Letters to my Editor

To The Editor,
Thank you in advance for your consideration of my enclosed fiction submission for publication in your magazine.

To The Editor,
Last week I submitted a story for publication in your magazine. A closer reading of your online submission guidelines has brought me to regret the tone of my initial email. You are not looking for stiff-necked writers who stand on formality nor do I fit that description. I write today to inform you that I am, in fact, too “out there” for two of my uncles who stopped coming to Thanksgiving years ago. They were boxed in by hegemonies, anyway. I know your magazine is looking for real writer’s writers who break molds and then make jello in ashtrays instead. I am your man. My story is titled Vacation from Hell.

To The Editor,
Today’s the day! It has been exactly two to three months since I submitted to your magazine. (I will probably get your response when the mail comes today.) In way of celebration, please find enclosed two important appendices to Vacation from Hell. The first is a picture of me for publication alongside my story. Please note my unorthodox attire considering I am pictured attending a bris. The second document is a companion reader to my story. Titled “Critical Essays on Judson Merrill’s Vacation from Hell” it offers a more complete examination of my fiction than your staff may have the time or expertise to provide. Please pay particular attention to the chapters “Giraffe Imagery” and “Autobiographical Influences.” I look forward to working with you.

To The Editor,
Thank you for your kind attention to the following apology for any letters I may have written to your magazine between midnight and 3 a.m. this morning. I was celebrating the newest draft of Vacation from Hell (enclosed). I imbibed too freely and, inadvertently, made a blood pact with a man named Woody that I would write hateful things to the person(s) who is most important to me. I assume I wrote to you. I have foggy memories of typing the phrases “Faulknerian idiot-man-child cum editor,” “long standing literary giraffe bias,” and “blood on your hands.” If any of this sounds familiar, I am most sorry.

To The Editor,
Last winter I submitted a story titled Vacation from Hell. Frankly, the length of time it has taken to reply to my submission is an insult. If I had gotten you pregnant back in January, instead of simply submitting a story, we would have already packed a bag for the hospital, mapped out our route, et. al. The big day would be upon us. So, if that’s all I am to you, a fake pregnancy you have no intention of pretending to deliver, than I need to know. And I need to know yesterday.

To The Editor,
I have hired a private detective to find out exactly what happened to my submission Vacation from Hell. Since my writing is my (potential) livelihood I need to keep careful track of it. My detective’s name is Gregor Freed and he is currently breaking into your office to retrieve any and all copies of my story from your offices and computers. Also, I have authorized him to leave fresh copies on the desks of all your editors, in the bathrooms, and in the pair of galoshes he found by the door.

To The Editor,
Thank you in advance for your kind attention to the tunnel I have excavated underneath your house. I have been living here for a week and enjoy your musical taste. I am writing to invite you to visit me any time to discuss my recent fiction submission, Vacation from Hell. I have previously been in contact with your staff and was under the impression my story was being considered. Nevertheless, I did some detective work on my own and discovered that at least five copies of my story were discarded before there was possibly time to read them. I knew you would want to know of this neglect which is why I am writing you personally. Again, my name is Judson Merrill and my story was titled Vacation from Hell (enclosed). I have recently placed copies in your coffee cup and Basquiat DVD case (that seemed to be the artiest movie you own). I also tucked a copy into your daughter’s sheets when she was at school today. I think she will appreciate its dark humor and, since she is family, I know she would be a trusted reader.

To The Publisher,
Thank you in advance for your consideration of my enclosed prison memoir, Giraffe Pen, for publication by your imprint. I believe you will find it haunting and visceral. I look forward to working with you.

- Judson Merrill lives and writes in Brooklyn. He’ll release an e-novella, The Pool, this summer. A few things can be found at judsonmerrill.com.


Census Stories

Rhode Island

They called themselves possibilitarians. They squatted in warehouses in Providence. They constructed houseboats out of trash and moored them off the docks.

They rode skateboards down abandoned off-ramps. They organized noise and folk shows in co-op basements. They screen-printed posters. They ate from dumpsters. They loved each other.

They recreated pronouns. They imagined communities. They spoke in slogans. They formed multiplicities.

They said another world was possible. Anything is possible. Everything is possible.

New Jersey

The room was full of portraits – photographs – hanging on the walls. It was a bedroom in a condo where I was staying for a couple days, out on one of the New Jersey Transit lines.

I took the 7:25 out of Secaucus Junction. The train stopped at Plauderville and I got off. I dialed my cell phone and listened to the ringer buzz. “All quiet in Pleasantville,” I said to no one.

“What?” said Lily. Mike shouted something. “It’s Jean,” she yelled.

“Pleasureville,” I said, “or whatever.”

Lily was at the table waiting for us when Mike and I strolled in. She started to say something, but Mike walked past her and I sat down. “What were you doing in New York today?” she asked eventually.

“Yeah,” said Mike from the kitchen door, “business or pleasure?” He had a plate in one hand and a couple bottles in the other.

“Pleasure is my business,” I said.

Mike laughed and Lily sighed. “Grow up,” she said.

That night after I went to bed I could hear them having sex. Their room was just across the hall. If I stared hard enough at my wall, I could peer straight through it and see their climax coming, rising like a skyline.

