Genre Traps

“Sure – it’s a good book. A fun read. But bruh, all that incessant male gazing going on…”

I can’t help but to agree. Rereading the book itself, I marvel at that I stuck with it for some 22 volumes as I did. I’m even more amazed that the series ranks as one of the greatest I know. I’m agog by the fact that I ever read past volume one. And yet, here I am, five books deep, again, with no intention of stopping.

And so, instead of putting it down, I try to understand it. I try to rationalize it. And maybe, just maybe, it couldn’t have been written any other way…

Which leads us to genre constraints. Maybe certain settings, certain fields, carry with them inherit problems. Unavoidable tastelessness that cannot be removed without warping the very framework of the story’s setting. Maybe the filth is just so ingrained in the tapestry that if removed, it unravels the background into something unrecognizable.

Or maybe, if it’s such an ingrained part of it, we can’t unravel the setting fast enough. Maybe it’s served its purpose and should be done away with.

The books in question are set in a magical realism/detective noire contemporary world. Think magic and trolls mixed with dingy P.I. offices and canvas dusters. Which is cool and neat, but were it for all the damsels in distress cum femme fatales, for every female character (be they victim or strong agents of their own right) is described by a thirsty male eye – because that’s just what noire is all about, is it?

Can it be different? Can Bogart really swagger through the shadows like he does if he wasn’t lured to the case by a pair of waggling ankles and a smoke-screen hiding the curve of lips? If it were but for a job without desire or allure by the human equivalent of a venus flytrap, why wouldn’t the sly detective just hand the case over to the cops the very first time he was shot at? And why would a sullied white knight cling to that kernel of good heartedness if the job was just a job?

Have another example that I’ve considered while reflecting on my own book, The Last Box. Set in the near-future and hyper-capitalistic London, the novel is firmly rooted in the cyberpunk genre, where the digital world bleeds into our own, with burgeoning cyborgs, business lords, and the sanctity of life going for a penny. And also, the hyper-commercialization of sexuality. Because how can humans do differently than trivialize intimacy to a commodity at the end-stage of capitalism, which is the very point of cyberpunk. Will a world not be sexually exploitative when titillation has become cheaper than clean water? How else can you possibly imagine capitalism degenerating us, but to make whores of us all?

How can Victoria-era-inspired steampunk be anything but colonial? How can a military epic be anything but fascist? How can we have fantasy without racism? How can we eat the cake without the tooth ache?

I’m not sure we can. But neither do I think we should abandon genres that have inherit problems just because we don’t approve of the baggage. What we do need to do though is to meet that baggage and process it. We can’t just let the issues pass us by uncommented like set dressing. We need to address it. We must, ‘lest our blind spots warps to acceptance.

So; the noire detective self-consciously defends himself by being “old fashioned” and “lonely”, while his female colleagues and friends berate him for being a chauvinist. The years pass from book to book, and the chauvinist white knight is broken by failures to protect all those damsels and relents. He grows, begrudgingly, little by little. So too, in The Last Box, it becomes apparent that the young honey pot vigilante uses sexual appeal like armour to insulate herself from actual connection. She obfuscates herself from sight by luring the gaze with a decoy.

None of that excuses it. It can’t. There are no excuses. But it comments, it reflects, it resists – maybe feebly – the stains and rot. And in so doing, no matter the failure to fix anything, at least it doesn’t promote tacit acceptance through silence.

/Sebastian Lindberg 13/2-2024

Aria of the Red Mirror

Claria’s breath warbled in her chest, her eyelids fluttered, and her flesh-sheathed knives had never been more excited in her life. She fanned her face to keep her tears of exultation back. The seamstress, face as pale as a skull, laboured mechanically with the costume. Tugging and pulling and sewing, teasing little breathless gasps of pain from Claria. Her hands were shaking. The hooks were set. The music on the other side of the curtain soared.

Soon. Soon she would rise too.

She couldn’t help herself but to tip-toe and lean over to the curtain, tearing a sliver in her costume. The seamstress let out some undignified noise or other, lost in the thunderous symphony out in the hall. They were all there. The City, in its splendour, gilt and silver and lace and velvet, the auditorium was spilling over with the opulent glory of it. Every single duke and prince and countess would witness her. Every single one of them would become part of it. They all sat rapt, masked faces as knitted to the scene as Claria’s costume to her skin. None even shifted upon their razor-edged seats, any eccentric discomfort cleanly forgotten since the end of the first act.

She had to lean away. Step away from the promised ecstasy of it. Soon. Soon.

A scuffle distracted her, thank the veil, and tore her attention from her approaching cue. The composer was shouldering his way forward through the stagehands, tears welling from his eyes, blood still seeping from his lips. His hands shook the worse. But his feeble, wounded, shouldering didn’t get him far before the hands took hold of him. His muted moans came nowhere close to breaking the spell. Nothing could by now.

Soon.

Claria tore herself away from her seamstress. She felt the tearing. Just little ones. It was fine. It would all come undone soon enough. Soon. And she was too grateful to be careful.

“Master Giocco”, she breathed, catching his bloodsprained attention. “We cannot-…”, she began, but faltered as the music beyond the curtain wrung her heart once more.

“I cannot”, she continued once the strings let her, “thank you enough for your beautiful work.”

