The Aka Project 1 of 10

Dearest Dr. Locke (Oh Captain, MY CAPTAIN!) [1]

I may require an additional hour or two if you are willing to accept these changes if not consider what you have here a final draft…..unless you wish the changes you astutely pointed out (sorry Larry Mathews pointed out to me) to be necessary to finish it and resend it to you by Wednesday she will be yours and in far better shape the “short story” which i am calling a faux/reduXtionist pale fire inspired researching paper into the majority of the texts we touched on this year, but mostly meant to imbue a “Pale Fire-Driven hyper-Necro(Neuro-)mantic reading of the Nabakovian, p(Y)ncheon like realities explored as in the ethos of “Imaginary Americans” this semester past.

The reason I am being as open as to which book is being responded to is that I felt a yearning each unit to spend more time with each text (this has always been my experience in classes of such love and abandon).  My multi-subject approach is limiting also though; if I forget too long to recall a trope or line of joke I risk rehashing it too late, thus losing all effect as you noted.  It still does bare some (although you admitted, unnecessary) resemblance in part to my original paper which I honestly felt was too much a “white buoys white shame for having more passion at 16 for Malcolm X[2], than I could manage to seem to muster these past 2 months.” (see note re: “The White Boy”[3])

i am not asking for special treatment here either, you must be in abeyance with university protocol and I looked at the time just then and realized…I missed my bus, I thought, he either will or he wont, you will always know you tried…just once to be a man about it, put your own card on the table, and say honestly that Al Swearn-jun[4] (aka, “swearing indium?”)[5] was the greatest non fulfilled character arc,  I don’t know if you recall but  I lost my best friend around this time last year. Also you are unaware (or perhaps just lightheaded of the fact), I lost my best friends last year, and for some reason something you spoke of your gramps seems to tell me to just subtly cross that line once, and respectfully ask you tell me if I should give up writing, drop out of school, and go back to the male-neo-arching hegemony (just one btw of many words I will always honor as one which I learned the proper pronunciation of – in the Manichean way of things…)

You told a story of how it took a long time to cry for your best friend. You mentioned that when it came, it came, though, and I only ask of you (one more favor after tolerating g my admittedly deteriorative state of mind and soul[6] )

So the name of the game here for me is begging, knowing full well I will have to even its mere entertaining, of your pity even if only to fail,  a mouthy seen-it-all washout out like me. Keep in mind at all times dear, dear, Doc. Lockett, that I am trying not only to use my ignorant art slang (I was raised by paperbacks and films recall…) in order to extricate myself,  a somewhat whole man, in the end.

As said, I will accept failure, being passed on, and all other legal forms of censure, but I assure you,

“W.A.S.T.E” [7]

My apologies for everything up until now that has passed between us, especially my side, as it was insulting to us both. I will, from henceforth Sir,

Commence a better man. [8]

Table of Contents

Step One- Trying to Warn You 1

Step Two- Scaring the Shit Out of Myself 2

Step Two point oh, or, “Bitches Love Worlds” 3

Step Three- “This One? Real Fucking Ugly!”[9] 4

Step Three and a half                “I killed Um Gilbert!” 5

Step Three and Three Quarters? “Stand By Me meets Thunderdome, Bitch.” 6

Scott ‘loman’ Heffernan[10]

Aka “The Heff”

Dr. Lockett

ENGL 4270 (aka Mind Fuck Kublah Khan, USA)

3RD December 2012 (aka December 5th)

Original Working Title :

Plymouth Girls: Interpreting Oppression in the Feminine Psyche in Toni Morrison’s Paradise:

[Scott Heffernan-Vickers

Doc. Locket[11]

ENGL 4009

September 11th 2019[12]

 

[Insert Abstract Here]

 

His Idea was simple. A professor had told him that one cannot trust Wiki as a source, and that furthermore one day he intended to hoax them all, his students that is, by posting his own definition for a fictional historic event, Horizon. Then assign a 4000 word essay to said class.

Assignments were handed out, class carried on. Pale Fire. Lot 49. White Noise.

The student couldn’t get the notion of Borges’ Tulak/Ukbar, and of self-referencing realities…so He began to title an essay which would become the antithesis of what you now see before you on a screen[13], or page…

 

 

 

 

 

On November 16th, 2013, Scott Heffernan posted to Wiki, Youtube, Vimeo, Facebook and Twitter, his new project;

“It’s ALL (nothing) in the title”

“eXistenz is Terrorist” [14]

(An Interesting Attempt at Dyslexic Truth’s)

“AKA : BUT NOT THE MUSICAL by DH Forkikus”

http://www.youtube.com/watch?v=fVY_j3KoMWw&feature=g-upl

Aka “the thing”, that “f-8” (aka “fate de la g8-keepah” aka fatusamore) put up on wiki aka the thing wiki initially put down aka old yeller aka the movie based on the fact that it was then made virally legitimate and put it back on Wiki with full self referencing citations of selfness aka, ‘Yeah, that dude’, aka that did aka that thing aka this;

“AKA: BUT NOT THE MUSICAL AKA”

Or,

AKA,

(DARYL HOFFMANS SONG AKA CALLED AKA

AUTHOR UNKNOWN)

Aka, “The Wikipedia Documentary” aka nothing to do with Wikileaks aka the truth aka Assange [15]aka god

also known as,

“Mitläufer and Faith No More: Character Proxemics[16] in Modern Phraseology”,

aka “How I Learned 2 Shelf Superficiality and Give up KubricK Before Midnight”

aka Gremlins [17]

aka the Thing,  Doc Locket mentioned? about the unreliability of sourcing Wiki aka W.A.S.T.E being H.A.ZA.RR.D 2US aka eh?

“Aka” [insert massive Neuromancerian Manichean face of anger and love that screams my name not yours mine my friend. Because it doesn’t matter that you have the worlds and everyone’s love. I have liftoff. ]

Aka; “The Sound” – aka, “The Movement of the Liberating of Tristero from the Clenched, Clutch-like Fist of American Sphincters”, (formerly The Old Sound)

http://www.youtube.com/watch?v=vAc5wnyaN54 (aka, The EARLY TAPES)

Aka eh? hows that? Aka whodidwhatinthepostmodernwhonow? Aka #hasttagreferencesystem aka #symbol aka twitter aka stupid aka not me

Aka “how I started my morning” aka “I take my Hemingway w/napalm” aka absinthe aka with champagne aka “Hemingway napalm” aka sunshine

aka creationistic place- or,

“MY “SELF” CONTAINED HISTORY- ON WIKI- SELF REFERENCING SELF EFERENCIALITY FOR BEGINNINERS”, -OR- “…..” OR “….” Aka “…..” aka “….” Aka “…” aka “”

aka
“Full Working Title is Still Hazy”, aka, “But This is what Remains of the Original Recording” aka “has never before been heard” aka “so totally worth your 50 bucks” aka “pirated within that week though” aka,  “…so, not.” Aka, REPRINTED THEREAFTER HEREIN ;

“in relation to both Einstein’s theory and to the law of averages, I, Scott Heffernan Vickers wrote an entire wiki entry for his groundbreaking essay “Self-Referenciality for beginners” or “aka the precursor” aka

“My Life in Five Thousand words or so, by Scott Heffernan”

(AKA, MY TITLE IN BABY BLUE[18])

[“I wish to stress that cold hard core of loneliness which is not good for a displaced soul.” – p.95*]

aka “scott vikers-hefferMan” aka herrman-vickers aka scott the heff mcheff’ “the guy who smoked so much he almost kvetched then wretched” vickerson aka

I can’t believe I almost entitled an entire biography with an entire list of aka’s and totally fucked with the literary and I aka Mostly Locke aka Still! Got an A on my paper! aka yet managed also to still bleed aka breath! aka a typo don’t freeze! aka get over it, it happens! Aka moving on! aka a cliché! aka a hang-up! aka a clique! aka oblique! aka over! aka trickle down!

