Writing Towards Authenticity

The level of introspection needed in writing affords for occasions to forge new perspectives, by crystalizing events into formative moments to develop authenticity.  Celebrating humanity as foundation analyzes to create an increased quality of life.

Authenticity comes from an ability to empathize, and to begin developing empathy – start with themselves.  For everyone that route looks and will be different it won’t necessarily be the activity that translates into a career; unless you’re lucky.  What it should do is bring life into focus and help navigate the day-to-day big and small interactions.  It should deepen those back-and-forths, providing enriched social capital.

Writing arranges the experienced world in an analyzable narrative, exhuming and dissecting until authenticity becomes evident.  A writer digs deeper into the scene or memory, imagination is invoked to develop details – evidence – into a stranger’s profile.  As those around us become three-dimensional character’s in a narrative, the more appealing and relatable they become.  Since people create social networks based upon shared interests, backgrounds, and experiences, recognizing shared personal moments.  Recognizing shared details between people leads to connecting through mistakes and daily troubles that deep relationships with friends and family.

When the same shared details are identified in others outside the homogenous group empathy is extended, enlarging humanity.

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Writing’s Joys

Writing is meditation, providing the sign-posts to authenticity, displaying baggage unedited on the page.  In un-arguable black and white words exist a story; words for which only context and definition exist, otherwise they have no other agenda than to communicate intent and emotion.  Words communicate clarity just as a painter’s brush strokes.

There is no higher participation than recording the human story.  Fiction, sculptor, journalist, painter, etc.  all the arts keep for the future, life experience as it is now.  Fiction, essays, and articles bring currents to depths, re-contextualizing the world and experiences.  A work’s message may not be presently obvious, but the future’s ability to decontextualize reframes evidence to speak.  Art carries a voice between generations, giving validity to future generations’ movements.

The writing process involves digging deeper into the root of a scenarios disagreements and complicities.  A writer’s imagination redevelops the world to a more agreeable inclusivity.   What is presented to the audience is the statement that cannot be tapped down.  As scenes are developed with details – evidence – around characters for complexity, makes them more relatable and appealing.  A character’s shared interests, experiences, and details with audiences extends empathy to the newly complex character, which is often Other to observer.

Writing is recording the present while creating the future – keeping the story going.

The Basilia Phalanstère

The Basilia Phalanstère was located at 1016 Madison Ave, Central Business District, in Sidume, of Pentapolis of the Valley.  It is six floors high, with a basement to make seven; and worth $32 million with taxes at about $80,000, for 93,300 square feet with elevators.  The building had been zoned for commercial and residential usage.  From outside the building looked elegant and stately, a large stone and brick home amidst the concrete of Sidume and its buildings.  It looked like something that belonged closer to the opulence of Biell than so near the economic center of The Valley.

Blithedale built the mansion in 1862, at the foot of the ultramarine Acadian Mountains, a sprawling granite structure; the land had been bought in the early 1850s.  Throughout time The Basilia was reconstructed and remodeled primarily in 1865 thru 1914, to include four fort-like towers shooting out from its sides and amongst the steel skyscrapers, like octopus tentacles around glass fish.  It contains 35 apartments, 9 studios, 9 duplex penthouses, museum, business, and dining facilities; and can house up to 1620 people at any given moment.  The building’s main door was large steel arches, framed by a single stone arch that read, “O to che vieni doloroso.”

The structure was composed of three major parts: a central part and two lateral wings.  The central wing houses libraries, offices, meeting rooms, studies, and a ballroom.  The left wing is for labor and noisy activities, such as carpentry or food preparation; as well as dorms for Erotes.  The right wing is where most member penthouses were.  The basement housed some of the organization’s more monetarily expensive acquisitions.

Its unique architecture was preserved by the 1914 Green-Space Initiative, for more modernity’s sake. With the mass production of the automobile, increasing traffic, demolition of historic buildings, commercial encroachment into historic neighborhoods, and the loss of open space led to the beginning of grass roots preservation efforts. Almost immediately residents, business people, and government officials worked cooperatively to preserve, enhance, and revitalize the eastern side of Wuthering Canal; they successfully restored numerous village buildings, the establishment of a historic preservation district.  Interiors and features were as modern as could be afforded.

