both bad at this whole romantic thing! like i talk about here, they're both bumbling, inexperienced, and having a rude awakening to the concept of demisexuality, so as far as i can tell there is no end in sight to the mutual pining idiots. there's some possibilities but nothing concrete yet

they're a fun ship but first and foremost they are a funNY ship and the funny bits to me are in the pre-get together stage so that's what i think of the most. so! have some tidbits! this is a long post oops but i am NOT putting it under a cut i am making everyone LOOK AT SELF INDULGENCE RAAAGHH I AM KILLING CRINGE!!!

Blurr met Buzzard after being painstakingly transferred to a new, kitbashed frame and having a weird tall stranger show him the trash cube that used to be him with far too much enthusiasm. Buzzard was the one to fish that cube out of the trash as they went spelunking in Cybertron's waste disposal system as Team Purple were on planet to pull off a pet heist (and got more than they bargained for). once everyone realized the cube was a person and was ALIVE, they were also the one to uhhhhhh procure most of the pieces of his new frame, constructed by Knock-out in a back alley deal on Velocitron. Blurr is uncomfortable with how piecemeal and janky this frame is, despite being a close reconstruction of his original, and it takes him a long time to truly realize that Buzzard donated, bought, or outright stole 90% of the parts needed to bring him, a stranger, back to life. it's an odd feeling, to suddenly reckon with the concept that maybe there's more to this junker than picking pockets and being silly

it takes awhile for either of them to really pay attention to the other? like, Blurr has essentially pulled a Jesus, and also maybe unwillingly defected from the Autobots, and is currently "trapped" with a team full of criminals and Decepticons, one of whom was a spy that he spent so long tracking down and got thiiiiiiiis close to discovering her true identity before Longarm sent him off to Earth, so he's understandably got a grudge the size of a planet against Rosanna who is happy to taunt him about it, NOT TO MENTION the awkward, vulnerable, and painful physical therapy of getting used to this new frame and trying to regain his speed and just... being alive again?? sure, Buzzard is tall and weird, but they are the least of his worries in his early days with Team Purple

to be fair, like. for months the only real impression Blurr has of Buzzard is just:

infinite storage booba

that and "tall flightframe with purple parts but NOT a Decepticon???? not even an enemy????" it's something he's still coming to terms with. Gremlin consistently seeking him out to nap on is not helping

it may be easy to assume that Buzzard, having been brought to life by an Allspark shard on Earth, is young and ignorant and stupid and may not even know what love is etc etc. however, they were mentored by the whirlwind romance duo Rum-maj and Wreck-gar, both very invested and also very forthcoming about their own relationship. Buzzard is pretty knowledgeable about what love/romance/sexuality can look like, just from observing them and others around them! no, the mutual pining idiocy isn't from ignorance, it's just twitterpated stupidity 👍

this goes against popular fanon interpretation of Blurr i think, but i like to characterize him as the kind of hypercompetent-but-lame guy who's married to his work, doesn't bother with social skills beyond bare minimum, and isn't so much arrogant/full of himself as he is just impatient and dismissive. he's like a working breed dog. you might think he's hot but he would rather skip an offer of a one night stand in favor of following up on a potential lead or staking out a target's home all night. so Blurr's experience and general overall INTEREST in romance is nil

the fact i have slapped asexuality onto both of them just means they're both extra unprepared to Experience Feelings

it's slow! Buzzard thinks this guy is funny, and kind of sad, and though they never say this they think he could use a friend who won't get impatient with his own frustration. he knows a lot of stuff about Cybertron and Autobots and such that they've never heard before and he can be prompted to give entire lectures about anything, which they soak up, they love learning. Blurr is only mostly irritated by Buzzard being affable, and curious, and dropping odd knickknacks and riffraff into his hands whenever they feel like it. they don't roll their optics or look lost when he gets talking like many people do, and usually even manage to keep up with what he's saying. it's toleration at least!