aka Reganomics[19] aka green death aka not weed aka the bad kind aka “Somehow manages to even come to an understanding of self in such a simple structure”

aka – vick-heffers-on and his merry pranksters

aka that time I fondled my 12 year old babysitter and she giggled, aka McVickerson aka Scotties too hottie for Scotties widdle softies aka Wait didn’t that guy die last year? aka oh that guy yeah I heard of him aka he was such a loon back in school yeah gudentah aka gudentah aka that guy aka no not that guy aka which one then aka that guy (see That Guy Theory) aka its always the other guy …unless it’s the bad-kind

aka “moviemaking for dime store raised hoodlums” aka me aka with “Stand by Me” aka Steven King aka Ben e King aka a great combo aka Steak Frites aka stake fright aka stage fright aka who? Aka,

“Literary Celebrities…” (169)

aka “except here, where [aka] had had to walk un-cohered into the presence of madness” (69)[20]

aka, “the skill, you know the one where his every though became a fish that could eat and breath unto itself? Aka the lover of all things “kriss-kross” – even wearing his own clothes backwards like the ghetto kids surely did… aka, “his digs” aka -(whatever his moms bought em cause he was like what, 13 himself?)

Aka weak ass nigga aka inserted further ghetto intonations and some type of john singleton droopy end with Sandra bullock and some Asian (flue) kid (aka the blind side)

aka,

THE GUY WHOSE SEEN EVERYTHING YOU HAVE BUT OWNS A PIRATED FAN-EDIT REDUX VERSION [21](http://www.youtube.com/watch?v=QPd8Q9GWzAU)  YOU HAVENT SEEN – MCVICKERSONAKA MCVICKERY

of the Mick’s aka Irish aka potato head aka toys not people aka happy meal aka oh I heard about him! He’s the one who fucked what’s it’s face? Aka No. aka just kidding. Aka why do you all keep looking at me aka I’m just kidding I have no idea who you mean. Aka got ya yet?

Aka not the fucking brand new song or The Band mom aka Brand New the Band, mom aka so uncool.

Aka Fukien[22] eXistenz[23] bitches aka Baudrillard aka the Matrixes dominatrix and first true hater aka truth (see – TRUTH RAPED BY GOD, pg 22) aka the scene thing aka the only thing important aka the thing inside the fucking briefcase. aka no not something stupid like I don’t know his soul? Aka lack of a soul aka Tarantino aka hilarious aka fuck Demi Moore aka i know right? Aka death to text talkers aka my stand aka here, aka! Ka! Ka!

“GREAT SCOTT!! THERE YOU HAVE IT!: A PRESENTATION ON THE SELF-REFERENCIALNESS OF INTANGENT ART IN AN INFANTILE WORLD, ‘OR’ …’…’of circularity’.

AKA the guy who lost his wallet aka not once, but 87 fucking times[24] one year aka “the bad year” aka “the year to end all comparative years of comparitability in the first place so there” aka *me making goonee goo goo noises like Eddie Murphy*aka of course, raw mother fuckers! Aka “I don’t be tickling or nothing!” aka the king of all urine references from herein aka,

Give me my masters[25]. I’m ready for more.

aka Chuck Norris aka Bruce Lee aka except afraid of gay boy scouts aka gay scouts aka so much less cool than Bruce Lee aka Chuck aka Norris aka the joke aka

aka “in order for my presentation to become real, like the imaginary worlds of Pynchon and Nabokov, i need-ed a community to make it viral – thus when it gets released on Wikipedia to provide its own self referenciality of semi-legitimizing the project which is itself engineered to raise awareness about plagiarism”

{ but the entire thing is actually an oi! ron-ick comment on the self referenciality of art. }

aka for my greatest inspiration, dr. locket,

AKA MOM[26] aka I mean “also” aka the documentary that finally conveyed that moment of being on liquid acid and strapped to a hospital gurney

Aka i still have another howmanywords? aka 488 minus four hundred and ninety aka oh wait no minus four to five hundred aka “or so”aka “cream of some”aka “young guy” aka “the man of a thousand aka’s” Aka dude wit a lotta guns right? Aka technically it was more like 18000 aka and ‘change’ aka -we lack it, they die. aka -our kids.

Aka, figurative philosophy for preteens aka pre-pubes aka pre tubes aka pre aka wait are we still talking about ak’s aka no. aka. Just kidding. Aka yes.

Aka six hundred and forty no, fifty no no fifty three aka 656 (see note) aka (note) aka “a kia? like for Chrissakes” aka yes mom, but a lot faster. Aka my moms a super lady who never read much aka but she would kick my ass if I didn’t mention her twice at least aka the twice hence already ref’d aka Mother aka Cathy Vickers Just aka Cathy Vik-Heffer-mam [27]– aka c.k.v aka Chekov aka gesuunthite aka “betcha heard of me so far but cant quite place me because I am the person Ahbed was before he attained sentience, when back in time, and remade the world the exact way while you slept and become a person himself just a shade off my whiteness aka the heff aka whitey aka hashtag joke inserted, poste haste aka rectus circus penis aka its all for you Damien aka not the kid I knew named Damien aka DayMan aka liz’ weird kid? Aka yeah. Aka jokes. Aka nah, you had it the first time right aka or did you? Aka that guy who was like the guy from that Banksy doc? Aka you know the iconoclast? Aka no just kidding, just Vickers aka but that WOULD BE funny I must say aka a clause aka a preceding sentence aka self Referenciality for dummies aka my earlier self aka what locket was saying right, about how – aka yes, but not at all aka just like lockets aka only mine aka so better. Aka “Brecht on Heff: a study in early Mitläufer zymology”

aka “Mit Romneys aborted foetus which he slept” with aka “O-O-O-O-oh! Wait! That was Santorum!” aka o-o-o-oh, right! Who gives a fuck, mc fuckerson aka and fuckery 1001 for beginners who decided to take acid instead of doing the boring thing and just reading about “it”

aka “”that feeling”[28]aka you know the one aka im just having a time with ya aka fucker? Aka shit, is that fuckers name STILL FLOATING [29]AROUND ON WIKI aka hehe, yup aka last I checked aka well I guess just saying that in itself is Referenciality so I’ll take it aka aka aka aka aka muppet sounds aka Henson-linguistic truth serum, aka wokka wok

aka cooking for dummies in large print aka in large print aka what nabakov did aka but not Nabokov aka but its no oatmeal aka funny wee man in oatmeal commercial aka random reference

Aka “Titlery and Bigotry for Beginners’ {who’re really just playing at being beginners and incidentally….at being}” aka-  fun aka – step 1000 and what, say, 15?

Aka, No

aka self-Referenciality for beginners aka part two aka redundancy for Simpsons fans aka the ole humans eating aliens shtick aka except not. Aka because better aka cause is mine aka Cartman’s ideology aka pop culture hagiography for Hagar fans for kids aka TV aka Google aka go fuck yourself from every kid who can now trump you dad aka me aka dade aka Dadaism and kaka-ism aka us aka u aka Alaska without Palin aka more wolf less gun a-ka aka ahhhhka aka bless you. Aka stop laughing. Aka nah, just joshing, you laugh. Aka we laugh

aka and ill take the high road aka and ill take the low road aka im fucking tired aka who am I aka self referencing for gumshoes who by shoes mean lsd aka why did I read pale fire on it aka yes I’m fucked aka “once got busy in a burger king bathroom”

aka a loaded gun aka not funny anymore aka no, seriously guys aka can we get a minute to remember Tina Brandon aka the actress who’d one day play a fighter aka but got beat up by a chair aka not Clint of Odes aka or new, aka Hilary Swank aka swank aka Hilary aka H swank aka Swank, H. aka man that’s a lotto Swag ya got there lady aka Irish American lingo in early

