Detail from Kinzénguélé, 2003, Moukondo, Brazzaville
The new edition of the postgraduate journal Antae has come out earlier this week, and it features an interview I’ve had the pleasure of conducting with Gregory Norman Bossert — award-winning short story writer and pre-visualisation/layout artist for Industrial Light and Magic.
Though this is not the first time I’ve chatted with Greg for the purposes of an interview, this time around we had a specific — though certainly expansive — focus for our conversation, as determined by the publication’s theme this time around.
The subject was the nature of, and the possibility or impossibility of imagining what a Utopia would look like.
Going by previous interactions with Greg I’ve had in the past, I knew he would be an ideal candidate for this contribution, given his direct engagement with speculative fiction of various hues, as well as his thorough knowledge of the literary context in question.
“To propose a functional utopian reality is thus to propose the utopian person. In fact, following on my second point above, a functional utopian proposal must not just propose the existence of this utopian “for whom”, but their creation. And again, such works founder not just on the complexity of the social and psychological sciences, but on the brutal tradition of such attempts. The ties between 20th century Futurism and Fascism are an easy warning here.”
Schlock Magazine, Utopia Issue (June 2016), Cover (detail) – Daniela Attard
Schlock Magazine has finally emerged out of – only slightly self-imposed – hibernation with a special issue on the theme of ‘Utopia’, guest-edited by my good friend, the anthropologist Elise Billiard.
In a lot of ways, and particularly in the way that its entire thrust is based on a healthier attempt to look at the future, the issue lays the groundwork for how I’d like to see the magazine develop too.
Check out Schlock Magazine’s Utopia Issue (June 2016)
It’s been through many permutations over the years, and I refuse to see this as anything but a good thing. More than anything else, our ability to change according to whim (though mainly circumstance) is the most honest way to leverage our ‘amateur’ status with all the possibilities offered by online publication methods for lo-fi operations such as us.
Speaking of imaginary structures given added life through creative impetus and irony, the Romanian film Hotel Dallas has proven to be my favourite from the selection at the second edition of the Valletta Film Festival so far.
A mockumentary built on a quirky historical factoid – Ceausescu allowed Dallas as the only American broadcast on Romanian TV for the express purpose of showing how decadent and corrupt American society was – its weaving together of musical, surrealist road trip and an overarching quest narrative never felt forced, pretentious or weird-for-weird’s-sake.
The reason for this is simple: the film’s inherent – sometimes cartoony – strangeness is implicit in the topsy-turvy political situation it seeks to dissect. But it’s the dissection of a trickster, not a surgeon.