The composer gaped at her. The bloody stub of his tongue tried to work words in response, but there was nothing.

“None… none of it, sir, would have been possible without you”, Claria reassured from beneath the skin of her heart.

His eyes widened and he shook his head. At first pitifully. Then vigorously.

“Don’t worry, dear Giocco”, Claria soothed and reached out to stroke his cheek. “I know the work has taken a toll on you. How that mundane part of you tried to stop it. But fear not, dear dear little man. It will be done soon.”

Soon. Soon. Now.

Claria felt, more than heard, her cue. It was her time. The music caught her. And pulled her away from the mutely screaming little man who had given shape to such a perfect symphony. His panic wouldn’t last long. Claria’s act had come. And as the curtains drifted apart, she drifted out onto her stage. Her altar.

The Light bathed her as she stepped out in a lull of the fanfare. She had a second – two, maybe – to look out across the sea of extravagance. Oh, the beauty of it. The disgusting glory spread out across the auditorium. Gilded vaults for a gilded people. Each face, each mask of fox or owl or hawk or lion, cloying to her like her own skin. From the floor. From the balconies. From the vaults. And she took the chance, the audacious pride, to look beyond it. Up against the back of the theatre, for the guest of honour. For her patron. His winding arms the stucco. His hewn chest the shield. His warped face the judgement. Curling and winding along the back of the ceiling, spreading his wings across the hall.

His marble stare sent a shiver through Claria. And then she sang.

Her voice rippled down the seats. No – not her voice. She had given that up. She was just the horn, the chords to be played by another hand. The voice came from elsewhere. She had mimicked the words many times, many – many times, but she had never really understood them. No one had. Not even Giocco himself who had written them. If he had, he never would have finished it. It wasn’t just the words. It was the here. The now. The orchestra, the velvet, the audience, the luxury on the display. It was the presence.

It was perfect.

No one in the audience made a sound as Claria began the undress. Her voice – the voice – never wavered as her hands tore at the fabric. Pre-rended strips of velvets and lace, tearing tiny hooks through her flesh. No one said a word as rivulets of red painted the gown.

She couldn’t help but to look again as she shed her layers, cloth and flesh alike, in tune with the symphony. A lady in the front row, enraptured like them all, was picking at her hand. Tugging at her own skin. Pinching it. Clipping at it with her nails. A neighbouring gentleman had a letter opener out, grinding the dull instrument against his own arm. All their attention fixed on Claria.

The voice didn’t falter as her collar bones came bare to the air, muscle and sinew. As her veil of coarse flesh came away from her, strip by strip. She vaguely noticed that the orchestra had gone silent. It was all the voice, now. Spilling from her, in all its perfect glory. The first of many crescendos erupting as her back came undone in two great rends, leaving her bare to the ankles.

The audience was hers. They too were breaking free from the crude cage of their shrouds. Grinding away against the razor edges of their seats, no longer uncomfortable curiosities but vital parts of this grand opus. Still watching. Still silent. Still bathing in the aria from beyond, flowing through Claria like a rill.

Her dress undone, shed around her in strips of lace and flesh, she needed her tools to finish. Her knives, already embedded in her thighs, came loose easily in eager expectation of the work which remained. She was coming close to the end of her song. But no matter. Behind the voice, she could hear them all now. Every single one of all those gilded people out in her audience. They sang the words too, now. Hers was never meant to be the only performance for her patron. They all would share in Claria’s glory. And now they were. Shedding, shedding, shedding themselves in their seats. Enraptured. Ruptured. Rended. Rending. Tearing free from the filthy skin of the world.

Claria dared, once more, one last time, to look upon her master; now, before her work finished. Her knives felt warm against the muscle and tissue of her palms, but before she finished, she needed to know. So she looked. Up and beyond. To that snaking stucco of arms and legs and face above the writhing mass of shedding skin below. And he smiled. That marble face smiled. Smiled as he slithered his shape along the edges of the theatre. He was satisfied. And so – he was coming. Coming down to them all.

The voice filled the theatre. Behind, just as before, the stage. She didn’t need it any more. It was never hers to begin with. She had only been the vessel to unleash it. And now it was out. The voice. His voice.

Weeping in ecstatic joy, she lifted her knives to her neck and face. And she set to finish her work, so that she could step into his embrace as he demanded. In cleanliness.

/Sebastian Lindberg 17/12-2023

Amidst the Gospel of Spin Doctors

When I was
a young boy
my father…


stole away my trust in parental figures and taught me humility. Not in some grand lecture or orchestrated lesson, mind. No, rather by… example. He was not a humble man. He was an egocentric narcissist. A crude bully. A pebble who thought himself a mountain.

Odds are, he still is. I wouldn’t know.

But his example taught me well. Never to toot your own horn. Never slap your own back. Never look upon your achievement and smile, but worry it for cracks and mistakes. Not only never to rest on your laurels, but never be the person to judge whether there’re laurels to rest on at all.

In short; never be your own hype man.

Which, as it turns out, is a problem in this our current state of affairs.