he doesn't realize it, but it's really the least stressful/antagonistic connection he has with Team Purple so far. Rosanna was a target he was cheated out of uncovering and holds it over his head, Dreadringer is the mysterious captain of this dangerous gang who seems to want to toss everyone out the airlock, Wheelie was an old friend but seeing him so comfortable around these strangers is almost more offputting, Red Alert may be an Autobot but she's also the doctor seeing to his recovery which is hardly pleasant, the multiple Decepticons aboard keep him on edge even if they're nice to him like Voidwander, there's so many utterly absurdly strange people like Necro, or Wreck-gar, or Inferno, or Sky Lynx, or even Beachcomber, etc....

in comparison, Buzzard ends up filling almost a Kronk role to his Yzma as Blurr eventually feels comfortable ranting to them, or relaxing around them, or even skedaddling behind them for protection whenever Shenanigans occur. they're nice to him. it's weird. but it's still one of the biggest reasons why Blurr starts to acclimate to Team Purple, and even start considering himself one of them. without their positive influence, he wouldn't have dealt well with famous Team Purple tidbits like Tito Moto's funeral, Bludgeon deciding to start an official pirate rivalry, Dreadringer's delusions of interning with a god, Crescent's livestreaming career, or The Oil Slick Incident

Buzzard just thinks Blurr is fascinating to be around, in a much nicer way than when he was paranoid and scared of the rest of the team. now he's fitting in! in some corner of their mind, they think of him as another part of the hoard they call a family :3

maybe letting two obsession-prone people who only make friends with other weirdos spend a lot of time around one another was always going to end in a weird tangle of emotions, huh?

now this is of course Buzzard's Iconic Demi Moment, but Blurr has one too:

i firmly believe it's a hallmark- no, a REQUIREMENT that to be an Autobot in TFA you must be repressed. these guys are all touch-starved and alienated from their own wants and needs in favor of serving The Regime. so good luck Blurr you're gonna need it

Buzzard meanwhile is literally scared they're gonna pluck out Blurr's spleen. they keep wanting to be around him, and watch him, and touch him, all of which is normal sure but this is a lot so clearly their subconscious has marked him as a trinket to steal

attempts to explain otherwise generally do not go well

so they just. fail at communicating. they fail at communicating so bad the entire ship knows. even Rosanna gives Blurr tips on flirting. even Gremlin, Buzzard's dearest friend in the world, is giving them the stink-eye for idiocy. they are both still friends, they gravitate towards one another and get invested in what the other enjoys and work well together and just keep growing closer as time goes on, but the awkward, helpless stupidity of Oh My God Feelings turns it into a comedy show for the rest of Team Purple

maybe if Blurr could stop flipping out about the right thing to say and do and be and and and-- then he would relax enough, be confident enough to do something so bold as hold Buzzard's hand. maybe if Buzzard could stop worrying that their preoccupation with him is scary, or unwelcome, or unnatural, or going to upset his place in the team or as their friend, then they would stop feeling dread and start experiencing the joy and giddiness of romance, how it can be a treat for both of them

it's a lot of shenanigans. chicanery. silly falling over one another to just do something nice for the other but not quite knowing how. but they're both earnest. they enjoy one another. they keep coming back to one another

they'll get there eventually. i'll noodle something that fits

fingers crossed

i mean they have to get there eventually or this image won't be canon and i spent a lot of effort figuring out overlapping posing and kibble angles >:(

anyways. i'll leave u with this silly little ship meme (can u believe this image was gonna be my only response til i decided to defy cringe and infodump)

[idlegaldocsolution-blog]

It's Illegal to Sell Counterfeit or Fake Goods

Most countries have strict rules against making or selling counterfeit goods. Other countries could care less. The funny thing is; most countries make counterfeit goods illegal to market, but it's okay to possess it in your possession in small quantity. I don't think I'll ever understand federal laws, I just obey them. General rule of thumb, if your country has federal laws, odds are it is VERY ILLEGAL to produce or sell counterfeit/fake goods of any kind. If you're country does not need a federal laws, odds are your country could care less if you make or sell counterfeit or fake goods.

