If you object to my gullibility, I envy you.

I truly do. You seem to possess a remarkable ability to construct great steel logic-castles.

I can envision those imposing structures in my mind's eye, standing tall and unassailable.

I am certain that your logical edifices will serve you well in all aspects of life.

They will protect you from the vagaries of falsehood and misinformation.

In contrast, my own situation is rather different.

My roof has been leaking for three long years.

It's as if my world is constantly being invaded by the elements, a symbol of my vulnerability and perhaps my lack of a strong, logical foundation.

But even in the face of this, I find a strange kind of beauty in my gullibility.

It allows me to see the world in a different light, to experience things that others might miss.

And perhaps, one day, I will find a way to repair my leaking roof and build my own castle of logic.

On page 147, Vollmann vividly describes how contemporaries might respond to the protagonist of “Scintillant Orange.” He writes, “Others, of course, would be delighted to close the case of Meshach differently, formulating judgments more learned and less forgiving than those of YAWEH.” In an oppositional manner, this portrays Vollmann’s rhetorical stance. He writes with the intention of formulating judgments that are both more learned and more forgiving. He is like an encyclopedia, possessing both book knowledge and street smarts, a veritable cauldron overflowing with effervescent wisdom. However, the stories in this collection only seek understanding. Some might view his writing as pretentious and filled with gaudy wordplay, but it is almost always ironically aimed at the narrator, who is all but inseparable from Vollmann himself. Thus, hopefully, whatever bad taste their throats secrete upwards to the back of their tongues will dissipate once they recognize that Vollmann considers even himself susceptible to the sort of non-exonerative scrutiny he aims to avoid.

In spite of his transparent agenda, Vollmann ends up writing a large morality tale. Its climactic precept is, unsurprisingly, “Always remember that whoever you don’t like could easily have been you (given world enough and time).” This maxim, I believe, undergirds all good storytelling and perhaps all good art in general. It is something that I am thinking about more, not only as an artist but also as a human being. This is the power of art, right? To agitate the reader into reflection. Score one for Vollmann.

I suppose that all of this might sound trashy, sentimental, and laughable, but it is basically true. Lots of people, myself included, tend to exhibit non-partisan compassion when using their vocal chords. However, they then turn around and fall prey to the easily-attained and guilt-free entertainment available in written satire. Unlike oral satire, written satire has built-in barriers and other obstructions to protect them/us/me from various forms of attack. This is probably why a lot of otherwise funny and stylistically interesting fiction goes unremembered. When you make fun of someone who is stupid, mean, or sincere, you end up alienating all those readers who at one point or another have been stupid, mean, or sincere (i.e., everybody).

It is important to remember that art has the power to make us think and reflect, and Vollmann's work does just that.

We should strive to be more understanding and forgiving, both in our art and in our lives.

Kalifornia is druggy, druggy, druggy, druggy.
Kalifornia is druggy, druggy, druggy, druggy.
Kalifornia is druggy, druggy, druggy, druggy.
Kalifornia is druggy, druggy, druggy, druggy.
Kalifornia is druggy, druggy, druggy, druggy.
Kalifornia is druggy, druggy, druggy, druggy.

It seems that there is a repetitive description of Kalifornia being "druggy" in this text. This might imply that there is a perception or issue related to drugs in Kalifornia. However, without further context, it's difficult to fully understand the significance of this statement. The provided link https://www.youtube.com/watch?v=7AvAY... could potentially offer more information or perhaps a different perspective on the matter. It would be interesting to explore the video and see if it sheds light on the reasons behind this description of Kalifornia.

This is a collection of stories penned by a young California writer. At least, he was young back in 1989 when it was published. Vollmann seemingly dedicated time to researching his characters by frequenting the red light districts of San Francisco. I was intrigued by the diverse range of writing he has accomplished: a long semi-mythical novel about ancient Norse tribes, a lengthy novel in the Burroughs-Pynchon style about a purported battle between the forces of electricity and insects, and this collection of stories.

Regrettably, I must admit that I was a bit let down, despite some captivating moments. Vollmann can be an irritating writer in large doses. His cluttered prose reveals little about his characters or his beliefs. His flashy run-on sentences contain little substance aside from the author's self-centeredness. Still, credit should be given to the guy for having courage - he surely chose some unpredictable people to associate with.