Selling yourself is a fundamental virtue in our hyper-capitalist society. It matters nothing what you can do, or who you are, but only what you can convince other people of you being and doing. Seeming is infinitely more important than being. Marketing, making splashes, making an impact, is all that matters. Whether we’re talking about getting a job, getting a raise, inventing a solution to world hunger, or instituting world peace. Belief, faith, the perception of ability is the same as the real thing.

We live according to the gospel of spin doctors.

And I have never been a fan of spinning myself. Feels insincere. Feels slimy. Makes me sick to my fucking stomach, truth be told. I don’t lack for pride, oh no, not by far. But when the difference between being good and seeming good is being shit, I cannot help but to veer toward capable anonymity.

Which makes this whole self-promotion thing, when you have a published novel on your hands to peddle, a bit of a conflict of interests. Especially when such self-promotion means sitting in front of a camera for four hours, try to be entertaining, and talking about my labours like they were the second (third?) coming. Because, yes, pursuing the promotion of my book has driven me into streaming as a way of talking about it to disembodied prospective readers.

I’m proud of my work. I am proud of The Last Box, warts and all. I think it is a beautiful piece of fiction, which says things both new and fresh in a stale genre. I am proud of what I’ve made since. But in a world of integrity, I should not have to be the one to convince you of that. The work itself should, in lieu of a vanguard. But alas, we do not live in a world of integrity. We live in a world of saturation. Where it is all too easy for a book of wisdom to get lost in the wash of dregs and drivel.

Which leaves me starring as the proverbial rope in a tug-of-war between observed demand and imagined virtue. But perhaps that’s not such a bad place to be? Perhaps that’s the point? For morality to not serve as an end, but a counter balance. A tether to the other side to let us dredge for success in a modicum of safety.

Either case, now I’m not just a published author, but also a fucking streamer to boot. Another drum of mine own to beat the shit out of and provide some more wash to the media flood.

That fucking tether better have enough tensile strength…

/Sebastian Lindberg 11/7-2023

Bottles of Trash and Treasure

It turned out to be deceptively easy to create a way for people to give me money. Almost as if it was expected of me. Expected of everyone. Just like we are all, our bodies and souls and spare time, just products to be peddled for the entertainment and distraction of the rest of the world.

You’re a product. You’re a brand. You’re always on, online, hooked up, performing, dance monkey dance to the mad piper at the centre of the internet. You are content, and all content must be monetized.

I mean, it makes sense. Doesn’t it? You make something, for someone, for some reason. You send your creation off, rudderless, to sail a black lake, no knowing who’ll pick it up. Why not get something for it?

When I was a kid, a friend of mine found a bottled message, preserved and forgotten, penned some 30 years past in a neighbouring country. Just to see if it ever got anywhere. It got somewhere. Three decades later. It got into the hands of a ten year old kid sitting by the dockside of his family’s little cabin in the bay. Much ado about nothing erupted. The message was irrelevant. Nothing of import it contained. What rattled the local papers, and made the kid a five-minute-celebrity, wasn’t what was in the message. But that someone found it.

We never really stopped putting messages in bottles, did we? We just switched out one kind of silicon for another. Bottles for hypertext transfer protocols. Paper for binary. And we throw them into a sea infinitely vaster than the Baltic. With a vain hope to be paid for our efforts.

So what? What’s the problem? Reel it in, monkey, and tell us what your point is.

My point, I suppose, isn’t a criticism. There’s nothing wrong with sending rudderless messages out to sea. Who knows who might pick it up, or when. There’s a romance to it, to be sure. Nor is my point about the all-consuming hunger for content. I’m a story teller. I love telling stories. Which is all content. Always has been. Long before internet was birthed, certainly as it lives, and no doubt long after it’s been found dead by autoerotic asphyxiation to a thirteen-part yiff snuff film.

My point is fear. For while you tell stories by the virtual camp-fire, sending your little bottles out to blackened seas with no return address, you can imagine that they’ll someday, somewhere, attain meaning to someone. They are invaluable, because they have had no tangible value attached to them. They are, and forever will remain, priceless treasures of an age.

But the moment we place a price tag on them, as soon as we attach a little note asking a reader to send money and a peanut, we place a tangible value upon our messages. We rip them from the heavens and their radiant kin, shackle them with a price, and set them loose to rally dividends. And if they fail, if the trawling masses aren’t charmed enough to be charged 8.99 excluding tax, we have effectively turned our sea-bound treasures into ocean-clogging trash.

And who wouldn’t fear when exposing their little creations, their little bottled treasures, to the risk of such a dreadful fate?

/Sebastian Lindberg 2/5-2023

The Mother’s Embrace

Sometimes, I dream. Sometimes, when they come to me with their clippers, I stir and I dream. Recollection and familiarity filtered through the song of slumber. I rarely remember my dreams, but my dreams always remember me.

I dream of a sunny afternoon. Past seasons’ saplings play host to yellowhammers and finches and sparrows. The carefully dug brook twists amongst the mossy mounds, leaving pools of water in its wake. I dream of my foot slipping along the wet dirt to plunge into such a pool. That the water’s still cold from last spring chill. I dream that I tend to a fresh new sprout, with its first leaves reaching for the warm sunshine.

I dream of the season’s first nip. I dream of a flutter of wings that brush against the hairs on my arm. In the dream, I do not notice them. Not until a mellow burn sneaks into my flesh, and I hold back the instinct of swatting at it.