But you can find ways around it also. If it is a look-a-like without the business fake id generator with logo or name is isn't considered a fake or counterfeit. You are able to sell this legally provided that that you don't promote it as the manufacturer in question. But, if that has either the business brand logo or name on it anywhere it is considered a fake/counterfeit and it is VERY ILLEGAL to buy or sell. "When it has the manufacturer or logo on it, it doesn't even need to resemble the product to be illegal to market ".

Counterfeiting a brandname name is just a major federal crime. Trademark and copyright infringement are a huge problem in the USA right now and can come with jail time and/or big fines. There are over one hundred thousand counterfeiting rings that were busted last year.

Some individuals say you are okay if that you don't advertise the brand name. This really is only okay if your product doesn't have a business name or logo on it anywhere. Look-a-likes with out a business name or logo are tolerated if they're not advertised as the manufacturer product.

Look-a-like items are items that seem like a brandname name item without the company name or logo on it. You might have noticed some individuals who sell look-a-like items and they advertise it as "Compare to Oakley" or "Exactly like Oakley ".Even though it looks exactly the same, it's not illegal to market because it doesn't have a logo or manufacturer on it and they are not promoting it as a brandname name product. Federal laws have really weird rules. I don't start to see the difference, but apparently they do.

I usually hear stories of men and women getting in trouble for buying fake goods from China. This really is very popular. Don't fall for cheap prices in China. Most wholesalers from China make counterfeit and fake merchandise. They make a living off of it. The issue is, it's against what the law states to Scannable Fake Id a lot of the world. But China is not a democracy, they do not have any federal laws or regulations. Therefore, they don't really need to follow rules set by other countries which have to follow the federal laws. This is exactly why China can sell counterfeit or fake goods and not enter trouble.

Many people that have been getting in trouble, have been getting caught on receipt of the goods. China or another counterfeiter will ship the goods to it's customer. When the client receives the goods, a group of officials arrest the customer. All the people caught for selling counterfeit goods have been doing it a lengthy time. There's probably been a sting operation going on for quite sometime if you are caught selling counterfeit goods.

Big name brand companies that have been the victim of counterfeiting have created sting teams to constantly do research and catch counterfeiters. Whenever you sell the goods, the sting team will purchase it. Chances are they inspect that to discover if it's a fake. If the team can confirm that is fake and you are selling fake goods under their manufacturer, you is likely to be investigated. The investigation should go on until they can catch all the people involved to allow them to catch the whole counterfeiting ring.

Because you've seen people selling counterfeit or fake goods and they didn't get in trouble, doesn't mean it's okay for you to sell it. Don't worry, someday those counterfeiters is likely to be caught. Big countries like China thrive on counterfeit goods. The stark reality is, people don't mind buying-to-own counterfeit goods. Even should they know it's fake, many people don't mind. A few of it is made better compared to the real stuff. So they really get a better product for a fraction of the price. But it doesn't make it right. It's still against what the law states for most of us. And for those who are selling counterfeit goods and shouldn't be; they will be caught someday.

If you should be selling counterfeit or fake goods for quite a while, you will probably be investigated soon if you aren't being investigated right now. My advice for your requirements is to stop straight away and don't contact the counterfeiters again. The sting teams can't bust countries like China because of the laws. But rather, they bust the recipients of the goods via China and other known counterfeiting locations. If you should be buying counterfeit goods from someone, you are considered being element of a counterfeiting ring.

It's not a very good idea to market counterfeit goods. I understand, it doesn't seem like you are hurting anyone by selling counterfeit goods. I don't start to see the big deal either. But big manufacturer companies have really put some weight on law enforcement to stop counterfeiting. Law enforcement takes counterfeiting as serious as robbing a bank. You receive a big fat federal charge to sit on your own record for the remainder of your life.

[kinetic-elaboration]

June 13: 2x22 By Any Other Name

I remembered By Any Other Name not being so good but either I enjoyed it more this time or I was actually thinking of another episode not really doing it for me. Because I really enjoyed it this go!

Ah ha, another mysterious distress call scenario.

But it’s just an excuse to freeze them and conquer them! I will say the aliens froze Spock and McCoy in the most hilarious and appropriate positions: McCoy arguing and Spock looking curious and lightly skeptical.