DEFA aka something German aka lola aka run aka 1200 aka “or so” aka that guy? Aka no idiot the one next to him aka aaaaaaaah THAT GUY aka not even close aka psyche aka a bad tv show aka gimmick aka self refer-veniality aka level aka expert. Aka how can you not get that reference aka it was given to you

aka talent aka not Twilight[30] aka or its fan fiction aka shite aka shit en papier for shit- devourers aka not me aka not you aka my readers aka genius aka says who? aka See Author for Money back guarantee aka dude it was fucking free to begin with aka I still want my money back aka cliché aka trope aka been dere aka Julie aka my ex aka a cunt aka cant belied I Edda lud’at bitch aka that kid in The Wire aka you now the one, whose a chick but is so badass you forget shes a guy? Aka yeah? Aka well not that one aka just kidding aka but which one? aka tbc aka to be aka continued aka to be continued aka redundancy for losers aka not the Simpsons aka a past contestant aka said aka never ka not aka inane reference to comic book geek that has its own guide aka my next book aka your mass list aka me aka but not gross aka but actually grosser as a result aka the grosser aka the earner aka the person who directed “The Hurt Locker[31] aka not James Cameron aka not Cameron’s wife anymore aka #cunt aka #butch aka “yes dear” aka “Strange Days?” indeed aka non-essential additional clues that this movies motif was Apolapypso-prophecy since, Juliette Lewis being famous as a fucking Singer as a result of actually SINGING wasn’t enough to suggest it aka “it” aka Curry in a Hurry aka the suggested aka was aka wasn’t enough otherwise aka wouldn’t be necessary aka kkk  kin take ‘dat baby away aka punk rock for beginners who have tried to understand everything too often on acid only to see the void aka staring itself aka naval peering aka paring aka paling aka paring aka palin aka palin-drones aka republicans aka period aka ever Aka as aka since tea aka party aka ass 3 hundred words and counting aka redundant aka whey want geez! Aka new your aka my youth aka from the suburbs aka SW Ontario aka Cambridge aka Lamebridge aka shamebridge [32]aka formerly Preston aka de’pre-stone  aka and Galt aka fault aka Hespeler’s bitch aka help-L.E.S.S aka place kids starve aka reason I ate my fucking scrap aka in fault aka depressed aka Cambridge aka yeah ? well you know what I say to that aka what aka that aka what? Aka THAT aka oh aka yes aka mmhmm aka oh yeah aka swing

Aka battatatattatatatatatatata swiiiiing battaaaaaaa aka sports humor for jocks aka cbc sports aka all sports aka just kidding. Aka not. Aka quite aka necessary aka word count aka underage aka verbosity aka nah y’think aka yup aka well hey you tried aka and failed bitches aka and bitches aka never said ever at the end of a his sentence aka a geek aka big bang theiry aka shitty humor aka your laughing aren’t you? Aka what the fuck else is on! Aka what else was on! Aka

 

“if anyone wants to help me stretch this into 25,000 more” that display obvious self referenciality as its main or secondary or third focus, please, I’m all yours,aka all ears

Aka, an emotional expression aka not Kirsten Stewart aka ever

Scott Vickers Heffernan so you can have like a three tired structure to them aka big bang theory meets Zelda aka Zelda aka with geeks aka without geeks aka no geek, no squeek! aka squeeky wheel aka

29 minutes agoLikeScott Vickers Heffernan[33] grease

aka Ajay Mehmi

aka Dar dar daryl hoffman

aka dspencer aka Daryyl

aka i cant get his name to hotlink right now

aka my bad here aka gay aka me

aka notaka well maybe kinda somewhat on Sundays aka Sundays are every day of the week aka yes aka

my paper for locket

aka a hundred titles

aka self referential films for beginners,.

aka the showdown between Forrester and his finders aka owners aka capitalist oppressors’ aka d.e.f.a[i]

Bibliography

There are no sources in the current document.

Thus far the Bibliophile has managed to while away the hours like a prisoner in a prison without food or water of discipline, he manages nonetheless.

hijackd the feed aka the feed aka

Bottom of Form AKA also,

Aka known Aka as Bukowski aka Charles aka the man before George Carlin and yet after em aka irony aka paradox aka my grandfather aka lockets feelings towards his gramps aka sharing: aka emoticons aka gone wrong aka not like that though! Aka #veiled aka hostility toward Ak’s and axes both dull and ground aka double neg’s aka racist revisionist American suburbs aka the entire first fucking back to the future Movie aka the Michael j fox affect aka “Parka’s of Fargo in the Mimetic Virality of Orga/Meccha” aka how much shit did Kubrick shit if he could fit all the shit into one aka the aka one aka “neo” aka point break aka meme-language aka plague aka Camus aka writer aka  movies aka “art” aka Spielberg aka Schindlerizaton aka “don’t be such a Mitläufer when you could be leading them” aka that hand there? See it it makes five thousand dollars a night aka “a night to remember Great Balls of Fire”, aka Quaiaaaaaaaad is People aka TIME magazine AKA Ginsberg aka“fucking yr cousin for the middle American on sabbatical” aka #woodyshouldntbetwitteredever

Aka Bang and Ulfson aka real sound aka FLAC aka W.A.S.T.E aka “aka” yipiiies mother fuckers aka kya-a-a-ay ay mother fuckers Tristero aka MacLean aka John aka Hancock aka Willis aka awwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwsheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeit aka youtube remix aka Clay Davis aka HBO aka tv before evil aka Twilight aka fans of aka fiction aka all.

Aka the UrbanE Dictionary aka my wall aka our timeline.aka Or/well aka room 101  [34]

Aka SHADE AKA Kin aka aka kinaki aka botanic aka bionic aka Kin-Boate aka Kinbot aka Jafar aka OH NO JAMES EARL JONES DON’T TURN YOUR BACK AKA AS SCAR AKA TIKI TUMBAA AKA CANDID CAMERA

AKA

AKA \

AKAKAKKAAKAKAKAK

“The Hitchcocks” aka akaaaaa aaaaaakaaaa  aka  #post-obscurityaka #joycean aka “yes mom he more than earned the pubs name in Calgary” aka “yes mom but you really need to sober up” aka “oh wait that’s me” Aka Clinton aka As Sin, Bill? As aka “No” aka more like George of the punk-a-billy free-hopstyle aka Parliament! Aka Canada and SHEEEEEEEEEEEEEEEEEEEEEEEEEEEEET aka leit motif aka heavy aka Scwartaznegger aka ana an”ak47” aka predator aka aka predator predator aka pread predatoooooooooor aka Glover aka Ooprah aka what the fuck happened to Danny Glover and oprahs careers as actors aka symbols aka caricatures aka WHAT HAPPENED TO REAL AKA DR PEPPER? AKA YEAH don’t beleeeee da hype aka Michael Jacksons’ Kevorkian aka rhymes with bivouack aka cooler than to be said aka “that” aka Rimbaud’s Bitch aka Douglas Morrison aka Morriseau aka Morisette aka ironic aka Blake aka who brought this Jorges Borges schmorgez fucker aka Fronteras [Bandidios Americanos[35]] aka Chick-anos akak gingers

aka pre-Raphael prenatal aka self Referenciality of perception aka Huxley aka JELL-O Biaphanous aka pudding pop aka Pryor acts aka Richard aka shaken aka spear aka worker aka conspiracy against the ruling elite aka truth aka fiction aka strangeness between them aka all aka detergent aka nuclear determent camps aka Matt Broderick in that crazy spy kid movie not “called” War Games aka War Games aka Toy Soldiers [36]

aka pre-Mather’s aka post-Chucky aka modernity aka remake aka gammmmmeee onnnnnnnnnnn aka party on aka flash forward aka montage aka art house style neo anti fascist retro liberal aka who ya know aka oh you knows him sure, dogs knows Andy aka Capp ak a AKA

abbr.

above-the-knee amputation

Aka This story, About a h

Hat/Man Mistook his l

Lease for a Rent Plan

aka

 

 

Abstract[37]

AKA- Words are the Virus, (Language the Disease).