“Reinar!”, I hiss over to my right.

“What – no!”, I hear hissing back at me from beyond the curtain of last season’s planted elms.

“Get over here!”

I dream of the soft squelching that his feet make against the wet moss and undergrowth as he makes his way over. I dream that I can feel him squatting down beside me, to hover over my shoulder.

“What, Jonas?!”, he snaps at me in a hushed tone.

“Look…”

I lift my arm to the light. Just in time for the bug to fill with a brilliant red.

“Huh”, I hear Reinar’s irritation deflate as he spots the mosquito. “That’s early.”

“First of the season.”

“Good sign”, he muses as the insect has its fill and flits away into the afternoon.

“Earlier and earlier each year. In a few weeks, we’ll be more rash than hide.”

“Oh joy”, Reinar mutters, but lingers by my side.

“I’ll scratch yours if you’ll scratch mine…”, I tease and send him a side-long grin.

He flushes. I can tell even through his sun-rubbed skin. I smile, in my dream, because I love making him blush. It’s still easy to. At first, he shifts uncomfortably in his squat. Until the embarrassment catches up to him, and turns to ire.

“For Mother’s mercy, Jonas!”

“What?”

“Is that what you called me over for? To taunt me?”

“Would I do that?”, I sneer and wink at him.

Sometimes, I dream that he pushes me over. That I slide down the mound and crash into the marshy pools. We laugh. I splash water at him. We’re happy. Sometimes, I dream that he is interrupted.

“Is it sickly?”, a groaning voice creaks from behind us. Reinar’s flush evaporates. We stumble, slip off the balls of our feet, and turn around. Because behind us looms our overseer. With her crown of brambles intermingled with her coarse hair. Her slanted eyes staring nowhere and everywhere. The left side of her throat and cheek is covered with a graft of bark. Her mouth is open just enough for me to see her row of jagged fangs, like deformed rose thorns. And when she speaks, she barely moves her thin lips. Her voice grinds forth from her throat like the wind rubbing boughs together in a coming storm.

“Gnestra!”, Reinar erupts and scrambles to his feet. She isn’t tall, but even when Reinar stands up, her presence lords over him.

“Yes arborist”, the askefroa hisses and stays still. The only thing of hers that moves are her left-hand fingers, grinding away at an age-old chestnut. “Is it sickly? Is it unwell?”

“What is, oh Gnestra?”, Reinar prostrates before our overseer, our tree whisperer. Sometimes I dream that I try to follow suit. Sometimes, I just stand and watch and fear.

“Your ward, of course”, the askefroa rasps. “Your responsibility. Your sprig. Is it sickly?”

“No, oh Gnestra”, I answer back. “It is growing well.”

“Then why… oh why… does it demand two arborists to tend to it?”

Reinar looks at me. He’s afraid. He’s frustrated. Rarely, he’s hateful. But every time he turns away and darts back past the curtain of saplings. Back to his own ward. It is a season of alders. And mine is growing well. I am proud of it. I am proud of my work. But sometimes I dream that I make it sickly, just so that Reinar and I can work together to make it better.

The askefroa stares at me. She stares at my young alder. She sees all, and her eyes are as black as resin stained with old blood. I dream that I wait for punishment. That I wait for her judgement. A heavy weight that hangs from around my neck, on the inside of my garments, burns against my skin at her baleful stare.

“Then carry on, arborist”, she simply states. “Carry on with your devoir.”

I bow. She waits until I turn back to my ward. And then she’s gone. Sometimes I dream that I feel the moss under my feet shift as she passes by. Sometimes, I dream that she filters away between the trees, the young and the infant, and touches each branch and stem like one would their child. I dream that she sings. Sometimes I dream that she sings with her dead voice, that fearful hiss and gnarl. Sometimes, she sings the song of my sleep. A song that isn’t hers. Not really. Sometimes, her song dims my dreams. Sometimes, I fall into that song, without hope or effort to ever dream again.

Sometimes, I dream that it is dark. I’m laying in my cot. The ceiling above me rises high. It was painted, once. It is hard to see with what. Ivy and hops clamber up the walls, and creep along the beams. I lay there, and imagine what the ceiling once showed. I imagine a master’s dinner for his apostles. I imagine sacrifice. I imagine hope. I dream that I am in my cot and paint the ceiling over and over again. I lay in the darkness, imagining, and hold my hand tight around my talisman.

“What is that?”, Reinar whispers through the darkness from the next cot over.

“What?”, I defensively answer, and pull my blanket up to my chin to hide it.

“The thing in your hand?”, he pushes.

Sometimes, I dream that I lie. That I say that there is nothing in my hand. I release my talisman, and instead reach over the gulf between cots to take his hand. Reinar doesn’t push any more. We lay in the darkness, hands clutched, and do not talk about it again.

Sometimes, I relent, and I show him.

I can hear him stiffen and swallow a terrified gasp. I feel shame rise to the tip of my ears. And I quickly hide it away again.

“A cross?!”, he nearly chokes in the darkness.

We hold our breath in fear that someone heard him. But no one else stirs from their rest.

“Are you mad?!”, Reinar hisses at me.

“Do you know what they’ll do if they catch you with it?”