Secaucus was almost empty the next morning. A Chinese couple peered from sign to sign, moving in sad eccentric circles, the listless residents of northern New Jersey; the unwanted neighbors of New York.

The man stopped and called a kid over in some language I didn’t understand. The boy walked up to me and smiled. “Hello,” he said, “my name is Jun. Can you tell us how to get to Penn Station?”

“Sure.” I pointed. “Newark is that way.” The man thanked me and the lady pulled the boy away. “My pleasure,” I said to nobody.

Mike didn’t come to pick me up that night. He and Lily were already eating when I got home. “Hey Mike,” I said as I sat down, “I think your phone’s busted. I called a couple times.”

“Oh, yeah,” he said. “It must be.”

“Mike,” Lily said, “don’t you have something to say to Jean?” He didn’t, but she did. “We want our bedroom back.” She took his hand in hers. “You can’t stay here anymore.”

We?” I said. “Ours? This place isn’t yours; it’s his. He wrote me. He said . . .”

Lily smiled. “It’s over,” she said.

I heard them leave for work the next morning, heading for the office together – copywriter and copy-editor. I got up and the portraits glinted. I leaned, looked at one closely. I moved from frame to frame. The subject was always alone. The faces were all the same. The room is full of portraits. They are all of me.

A minute passes. I look at the still-ticking clock. I had expected everything to be over after that, wrapped up neatly, like a story, but here I am, waiting for nothing.

Secaucus is ghostly, like a dream. Vague figures flit along the edges of my vision. The departure boards are empty. The floor stretches to nowhere. [What about the giant metal sculpture? – Ed]

I look up and see a metal marsh plant sprouting from the floor. Is there one? I’ve never been. The signboard behind it fills, numbers swirling from the center like drops of blood in a glass of water.

I walk into my house and Mike and Lily are having dinner. [Again? – Ed] This is the Raymond Carver part. She grabs her knife, holds it up and yells. Who the hell do you think you are?

Come on, Lisa, shouldn’t you be hiding behind your parentheses? I sit down and she steps forward. [They’re brackets – Ed] Whatever. Her knife is poised like a finger over the delete key, about to edit me out of this story forever, as though she even could. [Misogynist] You shut up.

“Shut up!” I yell. Suddenly I’m standing. The walls buckle and recede as Lily screams: “Do you even know what day it is? What year? Do you have any idea how long you’ve been here?”

“Max and I have known each other for a long time.”

“My name is Mike,” Mike says, and turns to me. “This is not about you. This is about us.” Who wrote that? [I did] “Who said that?” I look wildly around.

What are you talking about?” said M.

“You have to end this now,” said L.

You said this never should have begun.

What the hell is going on?

There is only white space. It is a junction, a point of connection, of intersection. It’s hard to see the whole of it from here, caught up in it, existing only in it, through it. So what about you (John or Jane, or whatever your name is)? Where do you think we’re going? What do you want to happen next?

- Max Krafft is the writer of Census Stories. He’s collected data from the U.S. Census, and used it to map out a series of 52 short stories.

Cyborg Theory, Cyborg Practice

I know a lot of hackers, the kinds of people who can and do pull apart everything and anything, reassembling things into something new and useful. While most of them work in electronics, and I dabble too, I think I’m part of hacker practice in a different way. My writing and work is based upon hacking my complex set of social identities — compiled into a single identity that we might call cyborg identity.

We are all cyborgs in a Harawayan sense. We are amalgamations of complicated histories of violence, socialization, and the internalization of the oppression that surrounds us. In her 1989 “Cyborg Manifesto”, Donna Haraway writes about the ways in which feminism has failed women of color and women in the Global South. She neglects to mention the group which has been failed most violently by feminism, transgender people. Feminism has a nasty history of erasing transgender people: denying the humanity and womanhood of trans women, fetishizing and degendering trans men, and rejecting legitimacy of all people who queer gender. This is a topic for another essay entirely — what matters for our purposes is that Haraway is not trying to squeeze all non-men into a certain framework. She is trying to pull apart the tangle of identity.

The interesting thing about Haraway’s exclusion of transgender identities from her discussion of cyborgs is that we are perfect examples of cyborg praxis. By that I mean, we have bodies mediated in complex, meaningful ways by technology which, in many cases must be separated into component parts (and we are often examined as medical curiosities and rarely treated as holistic people); we have a preoccupation with the technologies of writing and language; and regardless of the complex gender identity we claim for ourselves, we represent an embodied experience of dissonance, language-play, Deleuzian multiplicity, and mediation. Trans people are living rejections of a dualism that separates the mind from the body: by virtue of our trans-ness, we refuse that there is any division at all.

The best explanation we can often offer to cis people about our justification for our “deviant” behavior and our need for medical care is that our minds don’t match our bodies. But that’s crazy talk. Of course one’s mind matches one’s body. They are inseparable. When we consider that we think as much with our bodies as we do with our minds — that our bodies are what draw lines between what is known and what is possible — it seems ridiculous to say that there is a separation. (Which is to say nothing of the philosophical untenability of dualism.) When we consider that queer identities are not explicable via genetics, or neuroscience, or sociology, or psychology alone, we must recognize that the roots of identity are deep and complex, too complex for the disjointed work of “experts.”