 

Topher Moore’s Interest in Communitarianism

Topher Moore was an attractive 25-year-old political science graduate student; shaggy haircut, brown bedroom eyes, and a laid-back demeanor that had gotten him into a cheerleader or two’s bedroom, while maintaining a healthy male’s reputation.  He dressed in jean shorts, mole skin boots, knit blue hoodie t-shirts, and a rotating arsenal of hats.  To carry his possessions, such as his skatedisc, e-papers, and water bottles, in a canvas rucksack flung over a single shoulder.

Topher selected political science major to follow in his father’s footsteps, the famous political engineer Lewis R. Moore.  Lewis’ work kept him constantly travelling through the NAU’s north eastern city-states, giving Topher a varied cosmopolitan upbringing.  Topher was inspired by his father’s effort to push ecological communitarianism into mainstream political discussions.  Topher strives to contradict and battle tribalism, which has swept Terra following the Genesis Revolution’s isolating effects.

Topher selected Brasilia to study because of the Genesis Revolution’s surprisingly positive impact on the continent, such as increased global economic, military, and political power.  Brasilia also became flush with fertile farm land, which provided much needed food to most of the world’s population.  This turned the plantations into powerful new communities, which were independent of previous governmental tribal structures.  These new communities were independent of previous ethnic and cultural ties, becoming new societal utopias built around interactions towards shared goals and interests, and shared history.

Personalized for Authenticity

Authenticity’s exposure is informed by expectations, the measurement ruler that experiences are held against.  Expectations color our how we present our authenticity, often diluting, covering up, or ignoring parts of myself that I would alienate me from those around me – the unique parts of an individual.  Conversations expressing authenticity are collaborative dialogues.  These interactions become cornerstones of authentic identity, informed by cooperative experiences.

Struggling with presenting authenticity is first, contradictorily, dealt with by creating facades that amplify the most acceptable of ourselves.  The parts, believed, that would force support networks away are believed to be shadows of our true place in the world.  Reinforcing social facades requires experiences go un-analyzed, unlived.

On the playground we are taught, as evolutionary survival, that it is important to be like everyone else, to find acceptance into the group dynamic.  From pre-historic to ancient-times, and beyond, avoiding being ostracized meant avoiding death.  This evolutionary hold-over is what pushes queer youth to hide our authenticity from others, keeping our interests, past-times, and loves from friends and families.

I grew up in a suburbia that was a nostalgic Mayberry: students walked to school, left campus to eat lunch in the village, and formed cliques based upon clothing labels; there was a dairy to buy milk fresh from the cow and boutiques that were hobbies for doctor wives.  The school district heavily focused on academic success and rigor, not grit or character; children were taught to be students and not to interact with educators.  We were academically prepared but street smarts were not taught between Great Expectations and chemistry.  The few gay boys that were known easily fit the mainstream suburbia of backyard pools, in ways I never could.  I sabotaged acceptance by defensively rejecting the labels and tokenism they appeared to willingly accept.  I deliberately kept to myself, denying myself a confidante, by refusing anyone I could divulge to because I was scared that if anyone knew my real fears, secrets, and thoughts, they’d not like me.

I retreated into books, making the characters my friends.  I found with Spyder from Caitlin R. Kiernan’s Silk, the characters of The Heart is a Lonely Hunter by Carson McCullers, Milkman from Toni Morrison’s Song of Solomon, and everyone in Armistead Maupin’s Tales of the City, characters similar to myself – they struggled with authenticity in silence.  The characters modeled authenticity as being politely selfish by connecting through known shared hardships and joys.  Connecting through the simple failed-expectations of personal days deepening relationships with friends and family.  Personalizing shared experiences allowed façades to be dropped, deeper connections are formed, resulting in an increased quality of life.

Dorian at Aerynd University

While attending Aerynd University I avoided most social circles, believing they’d peak beneath my mask and judge me inappropriate – or worse, inadequate.  Around friends, I remained shy as if they were strangers because facades kept everyone at an arm’s length.  It was simpler to cover my self-consciousness and inferiority beneath masks, that were fashioned for inclusion by adopting specific friend-interests, and sub-cultures, and abandoning my own.  I made myself look like a light skinned gypsy with the manners of a gentleman.  I brought what I learned from Blithedale, to be a person, anyone could share their sordid family life with.

I attended Aerynd University’s art’s conservatory, The Waterfront Annex, from 2047-2051; none of the traditional professional studies interested me so I constructed my own on graphic fiction.