“Part-Post-Modernist Goulash, part-essay,part memoir, all terror, all hilarity, all the time.”

“The Essay- turned Celebrity-meme-virus, equipped with all the modern trappings; a PR Campaign, a leaked Teaser Trailer, Performances live and uncensored, even the plans for a National Tour!”

“Thesis, I”

“Thesis is that even a THESIS based Research Paper-Essay cannot withstand the viral lure and bait of Celebrity-laden meme-controlled culture”

“Ergo, W.S. Burroughs, Dr. Kinbot and Oedipus Mass were all right!”[38]

“Ergo, the more viral the culture, the more infected the language and thus, it’s profligates and processors”

“This all relates to a broader, Master’s Thesis, which states “that language has systematically become fully co/re-hearsed into the negation/negotiation of narratives whose propagating is focused on that of the viral memetic nature of the inculcating culture in question””

The Paper, entitled “Don’t Be Mitlaufering[39] (when you’d rather be at Costco)” studies 3 decades of conspiracy culture in mainstream and underground media, concluding that each decade has further engrained our social narratives’ vocabulary with the trappings of paranoia and narcissism – and the celebrity obsessed materialism of consumerism is its Lord Almighty.

Film Music, Art Music, et al, have been corrupted by the materialism of neo-lib dialogues (filtered constantly thru the advertising lens of the media) until the result is (as my earlier experiment AKA BUT NOT THE MUSICAL AKA seeks to show) is that not even ACADEMIA IS SAFE FROM INFECTION.

 

Additional Notes

The Performance of “aka” utilizes a physical display of both the video of AKA as performed by F8, while also accompanied by a subversion of the ASL technique.

By acting out hand-language, the attempt to “sign” proves fruitless, except as a further commentary on the illegitimating effect language has on itself, in fact another subtle inference on the far reaching effect of the Plague Language / Celebrity culture theory, as if to say, “so far reaching are said effects, that not even the physical languages of the deaf are spared infection”

aka “In-Flex-Shun”[40]

“AKA The CD ROM” version of the performance is equipped with a slew of hot links and hyper-text, all of which relate to a broader understanding of the experience of AKA.

AKA WORKS CITED AKAK (so a fake works cited that operates as a tribute to Sam Keith’s The Maxx comic which will also function as a frame to the entire project)

Monzon, Hernan. “Darkness and Mitläufer aka bitch aka Mitläufer bitch darkness hail vicars bitch!” The Magazine. 2012.

Lo, Dr. aka Christopher “The Doc” Lloyd. “Mainlining Mitläufer something or other? I don’t fucking know, where’s the Jameson’s and the Tolkien, aka, baby dragons aka not the musical aka, aka.”  Lockets real blog before it was hacked by Abed in mid time shuffle aka evil Abed aka veiled inculcation of weird Islam-a-phobia tradition in TV and Film, aka “like, dude, BEFORE YOUR TIME” aka that Jimmy Stewart movie where he knew so and so, aka “Much”

Wannamaker, Mc.You say Hypocrisy I say a “A FEW GOOD MEN: aka the study of filmic pre-Preferentiality in modern DEFA inspired “aka not the musical” Nobody Reads anymore So it’s out of Print aka not Mein aka Kempt-y aka pastiche aka obliqueness 17.1 (2008): 3-25.

Ryan (N)De Bys, co. “The other fella? Man im lost aka Laite into the Family aka Ryan aka Bob Ross as seen through a post aka: not the musical world” The Journal of Environment & Development 17.1 (2008): 3-25.

Heffernan, Mike. “I don’t know ‘em from Jobe: aka, but he sure writes” studies in the back room stall, ongoing “The author formerly known as “known as AKA”. 2009 02 28. pp. 10-12.

 

Conners, John and S. “The Hammer in Terminator Proxemics as another formulation of The AFKA, AKA THE AUTHOR FORMERLY KNOWN AS, NOUN:or, “ Staude and the Mitlaufer again?.”Issue 101, Orwells Dream Daily News,  11 th of not-9-11 September.

Heffernan, Scott aka,“A.V”. “The Tarsands are fraking[41] Killing Tommorrow and Nobody but the Hippies and Suzuki Seem at all Bothered, in 2013- for dummies.” aka here we go again aka huck aka Farper Pages 1-infinity, x twelve to the ninth parallel aka unbeatable aka m NIGHT aka broken aka Twilight. [42]

Heffernan, Scott and Monzon H. “The garage video session none of you can ever see…yet.aka sequels on parade! Aka motif!” Literally just a loop of me and my best friend saying aka motif.

WE.AWAIT.SILENT.TRISTEROS.RETURN

*- also known as Neuromancer: how I lost my Existenz forever in the lazy midnight haze of a girl named annaberry climax the third (aka the matrix which Baudrillard WOULD NOT HAVE DEINGED ANYTHING BU THE MACHINES OWN MACHINERY )

“Aka

The true essay of Pale Fire and Tuluk Okbar (aka eat your heart out, people like or Tarantino himself, I’m about to hit one over the rooftops!)

In a close reading of the characters Mavis and Gi Gi from Toni Morrison’s Paradise, many startling similarities are found in other fictional (and inspiring) cases of oppressed feminine psyches, whose attempts to negotiate for power in a male hegemonic society result in increased oppression of the female mind and body.   Beginning as far back as the late 1890 publication of Charlotte Perkins Gilman’s “The Yellow Wallpaper”[43], (Neuromancer reads: the crystal ionosphere of Sony and CocaCola and Bart) a line can be traced from various other authors, specifically Virginia Woolf. In both case, the real-life trauma suffered by some authors finds an echoing in their creation of feminist heroines who, in their struggle to exist often try exhaustively to re-situate their narratives/power in a new, more self-defined way only to find death or madness or at the very least ostracizing from the patriarchal societies of within which they live. In the case of Toni Morrison, her female protagonists in the novel Paradise each attempt to escape a make-dominated world which in the case of Gi Gi attempts to overtly sexualize and demean her, while Mavis endures a psychological lapse of sorts which results in her children’s death and her escaping the life laid out for her my the male-dominated suburbs in which she lived. The sexual inequity of women in literature, like that in reality, always must remain moderately hostile to those forces of the male hegemony which seek to subvert and subdue any [44]perceived threat to the power hold it still maintains. (WHO THE FUCK AM I KiDDING WITH THAT LAST LINE[a1] ?)

(editors redux edit;; see the “ginger and argentine show”[45])

To begin with Mavis and Gi Gi will allow for each subsequent comparison to accentuate the themes and commonalities present in the chosen literary and reality-based struggles of women to overcome oppressive regimes and constructs. Mavis’s narrative is introduced with the bizarre opening that “the neighbors seemed pleased when the babies smothered” (21) , a line which has the same shock level as the opening statement of the novel, “They killed the white girl first”(3), replicating the violence and crudity, while pulling the readers sympathy’s to Mavis and her bereaved family. The existence of a class conflict within the neighborhood and Frank’s home is quickly developed by the lines referring to the neighbors disliking the Cadillac, it having “annoyed them for some time”(21). This class anxiety becomes fully developed when Mavis recalls the purchase of the penultimate Cadillac;

“When Frank bought it and drove it home the men on the street slapped the hood [46]and […] laughed. Laughed and laughed some more because its owner had to borrow a lawnmower every couple of weeks; because its owner had no screens in his windows and no working television; because two of his six porch posts had been painted white three months earlier; the rest still flaking yellow […] as though they knew from the start that the Cadillac would someday be notorious.” (28)      (the thing I love about being in a shitty hateful American remake, is knowing, halfway through, if you have actually taken the time to see  the movie MIND Games THEN THINGS CAN GET PAUSED)

