Clarification of my relationship with Zero Books

Since Angela Nagle, author of the Zero Books title Kill All Normies, has begun writing anti-immigration columns in pro-Trump publications, I thought it would be helpful to clarify my relationship with that imprint. Long story short, there was a complete and total turnover of editorial staff while Creepiness was in production. The new leadership obviously did not share the same values or editorial standards as the founders, as shown by the fact that they didn’t just publish Nagle’s deeply flawed, partially plagiarized book — they publicized it intensively. At the same time, they left “orphaned” authors like me to languish, even though I had already provided two of their previous bestsellers.

I had to do my own publicity for years, with very limited success, because I was told that they had no resources. So to see them finally put some effort into marketing for such a deeply questionable book was infuriating. Meanwhile, the New Yorker had requested a review copy of Creepiness and COULDN’T GET AN ANSWER from the publisher. They ignored a request from the New Yorker! I had to personally send them one of my author copies. When I complained about this situation, the new editor — who is now on record as saying that they don’t do editing and hence Nagle’s plagiarism is fine — offered to make it up to me by hooking me up with a podcast interview with a little-known Zero author. I declined.

So if anyone wants to paint me with a guilt-by-association brush here — you have your answer. They disowned me completely before I even realized what was happening.

Louis CK bent over backwards to tell us he was a creep

[Note: This is an excerpt from my book Creepiness, available wherever fine books are sold. I post it now mainly because I have been tempted to write something in response to the revelations about Louis C.K.’s sexual misconduct, but realize I would not say anything I didn’t already say in this analysis.]

Louie has become known for stretching the boundaries of the sitcom format, telling stories of widely differing length and tone. In a given episode, one could just as easily see a series of short sketches or a segment from a multi-episode arc—or some combination of the two. This bold experimentation gave Louis C.K. a reputation as a true sitcom auteur, and by the time the show reached its third season, there was an emerging critical consensus that Louie was on pace to become one of the greatest sitcoms of all time. The cultural critic Chuck Klosterman even went so far as to claim that watching Louis C.K. hit his stride showed us what it must have felt like to witness the Beatles’ greatest achievements as they unfolded in real time. Truly, the man could do no wrong.

Hence all indications pointed toward the fourth season being an utter train wreck of narcissistic self-indulgence—and yet even the most pessimistic critic could not have predicted how bad it actually turned out to be in practice. Continue reading “Louis CK bent over backwards to tell us he was a creep”

Sculpture and the Uncanny Valley

Bernini, Rape of Proserpina (detail)
In this era of increasingly accurate 3D computer imagery, animators have come up against a problem known as the “uncanny valley” — after a certain point, the closer to accurate 3D imagery is, the creepier it becomes. The reason that it’s a “valley” is that it’s assumed that once we hit on absolute accuracy, it will no longer be creepy. I believe that assumption is unfounded. If we hit absolute accuracy, we would also hit the level of absolute creepiness. Human culture may never recover.

Humanity was in danger of hitting this uncanny point of horror at once before, during the Renaissance. At that time, painters and sculptors strove for the greatest possible accuracy, and the results are often startling, especially in the case of sculpture. Close-ups of familiar pieces like Michelangelo’s David reveal detail that is almost literally unbelievable.

Now for contemporary viewers, it’s the most natural thing in the world that all those sculptures are unpainted. Yet it’s now known that the reason for this is a historical accident. The Greeks and Romans painted their sculptures, but after many centuries, there was no apparent evidence of this fact. The Renaissance sculptors, in their passion to imitate classical models, thus left their sculptures unpainted.

There’s a certain irony in this fact, but there is also a saving grace — for imagine what would have happened if the Renaissance artists, with their passion for absolute imitation of nature, had actually combined sculpture and painting. A version of Michelangelo’s David that was painted as accurately as it is sculpted would, I submit, be utterly unbearable to look at. It would be too real. Only the abstraction of color allows the accuracy of the sculpture to provoke wonder rather than horror.

My proof for this is Bernini’s Rape of Proserpina, where the absolute accuracy of the form is so extreme that it can, at least for some viewers, overwhelm the abstraction from color and cross deeply into the uncanny valley. Where Pluto’s fingers touch her thigh, we believe we see real flesh, and the effect can either be appreciative disbelief — or revulsion.