Teleplay by D.C. Fontana, okay, maybe it will be all right.

Kelvans you say!!! Kelvans?!

Kirk’s like “We don’t do invasion and colonialism in this house.”

Spock hears about all this advanced science and is very interested.

The inter-generational ship concept is (always) very interesting.

“We rule.” Sure you do, stuck on some rando planet. You’re winning for sure.

And despite all this, Kirk still wants to help them.

Huh, so they are not really humanoid. Verrrry interesting.

“We are creatures of outer space.... We must return to the comforting closeness of walls.” Hmmm, lot to unpack there. I wonder if this is related to their real form and/or home planet experiences or (imo more likely) it’s specifically about their generation. They, specifically, were born in space. That’s what they know.

Kirk and crew figuring out the aliens aren’t humanoid.

Ah, yes, the good ol’ Vulcan Mind Probe. Melding with the wall... And a reference to A Taste of Armageddon!

Bones holding on to Spock way more than necessary after he falls.

The sproing sound when they freeze people is rather hilarious.

Oh no, what a way to go... turned into a cube and then crushed to dust. These aliens are very cruel.

“I saw a series of bizarre and exotic images.” And tentacle aliens. I’m discerning another alien sex fantasy...

“Immense beings with a hundred tentacles would have difficulty operating the turbo lift.” Sure, they would.

“Mr. Spock! I love you!”

Or not quite. The urgency was there though. I like when Kirk has a plan that involves lying and Spock doesn’t immediately understand it.

Kirk sure knows a lot about Vulcans. Suspicious.

Pure rest is more relaxing than “your so-called vacation.” Please Spock, we all know you like your camping trips.”

I can’t believe this dummy. He takes a few moments to prepare to enter his trance but doesn’t bother to sit down or even warn anyone that he’s about to fall right the hell over.

McCoy’s a good actor! This man’s about to die!!

Lol at Spock opening his eyes too soon and then having to close them again.

Spock 100% snuck out of his parents’ house as a teenager and left behind pillows under the blankets in the vague shape of a body.

I really like this scene with the alien discovering flowers. She likes them! It really merges the way she’s getting used to the human body, and the accompanying aesthetic values of it, getting used to being outside of the ship, and feeling nostalgic for her own planet, even though she’s never seen it.

Also, Kirk, look, she will be susceptible to her charm! Use your charm on her!

This ship goes to 11.

It’s always fun when Spock and Scotty work together. Spock is so good at engineering. He probably does more engineering than science lol. I also like when he talks about “the Captain.”

The “nah-celles.”

“Are you mad? I can’t just explode the ship! Unless it’s the only way to save Spock’s life, in which case, to hell with the ship!”

When Rojan started talking about the food synthesizers not being able to produce enough for everyone, thus necessitating the need to turn the crew into cubes that don’t eat, I legit thought he was going to suggest eating the cubes. As in, the synthesizers won’t produce enough food, so we need another food source.

Everybody’s turning into cubes! You’re a cube! And you’re a cube! And you’re a cube!

The cubes are kind of funny actually.

Wow, only 4 essential personnel. Kind of insulting, isn’t it?

“They’ve reduced the whole crew!”

When the alien told McCoy to “assist” him with the food, I thought he meant, like... feed it to him, put it in his mouth.

They’re going to defeat the aliens by distracting them with the pleasures of the human body, aren’t they? In a non-sexual way.

Or possibly a sexual way.

Looks like they’re eating some kind of weird fruit salad with like... blue alien fruit.

So the aliens are super duper smart but they had to give up everything else in exchange, including sensations, senses, and emotions. Vulcans on Crack.

“They’re taking human form and are therefore having human reactions.” That actually is fascinating.

“If he keeps reacting like that, he’s going to need a diet.” Lol Bones he’s had 3 pieces of fruit, I think he’s okay.

Brainstorming ways to stimulate the sense and Scotty IMMEDIATELY goes for the booze lol; so on brand.

The decorations in Scotty’s room... a kilt... a knight’s head...

And Kirk’s like “and I shall be the honeypot in this scenario.”

