Afterword

Filtered by Experience: An Algorithm Called “Me”

If we look at historical photographs of Aby Warburg’s Mnemosyne, A Picture Series Examining the Function of Preconditioned Antiquity-Related Expressive Values for the Presentation of Eventful Life in the Art of the European Renaissance (1924–29)—an organized set of images that Warburg arranged in such a way that they illustrate one or several thematic areas—we can see that each picture series strongly resembled a Google image search result, both in its ambition and layout. What to make of this resemblance?

From the cabinet of curiosities and the encyclopedic projects of Diderot and d’Alembert, to the iconographical studies of Warburg and the Google image search engine: where there is man, there is stuff, and man wishes to organize this stuff in a way that mimics the way he thinks. It seems that by now, the Internet is simply mimicking the way human brains have always worked, rather than invoking radically new ways of thinking, as some e-optimists might have us believe. If we were infinitely smarter than the first computers, the time has arguably now come where artificial intelligence has outsmarted us. Has it, though?

It is a platitude to say life imitates art, but it is less so to say that the Internet imitates a specific sort of thinking, one I would like to identify as artistic thinking.

The other day someone showed me a website that generated clusters of images based on some finely tuned algorithm. It struck me as a terrifying vision of future ways of creating collections and exhibitions. Or was this the ultimate curatorial tool? Logarithmic technology always raises the question: Who is making the data dance to his or her beneficial rhythm?

The exhibition Bit Rot, which prompted this eponymous publication, was made up of disparate and heterogeneous images and objects both by Douglas Coupland himself as well as others. What is then the glue keeping it all together? An algorithm called “Me.” Or, in this particular case, called Douglas Coupland, born in 1961 on a NATO air force base in West Germany, etc., etc. You can look up the details online.

When reading Coupland’s text “An App Called Yoo,” included in this collection, it struck me as the description of a mindscaping tool, where logarithmic technology allows us to create something that would closely resemble the exhibition this book was named after. Did Coupland invent an app that mimics the way his brain works? Or, differently put: Does the Internet speak our language? Or have we learned to speak its? Are the search entries we have come to master actual reflections of our own thoughts and desires? Or are they, rather, mere substitutes for them, developed to match the by now barely concealed commercial interests of the World Wide Web?

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As Coupland writes in his essay “Stuffed,” also included in this book, people cannot help but collect or even hoard, and he is rightly suspicious of people who do not possess any accumulations of any sort. We crave more of what we enjoy most, be it Japanese bottles of detergent or empty space. The things we surround ourselves with are telltale signs: “Show me your house and I’ll tell you who you are.”

The art world’s equivalent of this cliché of interior-design-pop-psychology might be “the artist as collector.” Indeed, collecting can and should be seen as a creative act in its own right. However, as is always the case with art, what matters is not so much what an artist collects, but how it is presented. Whether they will share a set of references and interests beyond their own work is a personal choice artists must make for themselves. One can think of it as a mental group exhibition, a spiritual library, or a Warburgian mood-board. Some prefer to carefully shield their collecting from the outside world; others make an entire oeuvre out of displaying this inner database.

If the dialectics between collecting and deaccessioning always entail a sense of loss, as implied by Coupland in “Stuffed,” and if these respective acts always occur through an applied filter—be it computed or human—we are left with the question: What are these losses we try to compensate for?

Recurring in Coupland’s writing are characters who have lost their story: their lives stopped feeling like a linear event-based narrative. Certainly some acts of collecting are attempts to solidify the fleeting storylines that make up our lives. Art has always been a rich source of simulacra that tell our story for us. When life seems to be escaping us, we reel it close again in the shape of things, fragments possibly shored against some ruins.

In the realm of organizing stuff in order to make sense out of it, an artist’s position is perhaps to be located somewhere in between Warburg and Google: not quite systematic and scientific enough, yet definitely not ruthlessly efficient or devoid of actual embodied knowledge either. It makes me cringe writing this, for it sounds so very cheesy, yet it seems necessary to write it today: there is no finer filter than a human brain thinking artistically. Intuition seems to have been replaced by algorithms, making it an obsolete notion to some, and the most precious and unique human capacity to others.

If you think about it, almost every human undertaking—increasingly so, even—seems to involve some degree of information filtering. And if art seeks to reveal what is not immediately visible, there is an unveiling to be done; some things need to be shown, causing others to remain hidden. A conceptual or formal grid is laid over the world and the world appears anew, altered, filtered. This is how an exhibition can be made, but it is also the process of organizing one’s wardrobe, or arranging books on shelves.

I remember that when I discovered the colour filter options in Google’s image search function, I thought, This is amazing. But like with most computer technologies that reach us today, the awe wore off after about five minutes.

Filters are supposed to be flawless. Yet the human brain and its output are far from flawless. Brain rot will always occur, causing glitches both devastating and beautiful. When filtered by one’s life experience, the outcome will always be less than perfect, yet never entirely wrong.

Flying to Vancouver for the first time in early 2015, I thought about how, even when we’ve never been there before, we often already have some sense of the place we’re going to. In my case Vancouver brought up mental images of Jeff Wall’s landscapes and a quote I might be erroneously attributing to the photographer, which says that you can make Vancouver look like anywhere, hence the movie industry’s interest in this Canadian city.