While attending Aerynd University, in Biell, I appeared in final project student films “Noh” by Johann Tronberg and “Chimera” by F. Rohrbach.  I began dating Jeremy Schwach.  While I studied graphic fiction, Jeremy majored in music & production to be a DJ.  At the Annex 2051 Graduation Show, Jeremy’s composition “Megalodon,” retold the global environmental impact of the Monolith’s electromagnetic storms in 2012 & 2103.  The depth of his work became the talk of the University, which had promised him a serious future that failed to materialize.  Instead, my graduating short story cycle, Snow, was a collaborative effort with Ian Jimenez, who provided static and sequential mixed-media illustration for my stories, yielded a Tilael Publishing contract for my original graphic-serial Babalon’s War; Ian’s woodcarving illustrations garnered him an agent.

The success of Snow gave me the ability to move into the Langham, in Caentibiry, amongst vagabonds, ecchi, socialists, and anarchists; rather than go home after graduation.

Suburbian In Reverse

Freedom came with undergrad life.  I was away from home and finally near New York City, of a world that I had dreamed deeply about escaping to.  At SUNY @ Purchase perfect was the antithesis of suburban high school, evolving to from machismo jock to artistic and eccentric.  In college perfect was chased by girls and boys, and perfect boys were more likely to chase boys back.  Perfect was still not the quietly humorous one who liked school and read in his dorm.   He was cool though, which afforded me the opportunity to be entertained by a peer as a possible date.  I freely made my homosexuality explicit and explore relationship dynamics.

Refreshed by a gust of attention, I set my sights on who was deemed the most desired boy on campus: Marc.  He wasn’t a student, but was the friend of students on the floor below me, and visited every weekend.  Luckily, the friends I had made on my floor knew the people down stairs through a mutual friend from Long Island; guess New York City isn’t that big of a city.

Mutual friends who knew of my crush arranged for a chance encounter with Marc.  While nothing came of the meet, I did gain wonderful new friends who are cherished deeply.  Marc, also, knew of my crush on him; apparently, subtlety was not in my repertoire.  His rejection of me (I wasn’t his type; he preferred guys more seasoned than I was) dissipated my attraction.  His friends felt sympathy for me, revealing that Marc gets crushed on a lot.  I thought how if I wasn’t special or a first to Marc I’d move on and I was over him.  We hung out after and it was clear we had nothing in common other than our mutual friends.  During that friendship, I saw that beneath bravado, was a desperate want for stability with a boyfriend, just as I did.

As college goes relationships were fleeting but sexual encounters were not, with my attention no longer fixated on one person. The relationship that I had dreamt of, had hoped for during the college experience, eluded me.  I was good enough for a lay, but not to spend time with.  I was no wallflower, but I was unable to break the habit of isolating in my room and studying.  I didn’t go to the campus’ LGBTQ Union to meet peers because the members I conversed with assuredly proclaimed their identity to everyone.  Despite my sexual escapades during this time I continued to rebel from any identity label, that I had no history with.

With a false identity in place, I adventured beyond campus-boys to older gay males.  I turned, again, to the internet to dominate my acquisition of homosexual dynamics.  I quickly accepted invitations, hoping that I’d be a step closer to NYC-escape, that I had expected from Oliver & Company and Tales of the City. Behind my more sophisticated and cool mask older men seemed more worldly and attractive. The Jodie Dallas specter faded from the peripheral of my concept of homosexuality, Sex & the City experiences that I had dreamed of seemed a greater possibility.  Instead of the Manhattan fantasy – theatre, dinners, and art galleries – I repeated my suburban youth in reverse.  This version though didn’t synchronize with the ticky-tacky boxes.  Now I saw behind the neighbors’ curtains, and I didn’t like it.  Calling them dates is using the term at its loosest.  The men that I went home with would close their curtains, citing their need for privacy.  As my perceptions grew I came to see “privacy” as a bent mirror to my rejection of the homosexual label.

Blithedale

Blithedale is an entertainment cabal with involvement in projects as varied as fashion houses, publishing companies, cabarets, propagandapapers, television stations, etc…

It began with the orgiastic religion of Dionysos.  Within the Dionysiac cult, money in principle played no part, or played only a secondary role – like a sickness of the body.  Those who took part in Dionysiac orgies were often have nots, sometimes even slaves.  They were a small group of people that refused to cast eroticism out of religion, men had reduced religion to a utilitarian morality.  Eroticism, having lost its sacred character, became unclean.  The popularity of Dionysos in the first centuries of the Roman Empire was such that his cult might have been considered a serious rival to Christianity.  On the other hand, the later existence of a soberer Dionysiansim, seems to indicate that the fear of derangement forced those faithful to Dionysos to renounce the virulence of earlier times.  To the extent that Christianity ruled the world, it attempted to liberate it of eroticism, it turned paradise into the world of immediate – as well as eternal – satisfaction.  But first it made paradise the outcome of an effort, the outcome of labor.  Those that did not chose to conform their violently religious ways found acceptance in the Christian sect of Catharism, calling themselves Blithedale.