“Kissing is meant to express warmth and love.” That is actually very romantic and adorable.

“We enjoy it.” / “Literature?” If this is not me.

Hilariously, this is the second episode in which the Enterprise teaches aliens about sex.

Little Scottish jig as Scotty and the alien keep drinking.

Spock lol... He’s such a mean girl under that Vulcan facade. Trying to bait Rojan into being jealous. This scene almost reads like the start of a romcom in which two aliens team up to break up a couple so they can both date one half.

“It’s... it’s green.” Thank you Scotty.

The alien calling McCoy out on his use of the royal “we.”

And Scotty keeps the old whiskey IN the knight. Of course. Where it’s safe. I want to know what he was saving it for.

“And I haven’t seen Scotty in hours!”

McCoy is way too gleeful about drugging that guy.

That cute little way Spock hit McCoy to get his attention. “Stokalne, I said!! Stokaline!”

“The cultural mystique surrounding the biological function.” Got to work that into my vocabulary.

...I’m pretty sure her “secondary reading” was erotica.

“Hanar, go to your room.”

Honestly, Spock is such a catty pot-stirrer. “Hmm, I seem to recall seeing your girlfriend. With Captain Kirk. Alone. Maybe she just...likes him more than you? I don’t know, just a possibility.”

Scotty successfully drank the alien under the table.

And of course he has bagpipes too.

Captain Kirk, out to steal your girl. “If you can’t keep her, that your problem.” This is the closest to a bad boy that he has EVER been.

Oh no, he slapped Rojan, now he has to kiss it better. Really would have been fun if someone had suggested Kirk “apologize” after the fight.

Omg, he just pushes Kirk right into the arms of his two besties, and Kirk says “I’m stimulating him,” and then they just push him right back. And the expressions on their faces. Absolutely perfect moment.

I feel like Keliinda is like Quinn in Daria: “Oh no, they’re fighting over me, how awful!”

“You’re stuck in these bodies. You and your descendants for 300 years.” Wow.

I like how Kirk has him in a headlock and is like "You will submit to DIPLOMACY. You will let the space U.N. solve your problems!!!!!!"

“You would accept invaders?” / “No, but we would welcome friends.” Now kiss.

Spock knows a bit about establishing his own destiny.

Robot ship! Robot ship!

Oh well, guess Kirk didn’t steal his girl after all. He seems pretty relieved about that. The charm can be a gift and a curse after all.

And McCoy is so happy! That little toe raise thing he does! Smiling so big! Look Spock, we fixed it!

That was actually a really great ep. Maybe I was thinking of a different one. I liked all the triumvirate + Scotty moments. There was some pretty scary stuff and some truly hilarious stuff. Loved the alien concept. Great Kirk command ep. Interesting Spock and McCoy moments sprinkled in. Rollicking adventure. The ending was a little abrupt (we don’t see the crew returned from cube form, which feels weird...and how are they gonna get back through the barrier?) But all in all, quite interesting and fun.

I especially like the aliens. That these particular individuals have never known their home land, but are just fulfilling this mission, with the expectation that they will not even see the conclusion--like Spock says, just a link in the chain. That’s rather touching in and of itself. Even if they do see themselves as conquerors. But then when you combine that with their use of the human form... the idea that the form changes the personality because it provides different sensations and abilities, and that one form may be more necessary than another, or ultimately more pleasurable than another. They would have to be humans, as Kirk says, to use the ship--and then their children would also have to be humans! So in what sense will their descendants be alien? Are they not most definitely human? And would they ever be accepted by their people again? What is the plan actually going forward? If they returned to the planet they landed on before, one assumes they could go back to tentacle form. But they also don’t seem to want that. Will the other aliens colonize an empty planet as tentacle beings or as humans? And finally, think of it from the other side... imagine sending out humans on a multi-generational mission to search out other planets, and while they’re gone, they and their descendants take on an alien form, prefer it, and then return! As aliens! That would be wild.