Vancouver also triggered a set of references related to Coupland, who in many of his books describes the city and its natural surroundings. Perhaps it was Coupland who said that the city he grew up in could be made to look like anywhere else. It sounds like something he would say. Of course I could look up who actually said it, and where and when. But this blurring of memory entries, this set of subjective data, is precisely what makes up our inner landscape, our mind and, as such, who we are and what we do.

Samuel Saelemakers

Bit Rot is the title of this book. Bit Rot is also the title of an exhibition of the author’s visual work at Rotterdam’s Witte de With Center for Contemporary Art in 2014-15, which then traveled in 2016-17 to Munich’s Villa Stuck Museum. A small catalog, also titled Bit Rot, which contained material from this book was produced for the Witte de With exhibition.

“Vietnam”; “George Washington’s Extreme Makeover (pilot script)”; “361”; and “Mrs. McCarthy and Mrs. Brown” are appearing in print for the first time.

“The Short, Brutal Life of the Channel Three News Team”; “Nine Point Zero”; “Fear of Windows”; “The Anti-ghosts”; “Beef Rock”; “Yield: A Story about Cornfields”; “The End of the Golden Age of Payphones”; “666!”; “George Washington’s Extreme Makeover”; “Superman and the Kryptonite Martinis”; “Zoë Hears the Truth”; “The Preacher and His Mistress”; “The Man Who Lost His Story”; and “Bartholomew Is Right There at the Dawn of Language” were first published in Douglas Coupland’s novel Generation A, published in 2009.

“Creep” was first published by DIS magazine online.

“Black Goo”; “Pot”; and “Grexit” were first published in Vice online

“Stuffed” and “Shiny” were first published by e-flux. “Temp” was first published by Metro International.

“Nine Readers”; “Smells”; “Coffee & Cigarettes”; “Public Speaking”; “Notes on Relationships in the Twenty-First Century”; “Stamped”; “Future Blips”; “Futurosity”; “Worcestershistershire”; “Bulk Memory”; “The Mell”; “Little Black Ghost”; “New Moods”; “Globalization Is Fun!”; “Unclassy”; “Wonkr”; “The 2½th Dimension”; “Living Big”; “The Ones That Got Away”; “Duelling Duals”; “Got a Life”; “Peace”; “iF-iW eerF”; “McWage”; “Lotto”; “Frugal”; “IQ”; “My TV”; “5,149 Days Ago: Air Travel Post-9/11”; “Glide”; “Klass War-fare”; “3.14159265358”; “The Great Money Flush of 2016”; “Ick”; “World War $”; “The Valley”; “3½ Fingers”; “Bit Rot”; “Retail”; “Trivial”; and “Über That Red Dot” were first published in FT Weekend magazine and edited for this book.

“An App Called Yoo” was first published in Monopol magazine in Germany.

Also by Douglas Coupland

Fiction

Generation X

Shampoo Planet

Life After God

Microserfs

Girlfriend in a Coma

Miss Wyoming

All Families Are Psychotic

Hey Nostradamus!

Eleanor Rigby

JPod

The Gum Thief

Generation A

Highly Inappropriate Tales for Young People (with Graham Roumieu)

Player One

Worst. Person. Ever

Non-fiction

Polaroids from the Dead

City of Glass

Souvenir of Canada

Souvenir of Canada 2

Terry

Extraordinary Canadians: Marshall McLuhan

About the Author

Douglas Coupland (pronounced KOHP-lend) (born 30 December 1961) is a Canadian writer, designer and visual artist. His first novel was the 1991 international bestseller Generation X: Tales for an Accelerated Culture. Since then, Coupland has written twelve more novels, which have been published in most languages. He has written and performed for the Royal Shakespeare Company and is a columnist for the Financial Times. He is a frequent contributor to the New York Times, e-flux, Dis and Vice. In 2000, after a decade of generating web graphics, Coupland amplified his visual art production and has recently had two separate museum retrospectives: Everywhere Is Anywhere Is Anything Is Everything at the Vancouver Art Gallery, the Royal Ontario Museum and the Museum of Contemporary Canadian Art; and Bit Rot at the Witte de With Center for Contemporary Art in Rotterdam and Villa Stuck in Munich. In 2015 and 2016, Coupland was an artist-in-residence in the Paris Google Cultural Institute.

 

 

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About the Book

In Bit Rot, Douglas Coupland explores the different ways in which twentieth-century notions of the future are being shredded, and creates a gem of the digital age. Reading the stories and essays in Bit Rot is like bingeing on Netflix … you can’t stop with just one.

‘Bit rot’ is a term used in digital archiving to describe the way digital files can spontaneously and quickly decompose. As Coupland writes, ‘bit rot also describes the way my brain has been feeling since 2000, as I shed older and weaker neurons and connections and enhance new and unexpected ones’.

Bit Rot the book explores the ways humanity tries to make sense of our shifting consciousness. Coupland, just like the Internet, mixes forms to achieve his ends. Short fiction is interspersed with essays on all aspects of modern life. The result is addictively satisfying for Coupland’s legion of fans hungry for his observations about our world. For almost three decades, his unique pattern recognition has powered his fiction, and his phrase-making. Every page of Bit Rot is full of wit, surprise and delight.