“You can’t have that!”

“Hide it!”

“Throw it away!”

“Bury it!”

“Destroy it!”

It doesn’t matter what I answer. Reinar says the same things. I see his eyes, in the darkness. Wide. The whites showing around his blue irises. Bulging with panic. I am tempted to do as he says. But I can’t bring myself to. I tell myself, and him, that he is overreacting. That the Circle won’t care. That Gnestra won’t care. But I do not convince him. And I do not convince myself. I keep the steel cross hidden away. Under my blanket. In my hand. Beneath my garment.

Our whispered arguments falter. Silence reigns the halls again. I stop imagining the many ways the ceiling was once painted. I turn my back to Reinar. We stay silent, and sleep with the gulf unbridged between our cots. I clutch at my cross, and scratch at the mosquito bite, to numb myself to the silence.

I dream when they come to me with their shears and pincers. I dream of the morning congregation. Most times, we take our morning gatherings in the courtyard of the complex. But not this time. We are below ground. The air is cold and damp. High above our heads, the arched ceiling is broken. The walls are polished clean, to reflect as much light as possible down onto the atrium floor. The hall is dotted with strangely arched and knotted trees. I cannot make out what kind. The loam is soft beneath my naked feet. Most times, the overseers, the whisperers, or the Mother’s Maid do not preach. They hum in unison, channelling the Mother’s song for us arborists to hear. The song is never the same, but always familiar. Like something you once heard before your memories could form. Organic and endlessly shifting.

The whisperers pass among us arborists, and offer us Mother’s Milk. Meant to represent her sap and blood. The bowls are not carved, but grown.

At my side stands Reinar. I cast him a thin smile of reconciliation. He sees it. I know he does. But he does not return it. His jaw is clenched. He is still angry. Still afraid for me. It pains me, but yet, I am happy. He cares. And I promise myself to talk to him later.

I dream that Gnestra interrupts my attempts to catch Reinar’s eye. She strides up to me with a bowl and lifts it up for me to sip. I bend my head and drink. The milk is bitter this morning. More bitter than it usually is. But I think little of it. The kitchen’s goat is old.

The humming ceases. The whisperers line the atrium walls. And the Mother’s Maid steps up onto the heavy roots at the end of the hall. Roots as thick as trees themselves, roots that have broken through the end wall and wind their way through the soil. By standing on top of them, the Mother’s Maid is elevated enough to be seen from the back rows of arborists. She wears simple robes, the colour of pale linen, stained brown and green from garden work. Her wide, amber eyes scan our faces. She looks stoic. And sad. But calm and determined.

“The Mother loves you”, she begins. Her voice carries effortlessly across the massive atrium. It isn’t coarse like Gnestra’s. It is heavy, like a summer storm shower. Weighted. Rich. And she speaks to each of us gathered just as naturally as if it were a personal audience. “All of you. All of us. Despite what… we have done to her in the past. Despite our negligence, our apathy, our forgetfulness… or our crimes.”

Many of my peers shift uncomfortably by the mention. Reinar stiffens. And shame makes the cross hanging from my neck all the heavier. The hall is absolutely silent for a beat.

“Though some more than others, we all had a part in the Cataclysm”, the Mother’s Maid continues. Her willowy mane flits and stirs even down here where barely a breeze reaches. “Our Mother was vibrant and healthy once. And we, her children, had a duty to tend to her just as she tended to us. We failed that duty. Some, many, rejected her love. Her health turned to sickness. To frailty. And eventually, collapse. And as she collapsed around us, she could no longer protect us against the hollow heart of the world.”

“It is our duty as wayward children, more so than ever, to tend to our Mother now that she is ailing. It is our duty to give everything to nurse her back from death’s door. Not just because of a sullied conscience. Not just because we failed her once. But because her death would spell the doom of everything. And she is-… I am, ever so proud of each and every one of you for dedicating yourselves to her now that she needs us more than ever.”

I shift my eyes along the lines of arborists. We stand before the voice of the Circle of Muorra, the Mother’s Maid herself, and listen to her mournful pride. I spot Gnestra striding toward me between the rows. Her black eyes pinned on me. I glance at Reinar, but he sets his eyes straight ahead and doesn’t acknowledge me. I grow nervous.

Gnestra stops before me. I try to bend down, but my knees and neck are stiff. She holds out her hand to me, but I do not know what she wants. I glance once more to Reinar, and catch him looking away. He’s now the only peer around me that isn’t looking.

My overseer won’t wait for me to understand what she wants. She reaches out for my throat. I try to stagger away, but my feet won’t move. I look down and see grey tendrils straining out of my feet, out from between my toes and from under my nails, that reach down into the loam. Gnestra interrupts my mounting panic by grabbing onto my linen poncho and she pulls me down to her. She snatches the cord around my neck and snaps it off. My cross dangles from her hand in front of my face. I hear a wave of gasps from my neighbours. From everyone except Reinar.

“Which is why it is so important for us to remember the signs of how the rejection of our Mother came to pass”, the Maid continues. “Which is why it is important for us to stay vigilant against the symbols of the past that lead us here. And if they crop up, meet them with dire consequences. Because it is our duty to serve our Mother. And if we cannot prevail to serve with our hearts, we will have to serve with our flesh.”