On a completely unrelated note,. I am convinced that Spock has faked sick before. He was probably always doing stuff like that to sneak out of his parents’ house as a teenager. I thought this in The Menagerie Part One, also, when he was using that recording of Kirk’s voice to steal the ship. Like... he has experience in these kind of cons. (Even though in this ep, it was Kirk’s idea. But he took to it well.)

Next is The Omega Glory, which Amazon says I’ve watched, but which I have no memory of. Could it be the disappointing ep?

[louannetempleton-blog]

Purposeful Friendship Trinkets

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You 'd probably be actually stunned to understand that he was also one of the funniest guys I have actually ever before fulfilled, and that his imaginative capacity was significant. Thus, the contiguity and frequency rules leverage purposeful spatial and temporal associations to develop the situation within which ideas connect. Making EHRs even more care-friendly is a significant must for registered nurses and also the entire medical care staff.

[topmixtrends]

A. G. LOMBARDO’S searing novel Graffiti Palace revels in an abundance of language. I take pleasure in that approach, and so welcomed the play of sounds and images. Consider this description of shipping containers at the Los Angeles Harbor: “A city of iron cubicles latticed along the harbor, piled like a giant’s stairway in gravity-suspended steps rising toward the burnished sunset, or skewed in angles and intersecting layers; some pitched, half-toppled by long-ago extracted cranes and ship’s booms.” It resembles the scene it describes, dense with shapes, colors, and history; there’s rhythm to it, restlessness, and it modifies and complicates itself as it goes. It builds from concrete imagery, rises into abstraction, then topples back down into the real. Like Icarus, we might say — but here, the fall is intentional.

Graffiti Palace is set during the Watts riots, and concerns, mostly, a journey across Los Angeles by Americo Monk, an “urban graphologist and graffiti semiotician” who records the city’s illicit signs in a notebook he carries everywhere. As the novel opens, he’s at 112th and San Pedro studying a traffic signal. His pregnant girlfriend, Karmann Ghia (yes, like the car), is hosting a rent party at the Los Angeles Harbor, where the two of them live in a maze-like assemblage of shipping containers. In Watts, police use unnecessary force during a traffic stop, sparking civil unrest and sending the city into a spiral of destruction fueled by long-simmering racial tension. Buildings burn, news crews report on the “senseless violence that rules the night,” and the police respond with brutality, roadblocks, and curfews. Monk, trying to get home, makes his way south through a landscape of fire, ash, and smoke. But the riots — of which Monk is, mainly, a neutral though sympathetic observer — make progress difficult.

Monk’s travels are picaresque, zig-zagging through southern Los Angeles and throwing him into the company of gang members and cops, musicians and exterminators, seers and novitiates, artists and radicals. He traces a tricky line: he’s neither wholly black nor wholly white, and can appear, depending on the light and time of day, Mediterranean or African, Caucasian or Arabian — “a walking Rorschach mirror that perhaps reflects more of the beholder than the subject,” as Lombardo puts it. Monk’s notebook of graffiti makes him of interest to gangs and police alike. At various points, he is held hostage, given food and drink, interrogated, and offered various drugs, though he mostly refuses to partake. Meanwhile, Karmann grows increasingly worried. The party rages around her. Night passes into day, day back into night. She chases people away from her phone, hoping to hear from Monk, and fends off the approaches of multiple suitors.

Karmann is a latter-day Penelope, a baby Telemachus in her belly, and Monk is Odysseus, making his way back to the harbor while Los Angeles writhes in agony. Buttoning the story to the spine of the Odyssey serves the novel well. Without that structure, the story might collapse under its own weight, too many characters, too many details, too many vectors of movement. Instead, it is improbably resilient, deriving narrative energy from the series of trials Monk undergoes, many of which have clear links to Homer’s epic: lotus-eaters in Chinatown, a cyclops in the tunnels under Los Angeles, a fortune teller near the Harbor Freeway. These connections work best when they’re dense and layered, operating as conversations and arguments with the source; when they’re on the surface, or treated as jokes, they’re less effective, pinging the reader with the thrill of noticing them without doing the harder work of expanding the range of Homeric tropes. At one point, Monk is in the back of a Corvair when he hears angelic singing coming from a nightclub, “a soul aria that seems out of this world.” He tries to get out, but he’s strapped down by the unfamiliar mechanism of a seat belt, still somewhat new in 1965 — Odysseus lashed to the mast as his ships sails past the island of Sirens. “Honey, you don’t want to go in there,” the driver says to him. “Them girls are so hot you’ll never leave.” It’s funny, but feels a little gratuitous. Then again, the episode of the Sirens is among the most recognizable moments in the Odyssey, and treating it in an offhand manner is perhaps the best way of paying homage.