Before We Begin . . .

When the pioneers crossed North America from east to west, the first thing to be thrown off the family Conestoga wagon was the piano, somewhere around Ohio. Then, somewhere near the Mississippi River, went the bookcase, and by Nebraska off went the books . . . and by Wyoming, everything else. The pioneers arrived in the Promised Land owning only the wagon and the clothing on their backs. They may have missed their pianos, but in the hard work of homesteading, they didn’t have the time or energy to be nostalgic.

There are many different sections of short works in this book, all written since 2005. Each section came about in a way that, at the time, felt random and one-off-ish—but now I look at them together and see they essentially vindicate all the furniture I’ve tossed from the back of my wagon, year by year, over the past decade. If you were to go on Google Maps and look down from the stratosphere at these pieces of shed weight, you could connect their dots and trace my odd voyage from the twentieth-century brain to the twenty-first. I may miss some of those pianos I threw off my wagon’s rear end, but if I hadn’t, then I’d be stranded somewhere back there, and that would be intolerable.

I’ve titled this collection Bit Rot—a term used in digital archiving that describes the way digital files of any sort spontaneously (and quickly) decompose. It also describes the way my brain has been feeling since 2000, as I shed older and weaker neurons and connections and create and enhance new and unexpected ones.

Some of the stories in this compendium come from the novel Generation A (2007), and I really scared myself when I was writing them. They flowed directly from spending two years deeply immersed in the writings of Marshall McLuhan, and they explore how language, literacy and numeracy feed the technologies we make, and then how those technologies feed back into language. In the novel these stories were integrated into the larger narrative and made a certain sense, but I think the stories work far better extracted from it. These stories capture the sense of being in a foreign country and losing your passport, credit cards and money—and the only thing you’re left with is limited Internet access at a small café that’s only rarely open and has a low-speed connection. The local people are indifferent to you and they speak as though from Finnegans Wake, and you know that, should you ever get home, home will be a very different place than when you left it.

The pieces in this book also, to me, evince a shedding of all my twentieth-century notions of what the future is and could be. By 2007 I realized that the future that was once this far-off thing on the horizon was coming closer quite quickly, and then somewhere around 2011 or 2012, the future and the present merged and became the same thing—and it’s now always going to be this way, and we are now always going to be living in the future.

These days I express ideas through visual means to a great extent. My books have always contained unrealized ideas for art installations and works, particularly the novels dealing with tech, such as Microserfs (1995) and JPod (2006). A much shorter version of this book was created as a “catalogue” to coincide with a show in Rotterdam at the Witte de With Center for Contemporary Art. (This show moved on to Munich’s Villa Stuck Museum in fall 2016.)

My thanks go out to Defne Ayas of the Witte de With for her ideas and energy and hard work in taking any number of seemingly disparate ideas and weaving them together so that they reveal an overall pattern and logic—the true meaning of curation. Also my thanks go to the Witte de With’s Samuel Saelemakers for his time and energy and hard work helping to realize the exhibition. And thanks to my editor, Anne Collins, for always being in the helicopter in the sky above me, connecting all of my dots that I’m too close to the ground to see.

Douglas Coupland

Paris, 2016

 

 

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Vietnam

I am Private Donald R. Garland from Bakersfield, California, as nice a place to grow up in as you can imagine—good folk, and California was booming. My mother used to put sour cherry pies out on the lower edge of the Dutch door, just the way they cool down pies in cartoons, and it was pleasant that way. Please call me Don. On August 5, 1968, I was on an unarmed film reconnaissance mission of rivers in the Bong Son region, and I was killed when my Huey Cobra’s pilot got shot by a sniper from I don’t know where. The rear blade snagged the remains of a napalmed tree, and the tail boom severed. It took maybe seven seconds in all. The last thing I saw was an orange explosion approaching my face like lava flying down a Hawaiian slope.

I’m thinking about what I just said and how Nam it sounded. That was the thing about Nam. Everything about it was so alien that all you had to do was say a few place names with a few military flourishes and boom! It was like I was describing life on Mars, not something real that was actually happening to me, and closer to my parent’s house than, say, Vienna or Sweden. For people back in Bakersfield, reading about Nam was . . . I don’t know . . . like forcing them at gunpoint to read a Chinese menu closely, and no matter what you asked for, all they’d bring you was machine guns and dog soup.

My death in Bong Son was expensive. Aside from the costs of raising an American child born in 1949, there were the added costs of my attending San Diego Military Academy—it probably set my old man back thirty grand—plus all the US government money it cost to start a war overseas and then pay to fly me over, peel my potatoes, wash my laundry, buy me weapons, and put me in helicopters with pilots like my pal Len Bailor, taking off in a Huey filled with canisters of film that were to have been processed and shown on CBS TV. Len always got off on that—maybe our footage would be shown right before Red Skelton or Bewitched. It cost the Vietnamese way less money to send one of their nineteen-year-olds to war. The math’s not hard: grow up on a rice paddy, get a Soviet-made AK-47 (for free) and bingo, it’s wartime. That’s what Len called asymmetrical warfare.