The first story consists of snippets from the lives of a sorry group of characters, many of them drug addicts, arriving at a hospital for various treatments. The second story, "The White Knights," is perhaps the best. It is more direct than the others, less burdened with the narrator's thoughts, and it portrays a group worth learning a bit about: right-wing skinheads. Vollmann appears to have become acquainted with a bunch of them and observed their lives, their fighting, their anti-social behavior, their racism, and their beer drinking. Here, and elsewhere in this book, he has gathered some good street tales.

"Ladies and Red Lights" is about loitering in a seedy neighborhood and approaching prostitutes, offering them money to tell their stories - a perilous occupation yet an interesting one. It does offer insights into that ever-popular topic, the sad life of the prostitute. Generally, the women he encounters are cold, unhappy beings, often burdened with children or a drug habit, and they engage in an endless cat and mouse game with the police. The sex he hears about or occasionally pays for is passionless, a mere physical exercise or outlet. Unfortunately, the story is a long collection of anecdotes, and many of them are not particularly interesting.

"Scintillant Orange" is some sort of myth-based exploration that didn't interest me much, and the same goes for the next story. I skimmed through these two (this is a long book - over 500 pages - and could have benefited from some trimming). Vollmann employs a technique that I kind of like, but which can be a crutch for a writer whose material is all over the place: he divides his stories into small mini chapters ranging from a few sentences to a couple of pages and titles each chapter. This makes for easier reading but does not enhance coherence. Similarly, "The Blue Yonder" is a strange, quasi-mythical tale of bums, murderers, and a character called the Zombie - I didn't attempt to make sense of it.

"Yellow Rose" is one of the better stories, depicting a love affair between the author and a young Korean doctor from a conservative family. I enjoyed this and a few of the other stories because of their gossip value, the sense that I was getting a peek into the real lives of real people, with emotions and a California setting that I could recognize. But here, as elsewhere in this book, character development is an issue. Despite interesting moments, the characters don't amount to interesting individuals; the author is self-absorbed and simply continues to express his feelings in a hipster manner.

"The Indigo Engineers" was a good piece, a description of industrial performance artist Mark Pauline and a couple of his associates (this guy was written about in those RE/Search publications, which are based in San Francisco). Vollman does a great job of describing their workroom in an impressionistic style and takes a look at their artwork. These guys build these strange machines that battle each other, or dig up the ground, or perform some other violent, impractical function. It is well worth checking out on video.

"Violet Hair" follows, another love story, this one unconsummated. I'm certain that if it had been consummated, the author would have informed us. In it, our hero travels to San Diego to spend a few days with a violet-haired girl he is smitten with. She refers to him as "the Holy Ghost" and resists his advances. They have fantastic (in the sense of being filled with fantasy) intellectual conversations, and a TV set comments obliquely on their feelings. The book concludes with "X-Ray Visions," a brief, impressionistic meditation on some x-ray photos.

This book was truly the most far-out compilation of short-stories that I've come across in quite some time.

I must confess that I didn't manage to read every single one of them. In fact, there's one story that is set in Babylon, which I found rather intriguing.

However, Vollmer's best stories within this book are the first-hand accounts. I'm not entirely certain if it's entirely fair to label them as fiction. These accounts detail the time he spent observing skinheads and prostitutes in San Francisco.

The vivid descriptions and the raw authenticity of these stories really made them stand out. It was as if I was right there with Vollmer, witnessing these scenes unfold.

Overall, this book is a must-read for anyone who enjoys unique and thought-provoking short-stories. It offers a glimpse into a world that many of us may not be familiar with, and it does so in a way that is both engaging and captivating.

I have a certain perspective on this work.

I like the concepts presented here, yet the writing style is something that requires an acquired taste. This collection seems to have more of a resemblance to Burroughs than Pynchon, perhaps that's the reason it didn't quite suit my personal preference. His detailed examinations of the seedy aspects of America are indeed quite cool. However, in half of these stories, I had the feeling that the main point was already made halfway through, and then it just seemed to drag on.

His friendship with the Nazis in "White Knights" was an interesting aspect, but it felt as if he gave them a somewhat lenient treatment. Also, his relationship with sex workers has aged in a rather questionable way, although I do appreciate what he was attempting to do.

The standout pieces were "The Yellow Rose" and "The Green Dress." It was nice to have more introspective and vulnerable stories from him. "Scintillant Orange" was also very impressive stylistically, but it meandered a bit too much for my liking. It read like one of the historical vignettes from Thomas Pynchon’s “V” but with a less impactful message.