The interpretative framework of the book coalesces in Monk. He’s a guide to the city as much as he is a traveler of its streets, and his explications of graffiti illuminate the meanings hidden in the gang signs, murals, stencils, and culture-jamming stickers stuck over advertisements. But Monk is also aware that this world is unstable, precarious: “He knows that sometimes signs are like the new physics, that the rules break down; the semiotician struggles in the twilight of uncertainty: message, sender, receiver, meaning can shift, change in time and space.” Communication is always contextual, always contingent, and the discrete order of the system that makes interpretation possible can disintegrate at any moment. Recording the signs and stories is, therefore, also an attempt at preservation:

This city is always changing, shedding its skin of underground signs and languages in paroxysms of destruction and rebirth, seething in a secret war between the dispossessed, who write its street histories, and the cops and power structures, who destroy unsanctioned communication through anti-graffiti paint crews and incarceration and intimidation: he will be their historian.

Along with his catalog of graffiti, Monk collects stories, preserving the city’s counter-narratives. In Chinatown, Monk hears the story of the invention of the fortune cookie from a man named Shen Shen. On 127th Street, Monk runs into Miss Iva Toguri, who, once upon a time, was accused of being a “Tokyo Rose,” the name given by GIs to the English-speaking women who broadcasted propaganda over Japanese airwaves in World War II. In an alley off Athens Way, he stumbles into the home of a woman who calls herself Queen Mab (“I’m not Mercutio, am I?” Monk jokes). She spins a story of slavery and emancipation laced with magic, runes, and secret societies. These stories, as related in Graffiti Palace, cannot be taken at face value. It’s true the fortune cookie was invented in San Francisco; it’s true a woman named Iva Toguri was put on trial for treason, though her trial was a travesty of justice and she was later pardoned; Queen Mab, for her part, is Circe (maybe) by way of Shakespeare. But Lombardo’s versions of these stories are, like graffiti, exaggerated and colorful. His rendition of the history of fortune cookies mixes in haiku and the dozens. Miss Toguri’s story is supplemented by invented details. As for Queen Mab’s version of history, who knows? Even Monk is skeptical.

It would be satire — the exaggerated characters, the wild stories — if it were not so clear that the book’s empathy is with the disaffected. During the riots, Monk is accosted by a white newscaster, Brey King (the pun in her name — “breaking news” — is characteristic of the writing), who wants to know why people are rioting. Monk’s response:

“Ah, social inequalities, I guess,” softly. “The inherent racism of a police force that’s trapped in a Jim Crow past.” Monk, realizing that being interviewed about the cops on TV is probably light-years from cool, slinks away. He scowls back at the white woman: What’s the use talking to white people? He knows he shouldn’t think like that, boxing her into some kind of simple racial equation, but she and her kind, aren’t they doing the same thing to him? Most of the time the only communication between whites and blacks seems to be self-conscious, patronizing chatter about race … spoken words are signs too, and these feeble attempts at communication from the White Power Structure — the WhiPS graffiti copied in his notebook — are really miscommunication, static that walls in ignorance instead of tearing it down. Monk frowns: perhaps there is a limit to empathy, a gulf that can never truly be bridged between others.

The satirical impulse, however, sometimes wins out, and takes the writing too far in the direction of caricature, like when a Chinese character’s speech is rendered with l’s replacing r’s. This feature of speech is so charged, so coded, that presenting it in this manner seems unnecessarily provocative. Many other characters in the novel, who are of a vast rainbow of ethnicities and backgrounds, also have their speech rendered phonetically (and use slang and nonstandard diction to boot), and other Chinese characters in the novel do not have their speech written in the same way — so the impulse is both universal to all and particular to each, and, it would seem, not derisive or scornful. But this, in particular, could have been handled better.