I often wonder if someone in Washington looked at the cost of sending over people like me and said, “You know what, this is not sound Keynesian economics. We put too much money into raising this guy in—where? Bakersfield, California?—sounds too expensive already. His mama probably put out pies to cool on a window ledge—just so he can end up dying in a fucking Huey Cobra crash? And how much does one of those things cost? How did someone that expensive end up in the shit? This is nuts. Don’t we have cheaper people we can send off to that godforsaken shithole? Isn’t that the reason we allowed Mississippi to be part of the country? . . . Where’s Lyndon?”

“In his office, watching TV.”

“He is not watching TV. He is watching TVs. All three TV networks at once. He’s paranoid. He’s gaga.”

The moment I landed in Nam I knew there was no way we’d win the war over there. Sure, we had all these Hueys and fighter jets and shit, and Ann-Margret came and performed for the USO in Danang in ’66 and ’68, but we had expensive people like me playing with big, expensive toys that would never stand a chance against inexpensive—basically cost-free—gook soldiers playing with lots of essentially free Commie toys. It’s some sort of historical law. David and Goliath? Plus we were always getting crabs and syph, DEET burns, blister beetle scabs, and foot rot and ringworm . . . It was unholy.

God, I was homesick in Nam. Nothing was familiar and everything stank, and man, those latrines with ventilation provided by Satan! I was grateful for the orders and discipline—otherwise I’d have cried all day. I always wanted to be on potato-peeling duty, except I went to a military academy, so they’d never have me doing that kind of chore. I’d have liked to be peeling potatoes because at least a potato’s a potato and you know what it is and that it comes from the northern hemisphere. Potatoes don’t have shuddering diesel engines that stink in your face, making sleep impossible, and potatoes aren’t yokels with teeth that look like handfuls of dice randomly stuck into gums inside heads with the intelligence quotient of Popeye cartoons . . . but I’m just being mean.

We were all just babies over there. We shouldn’t have been there. It was stupid. We all knew it. April 1968: 48,000 men drafted and 537,000 troops in Nam. Those pansies burning their draft cards in New York City were totally right to do so, even if they did suck dick. I don’t think I met even one person in Nam who thought we were going to win someday. We all knew we were fucked. Maybe Ann-Margret thought we’d win. We just didn’t want to get killed . . . but then, obviously, I got killed, so . . . just more proof us boys were right.

I’d like to talk to Mr. Washington General Guy someday . . . but time no longer exists for me, so what’s a day? I’d ask, “Sir, why did you think it was a good idea?”

“Who said any of this was a good idea? How old are you, boy? Let me see—Private Garland?”

“Call me Don. I was a month shy of nineteen when I was killed.”

“Boo hoo, Don.”

“Sir?”

“Nam was obviously a total fucking disaster. There, are you satisfied?”

“But wait—how long did you know it was a total fucking disaster, sir?”

“Christ. Right out of the gate. If you want, I can go through my Day-timer and find the magic moment when it dawned on me that it was all a colossal goatfuck.”

“Actually, yes, sir. Could you, please?”

“Here it is: a telex from March 7, 1966. Mr. Bob Hope demands that he and Miss Margret be provided with Sealy Posturepedic mattresses with custom-molded foam pillows for her impending visit.”

“And?”

“That’s all. I read that specific telex, Don, and something inside me died. I don’t think Ann-Margret even knew the Nam reality. The reality was that Bob Hope had been in Nam before and he knew what a cosmic shithole that place really was, and he buckled at the thought of Ann-Margret witnessing the whole truth, because if she knew, then that would show in her performances. And then the troops would get spooked, and it would have just put the doom on fast-forward.”

“But me . . . and all the other guys like me who got killed.”

“You were cannon fodder. What else do you want me to say?”

“Excuse me?”

“Don’t play dumb. You and all the other guys—and women too, for that matter, goddamn dykes mostly—just cannon fodder. This somehow surprises you, Mr. Military Academy Graduate?”

“Tell me more.”

“This is getting tiring. The thing about males from about seventeen to twenty-two is that nature rigs your brains—don’t ask me how—so that you’re susceptible to even the stupidest fucking ideas, whatever they may be. And you’re out there carrying a rifle or a scimitar or—fuck, I don’t know . . . If it’s not the war, maybe it’s just a bitter, fucked-up English teacher who wants to poison you by making you hate all the writers he or she hates—I used to study English, and I remember those teachers. They didn’t care about what was good or bad—they just wanted to poison young brains. And that was just English classes. It wasn’t even something as visceral as putting dumbfuck rich boys from Bakersfield, California, out in some godforsaken toe-rot shithole like Bong Son to die useless, overfunded deaths.”

“I see.”

“Don, when was the last time you saw a guy in his thirties ditch his family and run off to certain death in some goatfuck war? Never. It’s a brain thing. Males from seventeen to twenty-two are genetically fucked. They’ll do anything for anybody and they’ll think it’s the right thing. They have no sense of risk assessment.”

“That’s kind of cynical.”

“Brother, young dumbos like you have been going off to war to fight for crazy batshit stuff since the dawn of man. Makes me embarrassed to be human sometimes.”

“Thank you for your candour, sir.”

“You’re welcome, Don.”

You maybe think I must be angry for having been sent off so cynically to die in a pointless war with no clear good guys or bad guys, where young men were turned into zombies and ghouls and where everything good in the world was covered with a mixture of gasoline and Styrofoam pellets and then set alight.