The clear line of class can be either the result of Mavis and Frank being African American, but can equally be considered as a symbol of her oppression beneath being a mere extension of the list of things Frank (“the owner”[47]) possesses. In this reading Mavis is below importance on the scale of possessions also, since Frank has foregone any effort to create a livable home, and clearly Mavis has undergone psychic trauma as evinced by her confession to her mother that she believes her children, under Franks direction “are going to kill me” (31). In Mavis’ interaction with the reporter, she calls hot dogs “wienies” and the reporter without acknowledging the colloquialism, says “wieners”, which hints at further class division between Mavis and her family, and the society in which she lives. Mavis is unable to exist within an untenable situation; her husband gives her no reprieve, and the scene in their bed is ultimately one in which Frank is seen as a selfish and abhorrent man with no consideration for Mavis or her state of mental well being:  “when he pulled her night gown up, he threw it over her face, and she let that mercy be. The other children would be behind the door, snickering…” (26), once again positioning Mavis as in direct conflict with everyone in her world.  She is a now-classic case of something akin to Postpartum Depression[48], but much like other women she’ll be contrasted with, Mavis is not given any kind of therapeutic assistance, pharmaceutical or otherwise, and is forced to live beneath the male power hold of Frank’s and the children’s, weight. This can be likened to the lack of said resources for African-American women, but as we cannot verifiably ascertain that Mavis is not the white woman of the infamous first line of Paradise, thus such a reading would not be in line with Morrison’s attempt to write about each woman’s oppression in a way that color becomes obsolete, a secondary notion. Instead it appears partly due to the lack of any resources for the lower classes- remembering that Mavis’ neighbors do not appreciate the fact that they have an expensive car and yet seem to fall behind in every other domestic sphere. The fact that Mavis’ children die as she mentally unravels beneath the strain, both literally evoked in the opening image: “Sal’s fingers were driving for blood[49].” (21), but also in the fact that she is scrambling to purchase Frank “wienies” as a substitution to Spam. Mavis losing her children in the manner she does is not haphazard either; the car is emblematic of the husband’s willingness to forgo any other luxuries and many of the essentials in order to have a single thing, a very male-associated object, which bespeaks that he still maintains a level of individual distinction above the other members of the family, as the male reigning power. The fact that the children die while Mavis is struggling to procure food for her husband again denotes a certain symbolism; it is the stressful and solitary effort to both feed her male-counterpart, coupled with the exhaustive ordeal of rearing a slew of children, which result in Mavis losing her place in this iniquitous and dominating sphere. The fact that she uses the car to escape is of equal relative value; the thing which once symbolized her lack of (and her husband’s abundance of)[50] power and maneuverability now becomes Mavis’ ticket to freedom. Her journey quickly becomes one which attempts to put as much distance as possible between her old, subjugated self, and her new, free one. In addiction she begins to shed her old skins, and this is evoked by her repainting of the car from green- whose connotations include life and earthly organic growth- to red, the color of blood, which brings to mind the one drop rule, but also in general the violence to which she is unwittingly driving toward from henceforth in the novel. In addition there is the frontier framework which develops with lines that describe Mavis’ pilgrimage from prison to paradise; “as more and more of the East was behind her, the happier she became.” (33), and the fact that this excitement is only comparable to a childhood memory of riding an amusement ride (which her children, Sal especially, incidentally hate), speaks to the fact that she has not felt freedom since childhood, when she lived unaware of the male hegemonies which would seek to control her in adulthood. As Mavis unwittingly nears her destination the final example of her having been a woman restrained;

“A grown woman who could not cross the country. Could not make a plan that accommodated more than 20 minutes. Had to be taught how to dry herself in the weeds Too rattle-minded to open a car’s window so babies could breathe. She did not know now why she had run from the gold links coming toward her. Frank was right. From the very beginning he had been absolutely right about her: she was the dumbest bitch on the planet” (37)[ii]

In this passage the years of mental abuse she has lived beneath are displayed as things which she now accepts herself; the male dominating power structure in her life as evoked by Frank and by extension Sal et al., is clearly the cause of this so that by the time she begins to distance herself, much like the real like story of Charlotte Gilman, she begins to feel better.

Gigi is not so different in that she arrives at the Convent[51] after having a series of men fail her, lie to her and disappoint her expectations for a good life. Unlike Mavis though, Gigi is not running form motherhood and her role as wife to an uncaring oaf. GiGi is running in a sense from all men, from her own sequel prowess’ effect on them, and from any who seek to subdue her or control her in her navigation of life. Much like Mavis in the sense she shares a certain disillusionment with men, Gigi has travelled to find a place that she then discovers does not exist, Mavis having gone through the motions and attempting to find happiness in a man and children then, is identical to Gigi who attempted to find it in rebellious young men- and both must escape the male underpinning of their lives, leading them inevitably, to the site of tragedy. The first moment she is introduced, much like Mavis, is by proxy of someone else- for Mavis it was her children and the Cadillac and the neighbors, for Gigi it is K D imagining “her screaming tits” (55) at once reducing her to her bodily attributes and developing her as a sexualized woman. The next passage which presents Gigi’s narrative is again via a male- Mikey her lover who fills her head with an image of his townspeople and their attempts to destroy overly sexualized rock formations outside their town. Immediately developed is the polarity between sexual prowess such as that which Gigi exudes, and the attempts of (male) hegemonies to control this both through major institutions like the committee members of Mikeys down, but also within the contrast of Gigi within the Convent’s walls. In addition the fact that Mikey has likely lied to Gigi, and develops her existence in the male society around her as one of being constantly vilified or lied to, depending on which male wants what from her at the time.  Gigi has little concern as to the sexual repression of the male hegemonic underpinning[52] of her world though, as evinced by her traversing the statuary of the convent: “She even found the brass male genitalia that had been ripped from sinks and tubs, packed away in a chest of sawdust as if, however repelled by the hardware’s demands, the sisters valued nevertheless its metal. Gigi toyed with the fixtures, turning the testicles designed to release water from the penis. She sucked the last bit of a joint-Ming One- and laid the roach on one of the alabaster vaginas in the game room.” (72). This positioning of Gigi in contrast with what the Convent had tried their best to vanquish from the white-male owners who had previously adorned it with sexual imagery, is one which develops her as on the side of temptation to residents of Ruby. Nudity and femininity then are associated with temptation, lasciviousness, and thus are set to spark conflict with the attempts of the secessionist-based black community which has merely begun to reinforce the male-hegemonies of their white-enslaving forebears.

