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Chapters (102)
  1. Cover
  2. PRAISE FOR
  3. Dedication
  4. ONE
  5. TWO GROUPS
  6. FACTS
  7. WORK
  8. A SYLLABUS
  9. ANOTHER SYLLABUS
  10. SUBSTITUTIONS
  11. MORE SUBSTITUTIONS
  12. TRIANGULATION
  13. TAXONOMIES
  14. THE SEASONS CHANGE
  15. TWO
  16. THE NEWS REPORTS
  17. RESEARCH
  18. THE NEWS REPORTS
  19. TWO LETTERS
  20. A DIAGRAM
  21. A COPIED PARAGRAPH
  22. THE REARRANGING UNIVERSE
  23. WHO WE ARE
  24. THE UNNAMED ELEMENTS
  25. POSES
  26. THE NEWS REPORTS
  27. CASTING
  28. AN INSTABILITY
  29. A FANTASY
  30. PEAK / END
  31. WOUNDS
  32. THE NEWS REPORTS
  33. FLUCTUATIONS
  34. HEAT
  35. QUESTIONS FOR A CLERK
  36. THE NEWS REPORTS
  37. THE ACTUAL NEWS
  38. GASLIGHTS
  39. THREE
  40. THE NEWS REPORTS (STRANDED PEOPLE SPREADSHEET)
  41. NAMES
  42. POSTCARD FROM S #1
  43. THE NEWS REPORTS (LIVEBLOG)
  44. POSTCARD FROM S #2
  45. THE NEWS REPORTS (FEED)
  46. POSTCARD FROM S #3
  47. RESPONSE
  48. WHAT WE WEREN’T DOING
  49. THE NEWS REPORTS
  50. THE MIDDLE PERIOD
  51. FOUR
  52. &
  53. &
  54. &
  55. &
  56. &
  57. THE NEWS REPORTS
  58. &
  59. A LONG NIGHT
  60. FIRST FIGURE
  61. SECOND FIGURE
  62. THIRD FIGURE
  63. FOURTH FIGURE
  64. FIFTH FIGURE
  65. SIXTH FIGURE
  66. SEVENTH FIGURE
  67. EIGHTH FIGURE
  68. NINTH FIGURE
  69. TENTH FIGURE
  70. ELEVENTH, TWELFTH, AND THIRTEENTH FIGURES
  71. FOURTEENTH FIGURE
  72. FIFTEENTH FIGURE
  73. SIXTEENTH FIGURE
  74. SEVENTEENTH FIGURE
  75. THE FIELD
  76. FIVE
  77. AN ORIENTATION
  78. ANOTHER ORIENTATION
  79. A DRIVE
  80. ASPECTS OF QUESTIONING
  81. SIGNS
  82. THE ENTIRE WORLD REVOLVES IN YOUR MIND
  83. SELF-REPAIR CAGE
  84. COFFEE
  85. FIGURE EIGHTEEN
  86. WAITING
  87. QUESTIONS TO LEARN MORE ABOUT UNDERLYING ISSUES
  88. FIGURE NINETEEN
  89. THE NEIGHBORING TOWN
  90. TWO GROUPS INTRODUCING THEMSELVES
  91. E BRIEFLY COMMANDEERS THE NARRATIVE
  92. THE INTRODUCTIONS CONTINUED
  93. WHAT IS AND ISN’T PREDICTABLE
  94. PABLO SENDS A POSTCARD
  95. MARINA TAKES A BREAK
  96. THE NEWS REPORTS
  97. LOSSES
  98. AUTOECIOUS END-STOPPED TANKA
  99. ACKNOWLEDGMENTS
  100. FUNDER ACKNOWLEDGMENTS
  101. THE PUBLISHER’S CIRCLE OF COFFEE HOUSE PRESS
  102. About the Author

So here’s a story I know how to tell: a fantasy—not a dream, a fantasy that filled the precise duration of this morning’s train ride between the (former) locale of Love and the (also now former, though for different reasons, and only temporarily) locale of Anti-Love. A fantasy I finally had about the capitalist.

A FANTASY

He is a tall man: a cis man, a straight man, a freewheeling, grinning, doe-eyed, gentle-dad, go-to-the-key-party-but-leave-your-keys-in-your-pocket man. Olive skinned, from some combination of countries that all border warm, salted seas. He claimed once, in passing, never to have pulled an all-nighter to meet a deadline.

An organized man. An organization man. A kind of man who thinks he wants you to call his bluff. I found myself wondering: What would that mean?

I found myself letting the wondering extend into something more vivid than wondering: a model, to scale, of an encounter intended to perform the extraction of pleasure I’d felt the urge to accomplish those months ago.

He lies before me, on a bed of sand: the sandbox in the playground across from the bodega and the café, a sandbox shunned by germophobic parents in a playground from which the childless (we call them—ourselves—the child-free, in Anti-Love) are forbidden entry; but it is after hours. His eyes are closed, his head—close-cropped black hair, two-day stubble—is turned gently to the left, to face in toward the seesaw and climbing bars, away from the streetlights. His lips form an inscrutable smile, like what I imagine would be found on a wealthy, professionally primped corpse. His arms and legs are splayed, his expensive jeans fully tented at the crotch. He’s wearing a putty-green T-shirt bearing a vaguely retro logo in yellow, some tech start-up or indie-rock band or just a corporate clothing-chain simulacrum of either. I want it off, but without disturbing his well-positioned limbs.

image

I have said that this fantasy is a fantasy about the extraction of pleasure from a capitalist, as a form (I understood at the time) of redress, of compensation. And I haven’t even yet begun to describe the unfolding event to you—my toolbox and its deployment, and the capitalist’s response—but before going on, I need to say something more about fantasy than what this scenario would suggest.

In Anti-Love, I once shared an additional reading—nobody else bit, but that’s not unusual—which included this claim: “It is well known that stout persons throughout the ages have found that they had some sense of freedom, even an enhanced sense of freedom, when in states of physical restraint.”

What needs asking is how this proposition, if it is correct, might alter my intent: if freedom is pleasure, or if it is related to pleasure, then I can know what I’m doing to the capitalist, in the sandbox, after hours, only to the extent to which I understand his relation to the formulation above.