But what you don’t know is that I went to a museum once, in Toronto, Canada, in—1965?—and it was summer and my parents were arguing and my brothers were being a real pain, and I simply walked away from them, walked up echoey travertine stairs to another floor, into the rooms where they kept the displays of taxidermied life on Earth, and it changed the way I thought. Walking through those chambers didn’t feel like a boring school field trip: it was the most wondrous trip ever. I looked inside the glass display cases and they had an Alaska king crab with red prickly legs longer than my daddy’s arms, and there was a skeleton of a triceratops, and there was an extinct passenger pigeon, and a fungus that secreted a red blob shaped like a soccer ball. And there were foxes and butterflies and deep-sea creatures with little dangling light things in front of their mouths, and there was a clamshell the size of my car’s trunk and . . . I just looked at all of this life. So much life. Life in every shape and form and size, and I just stood there and thought, Here it is. I’m alive, just as everything here in these cases was once alive. So what is it, then, this thing called life? This thing called life that I share with all these creatures here.

My parents were furious when they found me. I’d been gone an hour and we still had to visit some kind of castle thing a few miles away. But I didn’t care if they were mad, because I had been shown a small window in time. And I knew I’d been given something precious in my just sixteen years on this planet, a chance to share the Earth with those other creatures. It kept me going when I was in the shit.

I thought, I could be a Butterfly fish off the Australian coast.

I thought, I could be a leopard in a Kenyan tree, waiting to pounce on prey below.

I thought, I could be one of those stray dogs who loiter outside the mess tent.

I—you—we—anyone could be a coral reef, a cuttlefish, a gust of pollen or a bright yellow mantis longer than my foot. I was alive!

My name was Don—Donald Garland—and now I’m gone, and I miss you, Earth. I really miss you dearly.

Black Goo

The first time I ever visited a McDonald’s restaurant was on a rainy Saturday afternoon, November 6, 1971. It was Bruce Lemke’s tenth birthday party and the McDonald’s was at the corner of Pemberton Avenue and Marine Drive in North Vancouver, BC. The reason I can pinpoint this date is that it was also the date and time of the Cannikin nuclear test on Amchitka Island—a Spartan missile warhead of between four and five megatons was detonated at the bottom of a 1.5-mile vertical shaft drilled into the Alaskan island. The press had made an enormous to-do over the blast, as it was roughly four times more powerful than any previous underground detonation. According to the fears of the day, the blast was to occur on seismic faults connected to Vancouver, catalyzing chain reactions that in turn would trigger the great granddaddy of all earthquakes. The Park Royal shopping centre would break into two and breathe fire; the Cleveland Dam up the Capilano River would shatter, drowning whoever survived in the mall three miles below. The cantilevered L-shaped modern houses with their “Kitchens of Tomorrow” perched on the slopes overlooking the city would crumble like so much litter—all to be washed away by a tsunami six hours later.

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I wrote the above paragraph in 1992, twenty years after that trip to McDonald’s, and no, the world didn’t end. It never does. Looking back on the nuclear paranoia and fear that defined the emotional texture of the Cold War—not just for me, but for much of the world’s population—I see now that the nuclear threat was a bogeyman constructed largely to terrify citizens into okaying massive defence budgets without debate. Fear sells.

There’s nothing like the fears you acquire between the ages of, say, ten to fourteen. They seem to go in the deepest and colour your world the most strongly. A common question I ask people whenever film discussions come up is, “What is the movie that scared the shit out of you when you were eleven or twelve—the film that you were probably too young to watch, but you watched it anyway, and it totally screwed you up for the rest of your life?” Everyone’s got one. Mine was Lord of the Flies, but other common answers are The Exorcist and Event Horizon. The point is that we all know that magic window in time when one is most susceptible to fear.

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In the early hours of Tuesday, September 25, 1973, two freighters, the Sun Diamond and Erawan, collided at the entrance to Vancouver’s main harbour area, Burrard Inlet, dumping over fifty thousand gallons of bunker oil into the water. Bunker oil is the nastiest, stickiest, creepiest oil there is. In the oil distillation process, bunker oil is what sticks to the bottom of the tank. It’s like molten tar, brutally foul, jet black and, on a warm day, the consistency of magnetic black diarrhea. It sticks to everything and it doesn’t come off. An oil-soaked bird is a dead bird. They don’t live. They die. There’s no happy ending for any wildlife touched by the stuff. Don’t ever believe the photos experts show you.

On the afternoon of September 25, 1973, someone thought it would be a great idea for local school kids to come “help,” so a bunch of us went down to help “clean things up.”

It was a dreadful idea.

We were dropped off in the same parking lot you normally parked in to get to the beach in summer, except there were dark boot-prints everywhere, and you could see streaks on the lawn where people tried wiping bunker fuel oil from their shoes before getting back into their vehicles; litter and newspapers were used for the same purpose. I remember the bus driver saying they could get someone else to pick us up; he wasn’t getting any of that in his bus, and then he drove away.