Long before feminism had the place it does today in literature or in Western society for that matter, Charlotte Perkins Gilman came to a moment not unlike those of Mavis and Gi Gi. After conceiving a child, Gilman was forced into what her physician Dr. Weir S. Mitchell called a “rest cure” in which she was forbidden to follow her inclination to work through a bout of what today would immediately deemed Postpartum Depression. At this stage in the medical understanding of the human psyche, women were still treated as though they had to be isolated from the heavy workload of what is invariably seen as the male-dominated work sphere. When, in 1887, Dr. Weir Mitchell[53] administered his rest cure, Gilman’s health declined further and she suffered a full-on nervous breakdown. Once she separated from husband Charles Stetson, not surprisingly, she ‘miraculously’ found her depression began to subside! Gilman recovered enough to write “The Yellow Wallpaper”, and between its first and last republication the story has been reprinted at least 30 times. Gilman chose to euthanize herself and to die with dignity, in 1935.  In approaching her voice in “The Yellow Wallpaper”, her own words from Cynthia Davis’ biography, Gilman, for whom marriage is already a two year internal debate, remarks that “a happy marriage- for a man, means a wife who gives him all he wants from life – but involves also a working happy life outside. Let him sit down in his happy marriage and make an exclusive occupation of it for 18 hours a day and its happiness would wear thin ere ago” (58). This is the antithesis to much of what I found at work in the tapestries of both Gilman’s and other female authors  lives; they can neither give up the one thing that makes them feel they have purpose- writing, yet cannot escape the biological, sociological and familial pressures to marry and have children etc. Even on her wedding night Gilman is already ruminating how, “instead of being a goal- a duty- a hope, a long expected fate, a bewildering delight; it is a concession, a digression…I look through it, beyond it, over it…”(58). On becoming nauseous, exhausted and experiencing a loss of appetite, Gilman suggests to her mother she is pregnant; “at first the couple wondered if she might merely be suffering from a bowel obstruction” (79).[54] Interestingly, this miss-diagnosis is followed by dangerous enemas and the installing of cotton in what a doctor calls her “prolapsed uterus”; in essence a foreshadowing of the next, life-threatening “rest-cure”. When the exhaustion of her impending pregnancy finally ‘forces’ her husband to help out somewhat with chores,  he writes in his diary of how tired he is, then insists she read his diary, which results in her “choice” to return as it were “to active duty”.  As author Davis notes, she begins to link “her courtship and her confinements, that both figure as instruments of torture”; which succinctly spells out the theme of  “The Yellow Wallpaper”- a 1fictionalization of what occurs when a woman is faced with madness or inactivity, the former in which, at least her creative self finds release. In the climax of the story which mirrors her real-life dilemma and trauma, the major elements of Mavis’ and Gi Gi’s inability to negotiate a real place for them within the patriarchal society they begin the novel in. The fact that the nameless narrator of Gilman’s story chooses to free the woman she sees in the wallpaper can be likened to Morrison’s female protagonists who lapse into madness or sexualized extremes in order to exert what power they can over a powerless lifestyle. The fact that the narrator has been driven to this by her doctor/husband (Gilman cleverly combines the two major forces of hale-authority in her actual life in the story) is a direct attack on the male hegemonic order’s oppressive attempts to subdue the woman who wants more than to be mere homemaker and housewife. Much like Mavis’ state of mind, the protagonist of “The Yellow Wallpaper” is driven to mental extremes and forced to make a respective “break” from her oppressive existence.

The struggle of Gilman is not an isolated one either, as evident in the life of Virginia Woolf displayed in The Cambridge Companion to Virginia Woolf. Much like Gilman, in 1912, Woolf begins a diary following her marriage, which suggests again the symptomatic state of their mutual confinement, physically and mentally, and how socially, via the convention of marriage and its array of expectations, outside forces in her life also opposed the notion of a married female writer. Like Mavis and Gi Gi’s[55] internal musings, the characters which arise from Gilman and Woolf espouse oppression of the feminine by the patriarch, to brinks of mental strain.  It’s particularly interesting in comparing these women’s experiences that in 1917 when Woolf and husband buy their first printing press (Hogarth Press) she publishes ‘A Mark on the Wall’ (a parody of Gilman’s work written in Woolf’s still undeveloped stream of consciousness style).  This shows that like Gilman her work suggests confinement, and her earliest chance at self-publication is greatly ‘marked’ by a flight from strict, singular narrative, and instead what becomes an obvious predecessor to Mrs. Dalloway and other stream of consciousness works that will follow. Following her own recovery, and a bout with the same Mitchell rest-cure, in 1941, in a sense again like Gilman, Woolf suicides. Prior to these events though, she manages, like Gilman once again, to use her literature in order to portray doctors and their ineffective and callous treatment of female (and indeed all) patients who do not fit the rigid definitions of maleness in their time.

In Harold Bloom’s BioCritiques of Virginia Woolf, Camille-Yvette Welsch points out that when Virginia hears of her sister Vanessa being pregnant, “the news was a shock and yet another reminder that she was outside the circle of happiness” (one could juxtapose this with the jealousy Gilman felt toward her husband when he was able to go into his own outside world and paint while she was made to play house). Welsch observes, rightly so, how “it became clear…that Virginia’s writing was meant to take the place of both marriage and children” (28-29).  Following Virginia’s attempt at suicide, her diagnosis bears mention: “the doctors called it neurasthenia”. (38), which is the same label attached to Gilman and yet comes 25 years after the Gilman/Mitchell episode, and in England, not the US.  This speaks to the universality of women’s experience; whether wealthy or not, white or black et al. each trauma incurred by each woman echo’s those which Toni Morrison[56] explores in Paradise. In February 1915, she suffers a further breakdown, this time the results are far more constricting to both her identity as writer and wife; “She passed through most of the war with little understanding of its operations. She labored through her illness to discover that yet another right had been taken from her. Leonard and the doctors had decided that she would not be able to have children, that such a stressor could only overwhelm her and trigger more illness. It was a decision that hurt and haunted Virginia Woolf. Her only conception now would be intellectual.”(38). This particular detail relates nicely to Mavis and her acknowledgement of Frank’s having deemed her useless, given that her only remaining option to live instead of be killed by her situation, is to abandon her family and travel West, a direction synonymous with the American frontier.

In the groundbreaking feminist text, The Madwoman in the Attic, authors Sandra Gilbert [57]and Susan Gubar aptly regard both Gilman and Woolf as major contributors to the cause.  In Chapter one they note;

“as Virginia Woolf observed, the woman writer seemed locked into a disconcerting double bind: she had to choose between admitting she was “only a woman” or protesting that she was “as good as a man.” Inevitably, as we shall see, the literature produced by women confronted with such anxiety-inducing choices has been strongly marked not only by an obsessive interest in these limited options but also by obsessive imagery of confinement that reveals the ways in which female artists feel trapped and sickened both by suffocating alternatives and by the culture that created them.” (64)

Applying this to the Gi Gi and Mavis is not difficult, returning some interesting parallels which further posit Morrison’s narrative as one which echoes the preexisting struggle of women to negotiate a sense of power or control over their lives, despite constant attempts to dissuade them from doing so. From the moment Gi Gi enters the story, she is a constant source of sexual power, yet she has none herself- is merely deluded into a state of male empowering due to the attention and assistance she receives by those around her. Instead of her sexuality guaranteeing her a place of respect or honesty in relationships it seems to have the opposite effect, as evinced by her last mate lying to her prior to serving time in jail, and the additional men in town merely objectifying and ogling her.  Mavis likewise has little to no aid offered by either her husband or her own mother, who merely placates her until she can alert Mavis’ him as to her whereabouts.  In fact what little is available of Mavis’ mother suggests she is equally impoverished; “Birdie Goodroe had barely enough calf liver for two.” (30), and admits she couldn’t attend the children’s funeral and send money since she had “to choose-help bury them or pay for a trip” (31). Birdie is from the previous generation whose options as a woman are even fewer without fully capitulating to the male hegemonic order, which is why it should come as no surprise she calls Frank the first chance she gets.  At no point does anyone in either woman’s life see her as anything more than inferior to, and subordinate of, maleness and the male-dominated sphere. The sense of confinement evoked in Gilman and Woolf is parallel by the literal suffocation of three of Mavis’ young children as her traumatized mind scrambles to manage simple daily chores. It is equally displayed in Gigi’s desperation to find solace which leads her, inevitably, to the fated tragedy which the Convent promises from the opening passage of Paradise.  Each narrative produces the same trademark’s; a journey toward self of the feminine voice in literature, as inspired often by real events, reflects the frustrated and oppressed attempts which occur as a result of the reigning source of control, in the form of the male hegemonic order. The trauma of Mavis and Gi Gi like the real and inspired of Virginia Woolf and Charlotte Perkins Gilman, are part of the feminist re-historicizing of its place in a heretofore, prior to Postmodernist narratives which allow for new , male dominated language-construct.  As author Ana Maria Fraile-Marcos notes in her paper “Hybridizing the “City upon a Hill” in Toni Morrison’s Paradise”,

“The contesting voices of the young and of the women in Ruby, and especially those of the women in the Convent, enter into a dialogical relationship with each other and with the patriarchal hegemonic discourses of the black male leaders of Ruby […] Resolved to defend their view of a homogeneous and hierarchical nation, they decide to destroy difference by attacking the women in the Convent.”  (4)

This conflict is the ultimate showdown between the female and African American voices of Paradise and the male hegemony which seeks to rebuke their attempt to negotiate for more power within the novels framework, and echoes the same efforts made by feminist authors of fiction in previous generations. This weights the struggle of Mavis and Gigi, and all women in the novel, in the larger struggle to ascertain power for the female voice in literature as a reflection of those struggles which have and will continue to inspire further such narratives.