I dream that Gnestra holds my cross high for all to see. I try to reach out for it. For her. But it is hard. My shoulder is stiff. And as I try to grasp for the steel, the insect bite on my arm itches more than ever. I look down and see a budding shoot pierce the raw bubble of flesh and spread sickly pinkish leaves. I turn to Reinar. He’s looking at me now. Finally. But his tanned hide has gone pale. His eyes sunken with horror. He wears pain and fear on his face, and it hurts me. More than the roots taking hold from under my toenails. More than the shoot breaking my skin to search for light. More than my lungs cracking and ripping. I try to say something nice to him. I try to ask him for help. I try to say that I love him. But as my lips part, my tongue feels rough and coarse and won’t move in my mouth.

I dream of voices. Of arboritsts crying out in shock and fear. Of the Maid soothing the congregation. But the harder I try to hear exactly what she says, I instead hear the song. The tune behind the whisperer’s humming. I see Reinar shy away. His eyes shot with red. I see him cower. I see him run out of the atrium, and I cannot run after him. My feet won’t move. I feel something pop behind my eyes. It hurts, but it is a dull hurt. The song soothes it like a warm balm. I see shadows in my sight. Blurry outlines shifting in front of my eyes, like wriggling worms. I try to blink them away, but with each attempt my lids grow heavier. For a moment, I catch a glimpse of one of the crooked trees. And I can make out a pattern to the grotesque knots and gnarls in the pale bark. I see a nose. An eye. And even a mournful face.

But the song grows clearer. Even though the whisperers aren’t humming. And my dream dissipates to deep slumber.

Sometimes, when they come with their clippers and shears to prune and cut me, I dream. I dream of planting trees in our new forest. I dream of resting, hand in hand with Reinar. I dream of his face twisted in terror. I dream of my mute lips and stiffening joints. But then the song soothes me again.

But sometimes, I still dream…

/Sebastian Lindberg 8/4-2021

An Imposter Spectre

She shuffled from side to side, anxious and self-conscious. She twiddled her thoughts, wrung them dry, and bit her lip.

It’s not perfect”, she lamented. ”There are hundreds – thousands – of singers that could sing my song better than I can. So what’s the point?”

And just like that, at the drop of an insecure concern, I lost my shit. And I didn’t find it again for a good few railing minutes.

My friend is a burgeoning singer-songwriter. Right at the cusp of her career, with her first original music cast out into a gaping maw of public opinion. A scary prospect. A small practical step with monumental connotations. And in a passing moment of terrible apprehension, something that any creative creature faces on a regular basis, she worried that just because her work could perhaps have been done better by some other songwriter, some other singer, some other producer, hers wasn’t good enough for entering into the world. Warts and all.

It is a frustrating fact: There is always someone out there in the world that is better than you are at any particular thing. It’s as close to a statistical truth as you’re ever going to get. And in the competitive field of artistry, that truth is galling. I know.

Which is perhaps why it pissed me off so fiercely. I hear the same nagging taunts at the back of my head. No one wants a second-rate, or third- or fourth- or millionethed, version of Poe or King or Palmer. Why make the effort when there’s someone better out there, that probably does the same thing you do but better. Or at least could do the same thing you do. But better.

But you know what? Fuck that spectre of inadequacy up in a truck-stop rest room with a broken toothbrush that you found in a mouldy crack between the tiles. Puncture that fucker right in its galling fucking face. Because that haunt is an irrelevant cretin that has absolutely no reason creeping around a truck-stop in your mind on a lazy Thursday afternoon.

Because even if Freddy Mercury is a better singer than Mick Jagger, no one wants that moustachioed marvel to front the Rolling Stones. Because people still enjoy Catch-22 even if Paulo Coelho didn’t write it. Because street art can still be a trippy revelation even if Dali didn’t sign it.

The point is, it doesn’t matter if someone else could have done what you just did better than you. They haven’t done it. They didn’t do it. You did. It’s yours. And comparing your work, your glorious creation, to the works of others isn’t your job. It’s the job of critics; those that can’t do what you or other “more talented” artists have done.

Your work may not be perfect. Maybe it never will be. Maybe there will always be a plethora of other creative creatures that you envy the shit out of. But none of that matters. Because you do you. You did the thing. Maybe someone else could have done it, your music or your manuscript, but they didn’t. You did. It’s yours. And that’s what’s important.

/Sebastian Lindberg 21/10-2019

She Said that Blade Runner was Stupid!

This weekend, I had to defend the movie Blade Runner (the Director’s Cut, I know it’s an important distinction) from being nubbed by a first-time viewer. And between fixing my bayonet and holding down the Alamo, a creeping corruption began to nag at the fringes of my embattled mind. The script, of this cinema darling of a movie, isn’t actually very good…

No, wait a minute, it’s not heresy! Hold it with the pitchforks! I love the movie. It’s good! Well… at least it’s a well made movie. Well, the visuals are well put together. And the music. And the themes. But by The Emperor did I have to twist myself into a pretzel to defend the bloody script of it.

There’s no arguing that the film has been influential. Blade Runner, along with its literary basis “Do Androids Dream of Electric Sheep” and the likes of “Neuromancer”, cemented the cyberpunk genre in the public eye. Blade Runner is a big deal, and rightfully so.