It was confusion. Nobody really had any idea what to do. Well-intentioned people were using bamboo rakes to try to capture bunker fuel globules. You could see the blobs inside the waves as they lobbed in. Undead black zombie jellyfish. Nothing had prepared any of us eleven-year-olds for the foulness of bunker oil, the way it obliterates anything it touches, and its neutron-star black gloss as it smothers a low tide–scape of barnacles and starfish. It felt like a crime scene. It was a crime scene.

Someone gave us brand new rakes that had price stickers on them from the Woolco store in North Van. The government bought rakes from Woolco? They didn’t have actual proper cleanup tools on hand?

The government was seemingly no help at all, having no visible plan in place to deal with a spill like that, and its efforts were directly compared to Monty Python’s Flying Circus by The Vancouver Sun.

Someone shouted, “Go down to where the gravel meets the water and start raking. Try to catch the blobs before they break up,” and so that’s what we did. It was dismal, like trying to capture wheelbarrow-sized chunks of Jell-O with chopsticks. We saw, farther down the beach, that peat moss had been strewn onto gravel and sand to soak up the oil. Logs along the beach, we were told, acted as excellent bunker fuel sponges, and people would be gathering these logs to burn later in the day.

I remember a hippie with something black in his hands coming up to me and two friends: a cormorant completely covered in oil but still alive, and in heartbreaking death throes. “Look what you did.”

“Huh?”

“You people from the suburbs. You made this happen. You killed it with your consuming and pollution.”

That asshole destroyed any sympathy I might have one day had for hippies, but he made me love all birds and animals in a way I may never have otherwise. So thanks, asshole. And by the way, where did you grow up—in a manger?

In general, local environmentalists showed no pity for the citizens of North and West Vancouver, whose beaches, rocky coves and bays were blackened for miles once the tides began pushing the oil along. (Forty-two years later one can still clearly see oil stain marks on rocks ten miles up the coast.) The environmentalists argued that residents deserved retribution for all the crap the suburbanites were already putting in the harbour—an attitude as arrogant and useless as that of the government. People talk about the 1970s, but they never talk about how much hate there was back then. Hate and pollution. Everyone was looking for cheap, easy targets. Social ideas were evolving, but technologies to make new ideas fully manifest—as well as laws supporting the changes—were evolving much more slowly. Inside the lag time between the two realms lurked hate; everyone hating everything. Nobody looked clean. People still littered. Cars belched blue smoke that smelled like burning plastics. Don’t get too nostalgic; it wasn’t all plaid bell-bottoms and feathered hair.

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After an hour it was obvious we were wasting our time. Two friends and I took a regular bus back to school, where we got a punitive lecture about bailing on community participation. It was 1973 and the fact that three kids had spent the day unsupervised as easy prey to molesters had never troubled anyone. Had we hitchhiked back to school, we probably would have gotten points for being resourceful.

That night I didn’t sleep, and I didn’t sleep well for a month, and I still sometimes can’t sleep when I think about the cormorant.

And don’t forget nuclear war was always one ICBM away. And then somewhere in there I saw Lord of the Flies.

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The punchline is that not even a month later, in the early morning of October 24, 1973, a German freighter, the Westfalia, dumped almost nine hundred gallons of bunker oil in Vancouver’s main harbour, and by noon it had washed up on the shore of Vancouver’s crown jewel, Stanley Park. The Westfalia’s spill was a fraction of what had been dumped the previous month, but you have to add the 1970s everything’s-gone-to-shit factor: this smaller spill just reinforced the spirit of the age. Everything was disintegrating back then.

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On April 8, 2015, 15,142 days after the Westfalia spill, a grain ship, the Marathassa, registered in Cyprus, leaked 528 gallons of bunker oil into Vancouver’s outer harbour area, English Bay. It was one-eighty-sixth the volume of what had been dumped on September 25, 1973. One would think oil spill cleanup in 2015 would be quick, forceful and inexpensive. Wrong. Federal and provincial politicians were about as functional and helpful as Peter, Chris, Stewie and Brian Griffin drinking ipecac together on Family Guy. Finger pointing on all sides. Blame. Retaliation. Lying. Downplaying. Catastrophizing. The one lesson that emerges from what was actually a comparatively small spill is that there still is no effective system in place to handle oil gone wrong, and this is in the centre of a city of 2.4 million people. I shudder to imagine a spill, even a small spill up or down the coast, away from both cleanup protocols and scrutiny.

In Vancouver right now, a company named Kinder Morgan wants to triple the amount of oil carried by the Trans Mountain pipeline and increase the number of oil tankers in Burrard Inlet from five to thirty-four per month. In preparation for (inevitable) future spills, the company “is committed to a polluter-pay, world-class, land-based and marine-spill response regime.” Who wouldn’t feel better already? I’m stoked!

Also, the BC government is trying to get liquefied natural gas (LNG) out of BC and down to Malaysia and, to do so, is hoping to get in bed with the Malaysian energy giant Petronas. The BC government has seemingly bet the family farm entirely on LNG going to Malaysia, complete with a fantasy number of 100,000 jobs to be created (in actuality, 4,500 during construction and up to 1,500 permanent jobs afterwards, spread around the province). One plant in particular is slated for the end of Howe Sound, North America’s southernmost fjord and a place of spectacular beauty that has only recently healed from the toxic and visual blight of both copper mining (closed 1971) and a pulp mill (closed 2006). The selling point in the nearby town of Squamish (which lost all those pulp and copper jobs) is, of course, jobs, jobs, jobs—even though the proposed job numbers are pie in the sky, and the facility is setting the region up for truly devastating disaster scenarios. As a bonus, an LNG plant will blight one of the most beautiful and beloved scenic tourism corridors in Canada. It will be a visual nightmare experienced by every single human being who drives from Vancouver up to Squamish, Whistler and beyond.