Works Cited (aka, incited riot)

Davis, Cynthia. Charlotte Perkins Gilman: A Biography. California: Stanford University Press,   2010. (regurgitated from a previous essay and felt no shame)

Fraile-Marcos, Ana María. “Hybridizing the “City upon a Hill” in Toni Morrison’s “Paradise””    MELUS, Vol. 28, No. 4, Speech and Silence: Ethnic Women Writers. Winter, 2003. (barely understood article figured that was a good sign of its correctness)

Gilbert, Sandra and Susan Gubar. The Madwoman in the Attic. New Haven: Yale University Press, 1979. (title had me in stitches, aka, “whats in a name, Brain” aka “The Brain” aka “useless Warner Brothers Trivia Portion of Memory” aka “Hard Drive” aka “Shadow Run”)[iii][58]

Gilman, Charlotte Perkins. The Living of Charlotte Perkins Gilman. New York: Arno Press, 1972. (aka “the suicide of Perkins”)

Morrison, Toni. Paradise. New York: Plume Publishing, 1999. (aka WAR….EVERYWHERE IS WAR!)

Sellers, Susan. The Cambridge Companion to Virginia Woolf. New York: Cambridge Press, 2010.  (I grew up in Cambridge- aka Shamebridge- Ontario, so I always use a guide from England…)

Welsch, Camille-Yvette. Bloom, Harold (ed.) Bloom’s BioCritiques: Virginia Woolf. Philadelphia: Chelsea   House Publishers, 2005. (aka Fuck Bloom with a Broom aka Dahmer aka headless Asian aka murderdeathkillcult aka that terrible movie Murder By Numbers aka that masterpiece ROPE)

Works Consulted (aka Insulted Beureau of Reinvigouration)

  1. B.B King (aka the whole Kingdom). Live in Cook County Jail. FLAC (FREE LOSSLESS AUDIO CODEC).
  2. Chawd; aka Chwd, Chasd, Chewd or Cheud. The man who refused to spell because he was a painter, so we changed his name to every variation but its original. Because “spelling does not matter ”- Chad Doomford
  3. Heavily Influenced by Early Stories of “f8”, especially Last City[59]
  4. “The Ginger and Argentine Show.”

Sample provided from their earliest discussions especially as they pertain to the perfection of the formula behind “Status Blasting with Pseudonymous Pals!”[60]

2:35pm


Aka “titlery and its bigotry for begiininers who’re really just playing at being beginners and incidentally….at being” aka fun aka step 1000 and what, say, 15? Aka no aka selfrefereciality for beginners aka part two aka redundancy for Simpsons fans aka the ole humans eating aliens schtick aka except not. Aka because better aka cause is mine aka cartmans ideology aka pop culture hagiography for hagar fans for kids aka TV aka google aka go fuck yourself from every kid who can now trump you dad aka me aka dad akaaka Dadaism and kakaism aka us aka u aka Alaska without palin aka more wolf less gun a-ka aka ahhhhka aka bless you. Aka stop laughing. Aka nah, just joshin, you laugh. Aka we laugh aka and ill take the high road aka and ill take the low road aka im fucking tired aka who am I aka self referencing for gumshoes who by shoes mean lsd aka why did I read pale fire on it aka yes Im fucked aka “once got busy in a burger king bathroom” aka a loaded gun aka not funny anymore aka no, seriously guys aka can we get a minute to remember tina Brandon aka the actress who’d one day play a fighter aka but got beat up by a chair aka not Clint of Oldes aka or news aka Hilary swank aka swank aka Hilary aka H swank aka Swank, H. aka man that’s a lotta swank ya got there lady aka irish American lingo in early DEFA aka something german aka lola aka run aka 1200 aka “or so” aka that guy? Aka no idiot the one next to him aka aaaaaaaah THAT GUY aka not even close aka psyche aka a bad tv show aka gimmick aka self referciality aka level aka expert. Aka how can you not get that reference aka it was given to you aka talent aka not twilight aka or its fan fiction aka shit aka shit on paper for shit devourers aka not me aka not you aka my readers aka genius aka says who aka see author for money back gyarantee aka dude it was fucking free to begin with aka I still want my money back aka cliché aka trope aka been dere aka Julie aka my ex aka a cunt aka cant belied I udda lud dat bitch aka that kid in The Wire aka you now the one, whose a chick but is so badass you forget shes a guy? Aka yeah? Aka well not that one aka just kidding aka but which one?aka tbc aka to be aka continued aka to be continued aka redundancy for losers aka not the Simpsons aka a past contestant aka said aka never ka not aka inane reference to comic book geek that has its own guide aka my next book aka your xmas list aka me aka but not gross aka but actually grosser as a result aka the grosser aka the earner aka the person who director The Hurt Locker aka not james Cameron aka not james camerons current wife aka cunt aka butch aka “yes dear” aka Strange Days indeed aka clues to this movies motif aka armageddons prophecy aka because Juliette lewis being famous as a fucking SINGER as a result of actually SINGING wasn’t aka enough aka to suggest it aka it aka the suggested aka was aka wasn’t enough otherwise akawouldnt be necessary aka kkk took my baby away aka punk rock for beginniners who have tried to understand everything too often on acid only to see the void aka staring itself aka naval perving aka pearing aka paling aka paring aka palin aka palin-drones aka republicans aka period aka ever Aka as aka since tea aka party aka ass 3 hundred words and counting aka redundant aka whatya want geez! Aka new yourk aka my youth aka from the suburbs aka SW Ontario aka Cambridge aka Lamebridge aka shamebridge aka formerly preston aka depreston aka and galt aka fault aka hespelers bitch aka hespler aka place kids starve aka reason I ate my fucking srcap aka in fault aka depressed aka Cambridge aka yeah ? well you know what I say to that aka what aka that aka what? Aka THAT aka oh aka yes aka mmhmm aka oh yeah aka swing battatatattatatatatatatata swiiiiing battaaaaaaa aka sports humor for jocks aka cbc sports aka sports aka jjust kidding. Aka not. Aka quite aka necessary aka word count aka underage aka verbosity aka nah y’think aka yup aka well hey you tried aka and failed bitches aka and bitches aka never said ever at the end of a his sentence aka a geek aka big bang theiry aka shitty humor aka your laughing aren’t you? Aka what the fuck else is on! Aka What else was on. Aka
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Scott Vickers Heffernan if anyone wants to help me stretch this into 25,000 more aka’s that display obvious self referenciality as its main or secondary or third focus, please, im all yours.
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Scott Vickers Heffernan aka all ears
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Scott Vickers Heffernan aka an expression aka not kirsten steweart aka ever
30 minutes ago • Like
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Scott Vickers Heffernan so you can have like a three tired structure to them aka big bang theory meets zelda aka zelda aka with geeks aka without geeks aka no geek aka no squeek aka squeeky wheel aka
29 minutes ago • Like

AKA also
Aka known
Aka as
Aka bang and ulfson aka real sound aka FLAC aka W.A.S.T.E aka “aka” ypiiies aka kiy iyaya akay ay mother fuckers TRistero aka maclean aka john aka hancock aka willis aka awwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwsheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeit aka youtube remix aka clay davis aka HBO aka tv before evil aka twilight aka fans of aka fiction aka all.

Aka the urban dictionary aka my wall aka our timeline.aka orwell aka room 101

and the notes

hat make up the bulk of the “story”

.