But, and there’s always a big hairy but in there somewhere, the script is sparse and vague enough that it could probably be folded into a match box. The scenes are great. The visuals are fantastic. But everything in between, the mortar of the piece, is barely there. And the threadbare red string of the film left my viewing partner oft-times lost.

Noir plot beats come to Ford’s Deckard through flimsy detective work, stringing the poor PTSD’d sod along through violent confrontation after violent confrontation. Truth be told, slaughterhouse-Deckard spends most of the film getting beat up to within an inch of his life. But between bouts of painting action star Harrison Ford as a mewling punching bag, the story falters. Dialogue takes second fiddle to the music, almost like Ridley Scott resents the viewer for needing motivations and characters to be explained and explored verbally rather than to simply remain opaquely hidden behind the scenes. The story’s mortar is there. It’s vague, steeped in 70’s ambiguity and an almost Kubrik-esque air, but it’s definitely there. And if you’re absolutely glued to the screen, you can just about keep up with how and/or why the scenes are strung together like they are.

Well, except for that photo-enhancement sequence at the beginning. That’s admittedly aggressively stupid. And the rapey bit between Rachael and Deckard has aged real, real poorly. And a unicorn what the fuck?!

But Blade Runner doesn’t need an ace script to be an ace motion picture. Because Blade Runner, early on, tells us fair and square that it doesn’t give too many shits about the script. About dialogue. Like a fifth of what’s spoken on screen isn’t even in English, or even translated to English. It’s brushed past. Only some three or four character exchanges are important enough to be given space and focus. I mean, the first dialogues we get in the movie are done in three different languages, only one which the viewer is expected to follow along with. Right there, Ridley Scott tells us that we shouldn’t concern ourselves with what the characters are saying to each other.

And that’s fine! Blade Runner early on tells us what it considers important. The score. The visuals. The themes. And it expects us to pay more attention to that than some filthy exposition or witty banter. You wouldn’t judge a rom-com for its lack of high quality CG, would you? Or a bombastic monster-flick for its romantic subplot. We don’t remember ‘Casablanca’ for its thrilling action sequences, or ‘The Thing’ for its none-existant commentary on LGBT-issues. A good movie plays to its strengths. It puts its bang where it wants it. Which is just one reason why Tarantino’s latest movies have felt so disjointed and fragmented; they try to be everything and end up being about nothing.

And Blade Runner is most certainly about something. It tells us a story about mankind. Our children. Our religion. And the discordant, disharmonious, and destructive relationships in between. And the film doesn’t need a masterclass script to do any of that.

/Sebastian Lindberg 30/9-2019

Fruitless Labours

Trying to become an artist is a soul-wrenching thing. I can only assume that being one is no bed of roses either. When you’re in the zeitgeist, you’re assumed to be infallible. When you’re not in the zeitgeist, it doesn’t matter how good you are. So why would anyone in their right mind want to make the gargantuan effort?

It’s a difficult endeavour, getting into an artistic profession. Unlike a job, a career, an education, there aren’t many forces behind your artistic pursuits other than your own inner fire. Your limping, withering passion that needs to be utterly dauntless. Society doesn’t give a damn about another bohemian artist. The government would rather that you produce taxes like a good little cog. And your friends, your family, well… they may support you, but even the most fundamental relationships are difficult to maintain without some ”practical” life choices.

It’s a scary thing. The empty page. The unstrung lute. The blank canvas and the unsculpted clay. Unrealised potential demands so much of us.

Because today, as an artist, you need to be provenly commercially viable before being allowed to prove it. You need to be controversial without offending a single porcelain soul. You need to be visionary without straying from anyone’s comfort zones. And anything less than the next Just-Kidding Rowlings, Garotte-Revered-Rabble Martin, or the reincarnation of Mister Mercury is considered an abject failure.

There is no room for ‘good-enough’ in a world of stars and gods…

I’m yet to be published. I do not know what success looks, smells, or feels like. To me it seems like an amorphous pipe-dream, and I’m unable to take the possibility of it seriously. Thus, I don’t rightly know if it’s all worth it. I don’t know if the potential for accolades, royalties, or the prospect of having touched another human soul is in the end worth all the misery, sacrifices, and hardships getting there…

Maybe not. Maybe that’s one of the reasons why depression, substance abuse, and general mental unwellness seem so rampant within the artistic fold. Maybe the pursuit of the creative dream isn’t worth the effort at all. Not worth the tangible struggle against mortgages, bills, debts, and rent. Not worth the constant stream of rejections and disheartening responses.

But despite lacking evidence thereof, I have to believe that it is worth it. If only for one solitary reason: What ever would the world look like, whatever would our disparaging civilization amount to, if not a single one of us made that struggle? What would our world be like if no one ever lifted the pen, the plectrum, or the brush?

Because this, whatever we want to call this mess of world affairs that we have on our hands right now, has got to be better off than it would be without the artist’s thankless struggle.

/Sebastian Lindberg 24/8-2018

Procrastination as Art

I’ve written a lot of angry shit these past few weeks. No-no, I’m not apologizing. If anything, it’s the world and all you fuckers living in it that should apologize to me. For what? For doing all the stupid shit that piss me off. What did you expect would happen when you elect madmen (and madwomen or madpersons) to rule your existence? Of course you’ll piss me off.