Everyone is trying to move energy everywhere—and probably close to where you live. If it’s not tankers and pipelines, then it’s oil by rail. Remember: when something goes horribly wrong (and it will; even they acknowledge that), it will be written off as a one-time-only human error kind of thing, but it will keep happening over and over. Yes, the world will continue to chug along, but it will be a stained and damaged world.

A wonderful expression comes to mind here, one about trees: “The best time to plant a tree is twenty years ago. The second best time is right now.” This could equally apply to planning safe energy. Twenty years pass very quickly. Start digging now.

The Short, Brutal Life of the Channel Three News Team

Sandra was sitting at her kitchen table looking out at a sunny day when her front doorbell rang. It was the police, come to tell her that her mother had been arrested for murdering the local Channel Three News Team—two anchorpeople and the weather guy and four studio technicians. Her mother, acting alone, had arrived at the TV studio carrying an oversized rattan handbag and pretended to be a sweet old thing interested in meeting the hostess from a cooking show. The moment she was close to the newsroom set, she asked to visit the washroom, slipped away, removed several guns from her handbag and came back firing. She was knocked to the ground by a surviving cameraman. Her pelvis was fractured and she was in hospital in stable condition. A clip of the event was going viral. The police asked Sandra if she would go to the hospital with them and she said of course, and off they drove, cherries flashing.

The main entryway was cordoned off, but the cruiser was allowed to slip past the security guards and news-crazed media. They elevatored up to the top floor, where a quartet of rifle-toting officers guarded her mother’s room. Sandra had always expected that one day she would visit her mother with a broken hip or something similar in the hospital, just not under the current set of circumstances.

“Mom?”

“Hello, dear.”

“What the hell were you thinking?”

“I’m more than happy to tell you.”

“Wait—where’s Dad?”

“He’s not available right now.”

“Oh Jesus, he’s not going to go out and shoot somebody too, is he?”

“Aren’t you quick to jump to conclusions!”

“Mom, you killed seven people.”

“Good.”

Sandra tried to compose herself while her mother serenely smiled. “So, why’d you do it?” she finally managed to ask.

“Our New Vision church group had an enlightenment fasting up in the mountains last weekend. It was glorious. And during group prayer, I was lifted up above Earth, and when I looked down on this planet, it was black like a charcoal briquette. At that moment I realized that Earth is over, and that New Vision will take me to a new planet.”

“You’re kidding me.”

“No, I’m not kidding you, Sandra. Your father and I want you to join us.”

“Mom. This is awful. Wake up—wake up!

Sandra’s mother looked at her with the same bland face she used when she thanked polite men for holding a door open for her. “You should be thrilled for me, dear. I believe it was you growing up who was fanatical about that escapist comic strip—what was it?—The Battleship Yamato? You of all people must understand what it feels like to want to leave a destroyed planet and roam the universe trying to fight an overwhelming darkness.”

“It was just a comic, Mom.”

“For ‘just a comic’ it certainly took hold of your imagination. I think you’re jealous of me, dear.”

What?

“You’re jealous because right now I’m actually inside your comic book—on the other side of the mirror—and you aren’t. But you can be. Join us.”

“Mom, just stop it. Why did you kill those people?”

“I killed them because they were famous.”

What?

“The only thing our diseased culture believes in is fame. No other form of eternity exists. Kill the famous and you snuff out the core of the diseased culture.”

“So you killed the Channel Three News Team? They’re barely famous even here in town.”

“If you watch the news right about now, you’ll see that New Visioneers around the world have shot and killed many people at all levels of fame. To decide who is more famous than anyone else is to buy into the fame creed. So we have been indiscriminate.”

Sandra’s sense of dread grew stronger. “So who is Dad going to kill?”

“What time is it?”

Sandra looked at her cellphone. “Almost five o’clock.”

“In that case, right about . . .” Sandra’s mother looked at the ceiling for a second, whereupon Sandra heard small cracking sounds coming from the hospital entranceway. “Right about now he’s just shot the news reporters covering my shootings.”

“Oh God, oh God, oh God . . .” Sandra ran to the window: pandemonium. She turned to her mother: “Holy fuck! What is wrong with you?”

“Is your father dead?”

“What?” Sandra looked out the window again and saw her father’s body sprawled on a berm covered in Kentucky bluegrass. “Yes. Mother of God, he is!”

“Good. He’ll be on the other side to greet me with the rest of us who have fulfilled our mission today.”

Sandra staggered out into the hallway, gasping, but police and hospital staff paid her little attention as they braced for the next wave of wounded, dying and dead. She shouted at them, as if they could understand, “I am so sorry for all of this!” but she was ignored.

On a nursing station’s TV screen, newscasts were coming in showing the faces of murdered celebrities from around the world.

Sandra ran back into the room to find her mother glowing. “Mom, you’re crazy. Your cult is crazy.”

