A Quote by Adam Parfrey
The essay form has superceded the novel as the vehicle that best suggests the prevailing apocalyptic gestalt, and as the talisman that is most able to repel the onset of paralysing dread.
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The novel has always been a contradictory form. Here is a long form narrative mainly read originally by consumers who were only newly literate or limited in their literacy. The novel ranked below poetry, essay and history in prestige for a long time.
Before progressives were apocalyptic about climate change they were apocalyptic about nuclear energy. Then, after the Cold War ended, and the threat of nuclear war declined radically, they found a new vehicle for their secular apocalypse in the form of climate change.
The essay I had to read was called, "An Essay on Criticism" by Alexander Pope. The first challenge was that the essay was, in fact, a very long poem in "heroic couplets". If something is called an essay, it should be an essay.
The "How to Slowly Kill Yourself and Others" essay was so hard to write because of the memories, the sensory stuff, but also because it didn't follow the form of any essay that I've ever read. And the truth that I was exploring necessitated that obliteration of traditional form, I think.
A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.
The novel, in its best form, I regard as one of the most powerful engines of civilization ever invented.
The usual reproach against the essay, that it is fragmentary and random, itself assumes the givenness of totality and suggests that man is in control of this totality. The desire of the essay, though, is not to filter the eternal out of the transitory; it wants, rather, to make the transitory eternal.
Those who believe they can't repel the positive; they use the negative side of their talisman. Those who believe they can repel the negative; they use the positive side.
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
I am glad it's [California novel] resonated with people because, for me, most apocalyptic novels aren't scary, because they feel so very far off.
I became demented overnight. Sudden onset is one factor that distinguishes my form of dementia from the more common form associated with Alzheimer's disease.
I think there's always been a traditionally apocalyptic side to British science fiction, from H.G. Wells onwards. I mean, most of Wells' stories are potentially apocalyptic in some sense or another.
A key text for me is James Baldwin's essays. And, in particular, his essay Stranger in the Village. It's a text that I've used in a lot of paintings. The essay is from the mid-'50s, when he's moved to Switzerland to work on a novel, and he finds himself the only black man living in a tiny Swiss village. He even says, "They don't believe I'm American - black people come from Africa." The essay is not only about race relations, but about what it means to be a stranger anywhere.
The novel's not the best form for disposing ideas, though that's one thing it can do. It likely is the best form, though, for conveying the experience of us each being alone, trapped in our skulls with only these bodies and this imperfect instrument of language to convey our state and to find meaning and connection.
I think I love most people best when they are in adversity; for pity is one of my prevailing passions.
An essay is a thing of the imagination. If there is information in an essay, it is by-the-by, and if there is an opinion, one need not trust it for the long run. A genuine essay rarely has an educational, polemical, or sociopolitical use; it is the movement of a free mind at play.
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