They had left on the Mayflower to come to America.  At first the Blithedale members thought they’d get along with the other Mayflower passengers, but they were wrong.  After only a annual and a half at Plymouth the Blithedale members left to set up their original idea.  They envisioned a populace of liberal intellect and cultivated personalities, where interpersonal relations that fostered a more wholesome and simple life could be cultivated away from the energy depleting competitive constitutions.

They moved their community and abbey eight miles east of Boston.  Remaining a isolated community as well as self-sufficient allowed them to amass a small community fortune.  The prototype Blithedale community was originally financed by the sale of stock, a purchaser of one share automatically becoming a member of the institute, which was governed by a board of directors. The profits, if any, were divided into several shares corresponding to the total number of man-days of labour, every member entitled to one share for each day’s labour performed.  During the Panic of 1837, that shut banks and closed lines of credit, Blithedale was the only organization – aside from the Catholic Church – with the resources to give out such vast loans, leaving them to be one of the only money lending agencies around.  In the following depression Blithedale acquired the thousands of abandoned acres of agricultural land as people hoped factory work might save them, and turned the land into resorts of the wealthy.

By the 1840s there was obvious immigration toward towns, cities, and factories.  Hoping to increase its newfound power base Blithedale took advantage of the rapidly developing industrialization made possible by steam and iron mechatronics, by introducing the barons to Blithedale’s inner most rituals for passage to Heaven.  Once a month the most senior members meet for orgies, and wine, and various other indulgences.  Each one a way to purge their souls of sin so they could easily return to their holy lives, unencumbered by being human.  The earliest members were grateful for their free pass to Heaven and they left fortunes, trusts and seedlings for FORBES’ 500 companies.

With its near unprecedented accumulation of capital in the hands of a powerful few, the new mechatronics, city tenements, over-crowded factory town-cities, Blithedale joined other philanthropic organizations to attempt the cultivation of the arts, protection of prostitutes, and the care of orphans.  To clean up any of the rumors that haunted Blithedale since they separated from the Mayflower.  But Blithedale’s good deeds bred just as many rumors.

X-Men’s Bent Mirror

When I realized there really was no rhyme or reason to the comics on the spin-rack, so I expanded out by discovering Wizard Magazine.  Its pages were bursting with comic book news, art, and a back-issue price guide – giving me an inclination that comics lasted longer than three months before disappearing.  When this no longer kept me contained so mom could grocery shop in peace, my parents began taking me to local comic book shops that were found through the yellow pages.  It took a few weeks until we ventured to Empire Comics.  In this comic book shop, I found organized bookstore shelves filled with the most recent 6 months of each title, and long boxes filled with back issues.  Empire Comics treated a comic book shop as more than just a secret club, but treated comic books themselves as the escapism that they had become for me.  I scanned the shelves, intimidated by the independent comic books I had read about, and grabbed the issues to fill in the gaps in my new X-Men collection.

Growing in isolation as a gay teen, I came to grasp the larger social issues entrenched in the X-Men, becoming my original introduction to a subculture.  This was accomplished through their cartoon when it featured the Morlocks, mutants who lived in the sewers of New York City because their powers made them grotesquely disfigured. Their disfigurement and mutant-identity was analogous to my queerness that I actively kept a secret because I feared being further separated from my classmates and friends.  The Morlocks illustrate a key dimension of the mythos, the group that requires isolation through creating its own culture because society won’t accept it.  The Morlock Tunnels became an analogy for subculture and minority neighborhoods I discovered when I became 18 and went to college near NYC, and began going to gay clubs and Chelsea, I was enlightened to a world that was tailored to me.  In NYC’s clubs the drag- and nicknames used were similar to mutants’ code-names as their primary self-identity and opting out of their government birth names.  As my knowledge of queer history and culture grew the mutants’ outsider place took on greater meaning of social acceptance of uniqueness.