“I want all of your generation to come join me and band together to smash all the shop windows of every boutique in the country, to set fire to every catwalk, to shoot rockets into Beverly Hills. It will be beautiful—like modern art—and people will finally stop believing in the false future promised by celebrity.”

Sandra wanted to vomit. Gurneys loaded with bodies shunted quickly past the room’s door and her mother went on talking: “In the last days of World War II, the Japanese emperor told the Japanese to sacrifice themselves, to die like smashed jewels. And so I say to you, Sandra, die like a smashed jewel. Destroy so that we can rebuild. We can become a furnace within a furnace.”

Outside it had grown dark—not regular darkness—a chemical darkness that felt linked to profound evil. The moon was full. Sandra and her mother caught each other staring at it at the same time. Her mother said, “I wish the Apollo astronauts had died on the moon.”

What?

“Then it would be one great big tombstone for planet Earth.” Her mother popped something into her mouth.

“Mom—what was that?”

“Cyanide, dear. I’m off on your Battleship Yamato. Why don’t you come too?”

Sandra ran for help, but the staff were too busy with the wounded, and so she watched her mother die, writhing on her bed, then falling still.

Stunned, Sandra walked back out into the hallway. There was blood on the floor and blood on the walls. It was smeared, and the whole place smelled of hot, moist coins. She heard gunshots coming from the elevator bank, and screaming staff ran down the hallway past her. She saw an orderly in turquoise surgical scrubs coming toward her holding a sawed-off shotgun, and the look in his eye told Sandra that this was a New Vision follower.

He was whistling, and as he came nearer, he said, relaxed as can be, “Looks like you’re one pretty darn famous little lady now, aren’t you. Being daughter of a mass murderer and all.”

Sandra ran into her mother’s room and kissed her mother’s mouth violently, sucking in the remains of the cyanide. She tasted the chemical as it entered her bloodstream and knew death would be quick.

The whistling stopped as the orderly loomed in the doorway. Sandra said, “Know what? I leave this planet on my own terms, you freak.” She was dead before the buckshot pounded her chest.

Nine Readers

Last summer in Reykjavik, I learned that one in ten Icelanders will write a novel in their lifetime. This is impressive, but the downside of this is that each novel gets only nine readers. In a weird way, our world is turning into a world of Icelandic novelists, except substitute blog, vlog or website for novel—and there we are: in Reykjavik.

A defining sentiment of our new era is that never before has being an individual been so easily broadcast, yet never before has individuality felt so ever-increasingly far away. Before the twenty-first century, we lived with the notion of oneself as a noble citizen of the world, a lone soul whose life was a story written across a span of seven decades or so. We now live instead with the ever-gnawing sensation that one’s self is really just one more meat unit among seven billion other meat units.

This twenty-first century crisis of individuality expresses itself in many ways. In Japan there is the phenomenon of the hikikomori. Your child grows up, leaves home and then, after a few years, returns home and never leaves his or her bedroom again. Ever. The rare hikikomori will venture out in the middle of the night to visit a local mini-mart, but that’s it. In 2010 the Japanese government estimated there were 700,000 hikikomori in Japan, with the average age being thirty-one. Yes, you read that correctly: almost three-quarters of a million modern-day elective hermits back with Mom and Dad, and they are psychologically incapable of ever leaving.

Ever.

I suspect these young people are experiencing “atomophobia”: the fear of feeling like an individual. After the late-1980s bubble burst, Japan went from being a monolithically homogenized culture, with guaranteed lifetime employment, to its exact opposite: a land of hyper-individuality trapped inside a consumer hyperspace that guarantees nothing, let alone employment. The crazy costumes once worn only on Sundays in Harajuku are now regular, uncommented upon Japanese daywear. One might think that a culture in which its everyday citizens dress in borderline Halloween costumes is a culture of fierce individuality; instead it is a society deeply conflicted about the dark side of enforced uniqueness. “The more like ourselves we become, the odder we become,” wrote Australian critic Louise Adler. “This is most obvious in people whom society no longer keeps in line; the eccentricity of the very rich or of castaways.”

In North America and England we have the trend of normcore (the normal version of hardcore)—a trend so stupid that it’s more famous for being a stupid trend than it is for being a trend itself. But normcore actually is something real, a unisex trend that very much exists. England’s Heat magazine tells us, “Normcore celebrates the ordinary with its reliance on brazenly bland staples such as stonewashed denim, label-less shirts, and pool sandals that bear a distressing resemblance to Crocs. It’s the ultimate knee-jerk reaction to not only the meticulously dour Hipster look, but the demands of fashion in general.”fn1 Normcore is about dressing to be invisible, the fashion equivalent of renting a mid-size American-made sedan in a large American city: total anonymity that offers abdication from the responsibility of having to be an individual living in real time in the real world. Normcore says, “Screw it. Go ahead: monitor me on CCTVs. Scan the Internet with facial recognition algorithms. Have the NSA read my emails like tea leaves. I’m going to be deliberately un-unique. I am going to punish the world with my blandness, and if you scan my metadata, you’ll fall asleep before you find anything good.”

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In the fall of 2014, driving in a taxi on Clerkenwell Road in London, I saw a huge Gap billboard that read: “BE NORMAL.”

Huh?

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