The art of the unsent angry letter and why they're so cathartic
EM Forster once asked: “How do I know what I think until I see what I say?”
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EM Forster once asked: “How do I know what I think until I see what I say?”
I remember learning NOBA in the eighth grade, where it was always the perfectly empty, emphatic solution for a sentence in a too-short paragraph.
Capitalism is blasting a fire hose of visual sewage at the world while the best visual thinkers are busy trying to impress the painfully shrunken circle of cognoscenti, carefully avoiding or underplaying questions of beauty, craft, and design in their work, lest they be labeled insufficiently intellectual.
In the late ’90s there was this trend toward blob cars that was probably seen as very ugly at the time, but now represents an infinitely more beautiful path lost to the auto industry by the late ’00s. Now all we have are cars that are soft and hard at the same time, like the swole AF backend coders we all apparently want to be.
N+1’s heroes (despite occasional attempts to diversify things) were often drawn from this Carveresque ethos — which seems to have also doomed the magazine to repeat the false binary of sellouts v. masochism. My point here isn’t that “selling out” is OK, but that the binary itself proved unsustainable and almost always led, as in Carver’s own case, to some form of seriously shitty, uncritical surrender to one of these strands or the other, or to both.