This lack of a separation is most boldly exemplified in experimental self care and medical care. I have been this kind of a hacker for the past six or seven years. For me, hacking started with so-called “cross-dressing.” A suit and tie, the layers of binding which hide the body underneath. The adoption of an androgynous name — first as a nickname, then as a legal fact. The negotiations of doctors and gatekeepers. Testosterone therapy. Confusing people on the street, in shops, restaurants, and positions of authority. When I went to get my New York State driver license, the DMV officials argued amongst themselves if my driver license should carry an F for female, or an M for male.

These interventions are all enabled by technology — weaving, sewing, medicine, language, writing, synthetic materials, the automobile. The transgender experience is deeply mediated, as is the experience of all. But what sets the mediation of transgender selves apart is the intentional use of technology to change our being-in-the-world, and the lack of obvious alternatives. We appropriate the technology of our oppressors — we hack not just our selves but our society; we hack not just our society but our oppression.

In the Manifesto, Haraway explains that “Writing is pre-eminently the technology of cyborgs, etched surfaces of the late twentieth century. Cyborg politics is the struggle for language and the struggle against perfect communication, against the one code that translates all meaning perfectly, the central dogma of phallogocentrism.” And, no, there is no perfect way to speak about transgender identities. Because my trans-ness is a fusion of human, animal and machine, something profound and profane, I cannot describe accurately what it is I am, what it is I am doing. It’s what’s so difficult when we have conversations about the rights of transgender people: the lack of clear parallel makes us an easy Other, and the best intentions often become the most dangerous hurdles.

I exist outside the totalities that society expects me to conform to. I do this with intension, with a Harawayan sense of irony. I am playing with the bits I’m supposed to have and the bits I’m not, but can get. This play is deadly serious. My very motion through social space is a challenge, a subversion of heterosexual (and even homosexual) desires. Because I am not a man. I am not a woman. (But what are you, you might ask?) There are not words to describe what I am, so I must invent them. They come piecemeal from a variety of traditions and languages, from a fragmentary consciousness of a fragmented body.

“The cyborg is a kind of dissassembled and reassembled, postmodern collective and personal self,” says Haraway. To take apart the gender that has been imposed upon you, to make alterations to it, remove constituent parts which are unsuitable and add new ones entirely, this what it is to be transgender. It’s not that I am learning to be a man. I am unlearning — not to achieve some essential state of nature, but to become singular. And so the self becomes art and artifact, the product of intellectual effort, medicine, pageantry, inspiration, and nonbinary logic.

There will be no return to nature. The state of nature is an anachronism, for not only is it impossible for us to renounce our technological augmentation, by embracing it we acknowledge the state of nature as a tool of oppression. To live a cyborg is to liberate oneself from this onerous fantasy. There is no state of nature. There is no original sin. There are people, traces and pieces, littered all over the world.

At the end of the day, we’re all complicated creatures. We ought not settle for the status quo. We have every right as cyborgs to demand more, to move forward joyously demanding no less than justice for all. We gain nothing by pretending at simplicity, at circumscribing categories onto ourselves, and denying that our whole selves are cultural and artistic artifacts. We stand to reclaim our autonomy by hacking our bodies, our society, and our oppressions.

- Cayden Mak is a Buffalo-based cyborg, educator, game designer, and theorist.

Photo Credit: Shasti O’Leary Soudant

Bird, Critic, Blog

1. Burrowing Owl.

2. Terry Eagleton, “The Death of Criticism?”

In his The Function of Criticism,

“The role of the contemporary critic is to resist that dominance [of the commodity] by re-connecting the symbolic to the political, engaging through both discourse and practice with the process by which repressed needs, interest and desires may assume the cultural forms which could weld them into a collective political force.”

Y/N/Maybe?

3. Blog.

New Aimee Bender, The Particular Sadness of Lemon Cake.

Mark Athitakis re: sex, Gen X status.

The Official Catalog of the Library of Potential Literature and Invisible Library

–Anna Prushinskaya is an Editorial Assistant at Electric Literature.

Bird, Critic, Blog

1. Owls in the wind.

2. Derrida on fear of writing.

“Nothing intimidates me when I write. I say what I think must be said.”

3. Blog

“In the “do” camp: James Wood (critic, novelist, subject of YouTube “finger drum” video) and John  Lanchester (journalist, novelist, proud owner of new iPad). In the “don’t” camp: Colm Toibin (novelist, teacher, enthusiastic chronicler of gay chat-room culture), who claims such an aversion to phones, mobile or not, that he’s grateful that in the Age of the Internet, we have e-mail, which “doesn’t ring.” [Issue at hand? Ownership of an e-reading device]

CUNY organizes an endangered-language program. “New York is such a rich laboratory for languages on the decline that the City University Graduate Center is organizing an endangered-languages program.”

Not a Moleskin endorsement.

Praise for Translators.

70 Classic American Package Designs from the Early 20th Century.

–Anna Prushinskaya is an Editorial Assistant at Electric Literature