Lombardo’s style is a heightened one: it’s noticeable, draws attention to itself, revels in synonyms, metaphors, and exaggeration. The idea is, I think, not to show off the writer’s skill, any more than other artists who work in styles that are insistently present. Instead, it’s staking an aesthetic and philosophical claim that fiction can represent the lushness, diversity, and overflowing-ness of life — the abundance of both good and bad, large and small. In this, of course, Graffiti Palace is not alone. It’s in a tradition that includes Thomas Pynchon, Toni Morrison, and the Herman Melville of Moby-Dick (the Melville of “Bartleby, the Scrivener,” less so), writers who otherwise have very different concerns and approaches. And that is only to name a few writers, and only American ones. But this aesthetic of linguistic plenitude runs counter to a significant strain of American thinking about fiction, which emphasizes clarity, compactness, and terseness, the Protestant ethic made manifest not just in stories but in the very way they are told. It is therefore refreshing to encounter a writer going against that minimalist grain, making an argument for an aesthetic based in something other than cold hard gems of closely observed fact, written sparingly — which is not to dismiss that style of writing, but to say fiction is large, it can (and should) contain multitudes.

This style is not a simple celebration of life’s variety and richness. It’s the plenitude of John Coltrane’s A Love Supreme: there’s a lot going on, often teetering on the edge of cacophony, threatening to plunge headlong into the abyss, with only a few stray lines of melody as a guide through the chaos. Lombardo’s most obvious literary forebear in this regard is Pynchon, and his text bears traces of Pynchon’s influence. Characters sport absurd, quasi-synedochical names; ellipses dot the text like pepper; and there are insinuations of unseen and unknowable forces at work. And, like Pynchon, Lombardo often elides dialogue attribution or replaces it with a participle: “‘Look, Officer Trench, you know me,’ Monk trying to control the fear in his voice, ‘it’s just graffiti, art stuff, a hobby.’”

The attention to the surface of the text echoes the book’s use of graffiti, which here becomes a multi-headed metaphor, a palace of possible meaning, and a method of subverting overarching narratives. Around halfway into Graffiti Palace, Monk comes across Jax GK — short for “Giant Killer” — and his partner, Sofia. Under cover of night, they attack billboards with spray cans, stencils, and stickers, transforming messages of domestic bliss and unthinking consumerism into indictments of the same. Out on a run with them, listening to the radio, Monk is perplexed by a white talk-show host’s anger: “What the fuck do they have to be angry at? People driving in their cars, isolated, through all these streets and freeways, listening to these fools … no wonder everyone’s pissed off and insane, afraid of everyone else.” Sofia’s response: “They clog all our senses with their propaganda. […] Eyes, ears … they’d inject their lies or wire our brains if they could figure out how, but we’ll take it back, one street at a time.”

Ultimately, Graffiti Palace itself is a performative resistance to authority, channeling the multiple contrasting voices and stories of Los Angeles into a mural exploding with color and contradictions. Or, perhaps, a building covered in illicit signs and arcane symbols:

Too many dots to connect … it’s vertigo, any patterns that seem to coalesce only fade like shadows: sometimes he’s sure the city is one giant graffito, a sprawling, urban uber-text that one day, with enough notebooks, he might unlock to reveal all its hidden codes. Sometimes the graffiti in his thoughts and notebook blur into the city’s spray-painted icons, until his mind and the streets seem like one vast network of rainbow messages, the convolutions of his brain and the corridors of the city fused into one myriad, fantastic structure, like a palace of graffiti.

¤

John Flynn-York writes fiction, essays, and book reviews. He is a co-founder and editor of Automata Review, and holds an MFA in Creative Writing from UC Riverside–Palm Desert.

The post Subversive Surfaces: “Graffiti Palace” by A. G. Lombardo appeared first on Los Angeles Review of Books.

from Los Angeles Review of Books http://ift.tt/2IpnQR6

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