7

secrets

caves

dolphins

r

i also sent you the text version

1n

my long term project will be to fill the text based

with hyper links

to definitions

like a living cdrom novel

that gets updated yearly

MAN

im having flashes of genius

daily

1:03pm

I can’t find an AKA the musical so why is it called not the musical?

1:04pm

`

‘Enders notes”


[1] Aka “dead poets society”

[2] Aka “Little”

[3] The truth of this statement is so valuable it requires parenthesis. See, “Truth After Rape”

[4] See my paper entitled,  “Deadwood Caricature’s Who Live in the Minds of Fan’s Long After its Premature Cancellation” (Unpublished and Unwritten Words, 2012, Non-Existent Publishers, NY, NY. )

[5] Aka Dances with King Cans!

[6] Aka my gut tells me im a douchebag but my heart still sings Bob Dylan!

[7] WE AWAIT SURITY TO ESCAPE

[8] Aka “She looks around the town, Can’t find a better mannnnnnnn”

[9] See “The Heff’s Movie Reviews”, (aka “They Live” quotes.)

[10] “Low-man” aka not a high man anymore

[11] Intentional Subversion of Doc Locke’s real identity to prevent any character assassination.

[12] Intentionally referencing 9-11

[13] Aka “Go Fuck Yourself for Dummies”

[14] Baudrillard is White Noise before Whiteness knew itself

[15] God of Truth and Leaks

[16] AKA THE SOUND OF DEAD WEATHER SIPHONED THROUGH (A WEATHER MANS) VEINS

[17] I have a huge thing about them. Aka, obsession for men

[18] Aka Your Title is Manichean My Title is Nietzschean

[19] Aka USA aka American Air aka Space aka Water in a Can aka Drought

[20] Aka The Darkside (Aka “Tales from the Darkside the Movie” – or TV Series!)

[21] No joke here locket I have seen every movie you have plus one hundred others. Don’t step lest you wanna flex.

[22] If you don’t get this usage you need to retake your class. And listen to me more.

[23] Aka Cronenberg for Dummies who are Playing at being Dummies

[24] Fave number and number of girls I lost also.

[25] Aka MA

[26] You don’t get it do you?

[27] Aka Mom-ster Locke

[28] Oh what a feeling aka the shin’nin

[29] AKA Modest Mouse, “Float On”

[30] Aka SHITE

[31] Aka Not Avatar, aka “so

Good”

[32] Aka and always Hespler where people starve or go to Joe Colemans awesome Spot

[33] This Is a Facebook thread.

[34] Aka Room 101 the BAND mom, not the 1984 location MOM

[35] Aka the Chicano’s for a Better Gay Pride Parade and aka fuck Mel Lastman

[36] Aka Toy Soldiers

[37] This is where it gets interesting?

[38] Aka “You Were Right When You Said, EVERYTHINGSGONNABEALRIGHT” Brand New

[39] If you haven’t heard of the Mitlaufer you need to take a course with Dr. Buffinga.

[40] Aka “the Shunning”

[41] No fucking joke Suzuki needs to be listened to.

[42] Aka Shamalamamayandeaththrillkult aka krull

[43] Aka Blade Runner on a Page

[44] And all Resistance

[45] Or alternatively Die Antwoord.

[46] He Went Out Like A Bitch!

[47] Aka Not Owen but his cousin. Aka “The Massah’”

[48] Crazy bitches get crazier

[49] See On the Road Jeopardy Questions

[50] Douchebag named Frank

[51] A whore to the male hegemony also…

[52] Aka A Punch in your Kicked Face

[53] Aka The Doctor who cannot stop the Lockett the Lockett cannot be stopped aka the Locke is Kinbot’s Shade(y) Tree

[54] This is pretty fucked eh Chris?

[55] Aka Model who dies of AIDS aka Jolie aka Jolly aka Voights Bitch

[56] Aka The Door’s aka Jim aka Rimbaud aka rim Job aka no jobs at RIM in Waterloo aka recession aka collapseofsociety

[57] Aka Sara Gilbert’s sister

[58] See note re: “Skytalk”

[59] “Last City”    For Toni Morrison and Malcolm X

Yesterday they buried their precious white girl.

I don’t know how long it has been like this, but the folks on my side don’t write anymore so how much history do you think there would be? That’s what’s wrong with us. We’re so quick to assume the fantastical died, that the rebels were all driven off the property that the masters kept us all on the same length or leashed at all. But we aren’t seeing what’s on the fork again. We’re fucking wild out here.

The police on my side mostly make sure nobody unlawfully uses Last Alley, and any insignificantly petty dealing that goes on- the more likely scenario that they’re part of that process in more than one way if you get me. If I wasn’t here I would be there. I would work in some Jazz bar, something real seedy. Yeah. Just like the Last Reels.

Today we buried our third last Scribe. Soon the yearly Olympic Envisioning will just be one from ours, one from the ghettos. Those people. What sickens me more is those creeps from our own backyard. Bribing the Guardsmen who get in deep taking bets on illicit En-Vision-Fights, just to taste some of the wild side. Their own fault if they get caught and invariably exiled. See how they like working a nine to FIVE all week.

They say the whole thing started when a single child wandered from their side into ours. At the moment it was impossible; a miracle. Last City and Ghetto-town were 8000 miles from one another. How had anyone travelled that distance in such a short span? Rumors circulated that transporter tech. had existed all along and Government 1 and 2 has colluded to produce this shocking revelation, giving all the James and Alex and a Jim Jones wannabes another breadcrumb which was immediately latched onto, reconfigured for their cult-followers. Gave the data a nice, purloined texture. Something they could subsist off. I wish I could get out of DataStream. I wouldn’t care if it was to L-City but honestly, I would inevitably end up in G-Town. The place where Wynton Marsalis played the Last Song.

I’ve been training for this moment since I was nine and the Watcher’s Watcher came to my parents. It would be a dream for any Ghetto-zin, but a Townie? Let’s just say the chance I might get perma-sketch from a 12 round envisioning with what mom always waited for my Ghetto-Nan to leave for the day, before calling, “those….people, Joshua, they’re just…so Un-Pre-Dictable! I mean we’ve all seen the footage from 2099, what they did to that first year scribe…it was just deplorable!” Oddly mom never sees the irony in her leaving out the 2087 matches which saw TWO from their side eviscerated unnecessarily by ours.

Momma always said I would be a scribe. Said the scrap was just in me since I was old enough to talk. When I grabbed at anything I could use to “write”, and things started to appear- Elephant’s the size of house pet’s, my fave cartoon characters, a nightmare or two- that was when she called “The Watch”, had me tested. But she knew all along. I was born to Scribe. And I’ll die in the ring, she says. Prolly right too. Gonna make sure I take a few Townies with me first though, Ma, don’t you worry about that.

[60] Too Incendiary for Public Consumption, this portion was altered and rewritten to remain somewhat tame to its original.

[61] Aka “Chad”- a close friend, painter, Nietzsche-lover and fellow member of the “Cull-Ect.ive”, other pseudonyms of his all arise from his predilection for non-spelling and non-grammar in his commentary and general living, thus spurning Hernz and Ginj to rename him with an incredibly wide arrange of  variety considering the shortness of his original moniker; aka “Chwd, Chawud, CHODE, CWD, and sometimes CWHDUHUWCHAD”

[62] Aka Caboose, who we re-named Cabooze to protect his children, from the TRUTH. (daddies a fucking psychopath)

[63] Aka delirious is even better though!

[64] Aka Ironic meets Alanis meets A Real Song aka no longer Ironic.

[65] Bullshit buddy You cant even read.


[i] D.E.F.A

[ii] What a bunch of Malarky

Aka go fuck yourself Pugsly

[iii][iii] Aka Skytalk; Last City- see end notes

 


 [a1]I mean come the fuck on, I know better than this!

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