Overall, it was an enjoyable read, but I think he could have benefited from more careful scrutiny by an editor. I can understand how this might have had a stronger impact in the 1990s.

The small vanities of those whom the human race has excreted are so sinister because through them we know that there must necessarily be consciousness within those skulls.

These vanities, no matter how seemingly insignificant, reveal a deeper truth. They suggest that even within those who have been cast aside or marginalized by society, there exists a spark of self-awareness. It is this consciousness that makes their vanities all the more disturbing.

Perhaps it is the knowledge that these individuals, too, have hopes, dreams, and a sense of self that challenges our preconceived notions. Their vanities serve as a reminder that we cannot simply dismiss or ignore those who do not fit into our narrow definitions of what is acceptable or valuable.

Instead, we must confront the uncomfortable reality that there is more to these people than meets the eye. Their vanities may be a manifestation of their struggle for recognition, for a sense of worth in a world that has often turned its back on them.

3.5

What a ride!

It has been an absolute adventure. From the moment I boarded, I knew it was going to be something special. The excitement was palpable, and I couldn't wait to see where this journey would take me.

I'm so thankful that I paid the full price for the ticket. It was well worth every penny. The experience I've had is something I'll cherish forever. The views along the way were breathtaking, and I was constantly in awe of the beauty that surrounded me.

As the ride came to an end, I felt a sense of satisfaction. I had truly made the most of this opportunity and had a wonderful time. I would highly recommend this ride to anyone looking for an unforgettable experience. It's definitely something you don't want to miss.

Self-effacing repulsive genius!

Are these stories? Are they chapters? Are they even fiction? Not really, none of those things.

But he has this uncanny ability to make you feel sympathy for the most unlikely of characters. Skinhead Nazi punks, prostitutes, and serial killers - he manages to humanize them all in his own unique way.

And perhaps most impressively, he even elicits a strange sort of sympathy for his own gross, sad, sex-obsessed self.

By the way, it's important to note that I hate Bukowski and Burroughs. So don't be misled into thinking that he's anything like them.

His style and subject matter are truly one of a kind, and while it may be uncomfortable at times, it's impossible to deny the power and impact of his work.

Whether you love him or hate him, he's a force to be reckoned with in the literary world.

Half of these stories are truly amazing. They have the power to captivate our imagination and take us on thrilling adventures. The characters are well-developed, and the plots are full of twists and turns that keep us on the edge of our seats. However, by comparison, some of the stories are just too topically boring. They lack the excitement and intrigue that make the others so engaging. It's a bit of a disappointment when you come across a story that fails to hold your interest. But don't worry, you can always find more interesting reads at the library. The library is a treasure trove of books, magazines, and other materials that offer a wide variety of topics and genres. Whether you're into mystery, romance, science fiction, or non-fiction, you're sure to find something that will pique your interest. So, next time you're looking for a good read, head to the library and explore the wonderful world of literature.

This work is really quite boring.

It doesn't possess that particular grittiness or the power to shock, nor does it seem truly authentic.

The artifice employed within it somewhat dulls the sense of authenticity that one might expect.

It's as if the creators were more focused on creating a certain image or following a formula rather than presenting something that feels real and engaging.

The lack of genuine emotion and rawness makes it difficult for the audience to truly connect with the content.

It fails to leave a lasting impression and instead just fades into the background as another unremarkable piece.

Perhaps if more attention had been paid to the details and the authenticity had been allowed to shine through, it could have been a more interesting and worthwhile experience.

But as it stands, it remains a rather lackluster and forgettable creation.

Vollmann has been on my to-read list for a couple of years, and I was truly looking forward to delving into this work.

However, having just completed it, I can only say that I'm relieved it's over, and that's about all.

Much of this book appeared to lack any genuine direction or purpose. There are indeed some characters here that are vividly drawn, but the majority are rather one-dimensional and often extremely unlikable.

I had听闻Vollmann的写作风格，本以为我会与之契合，但事实并非如此。 I understand that at the time this was written, it was pioneering in its subject matter and such, and I respect that.

Nevertheless, ultimately, this just isn't excellent writing. I suppose that's why we wait a long time to classify things as classics.

It will be interesting to see this one gradually fade away.