No, this week, I’m going to take you through my creative process. And that decision has nothing to do with me not knowing what else I should pen to paper. It’s not like there ain’t material around for something more incendiary or alienating. I just feel like writing something a bit more up-beat before next week, where I’ll bludgeon you with them truth-words yah’ll be lacking so fiercely in your regular every-day lives.

Okay, first thing you’re going to need when you want to create something, more specifically write something, is an idea. It doesn’t have to be much. It can be anything. Like, for instance, a discussion you had the other night with someone twice your age and half your weight, that smelled like roasted carrots and week old feline feces, while going home from a party with the last tram. Or it can be a horrifyingly visualized phrase that you can’t get out of your head in any other way than with industrial grade bleach. Or a pen.

Now, what you want to do is sit down. Bring up your paper or equivalent word processing software and try to nail your thought or idea into one solitary sentence. This will be your foundation. Or load bearing wall. Change it however much you want throughout the process, but always have one up.

The next part of the process is open to individualization. Personally, I stare at the watch for about ten minutes. It is feasible to stare at it longer than this, as long as you don’t stop doing it between the twentieth and the twenty-fifth minute. This is a vital detail that is easy to forget for the layman.

Now you should be ready to write down a paragraph or two. Get your project started. This is the part of the process where you will create the next best work you have ever produced. If that’s not the case, you’re doing it wrong. If the words that you put down on paper at this junction are not next-to-perfect, you’ve failed following my instructions, and the only advice I can responsibly give you is to erase everything you’ve scribbled up to this point and start over. Preferably with a bit of bourbon in your coffee. Or with less coffee in your bourbon.

If you have cleverly avoided this very dangerous pitfall in the creative process, you can read on. These next steps are crucial to reaching perfection.

I usually notice a little tumbleweed of hair and dust making a pilgrimage towards the kitchen. What follows now is a variable multiple-choice response that you need to get on-top of without a moments hesitation.

Option 1: If the bundle of skin, hair and murdered textile fiber reaches the end of your kitchen, you need to pick up the closest unopened envelope and start examining every line of text and graphical design of it. Memorize every detail. This will become very important later in the process. But if the envelope is for a bill, you’re not allowed to pay it. Not until you’ve finished your writing project. If you do, you can regard that act as a failure state.

Option 2: If the bundle of skin, hair and murdered textile fiber instead makes it’s way out of the kitchen, you need to stay there and check up on the contents of your fridge. Whether you end up having a snack or not, it’s imperative that you open and close the fridge door, no less than three times and no more than seven times. The doors to dry storage, cabinets and a possible freezer are included in this count, but be sure that the fridge door is the first and last door you open.

Option 3: If the bundle of skin, hair and murdered textile fibers latch onto a carpet, threshold or the leg of a stool and/or chair, you will need to clean your house or apartment. All of it. You will need to channel your innermost methedrine-fueled housewife like a shamanistic spirit animal, and whatever spiritual effort that is required of you to achieve this higher state of being will be worth it. This is the most dangerous part of the creative process, and perhaps the most important one. All the floors need to be vacuumed, including shelves. You can ignore the top of bookcases or window sills, but other than that you will need to banish every mite of dust. Do not enter your bathroom. If you do, you will also need to scrub the toilet and make insincere plans to wash your shower curtain. If you do not have a shower curtain, you will need to spend at least five minutes figuring whether or not you need one. The results of this conundrum are not important to the process.

Once you have completed either of the three options, you may resume writing. But before you do, you should re-read what you have already committed to text. At this moment, you will find your scribblings to be less than ideal in quality. As such, you will erase it. All of it. And start from scratch.

Do not lament. You will feel pride in yourself. In that you can make such an executive decision with your work. Not only that, but the words will pour from you like ambrosia from a goblet of the gods. It is possible that you will find distractions throughout this step, but those will be minor ones. Like a collection of the hundred cutest cat-snake or river-puppy pictures on the internet. This is fine. In no time whatsoever, you should have finished your project. Well, the first draft that is.

You should take some time away from your project now. Take a walk. Outside is preferable. Have dinner. Do not watch television. You should be away from your work for at least two hours. And when you come back, you can really get elbow deep in the literary carcass you now see before you. Because at that moment in the process, you will find that at least a third of what you have written is worse than what you started with. And it will have to be erased. Do not fear. This is perfectly natural for a creative creature. The devastating panic you’re sensing shall only fuel a mad dash, for circa thirty minutes, as you try to restore what you have erased. And to fill all the narrative or rhetorical holes that litter your production.

I feel that I must warn you that you may feel obliged to clip your toenails or trim the hairs in your nose at this point, but do not listen to that bitch of a siren’s song. That self-conscious harlot-specter of grooming will try to rip you away from finally finishing, but you cannot listen to her musing. Push her out of your mind. Preferably under a bus. You’re close now.

While ignoring the ghost of inadequacy, re-write a third of your sinking ship of a writing project. Do this right before your deadline. These panicked and fearful words shall be the best you have ever or ever will produce, and you will never ever feel proud of them.

You lean back. Breathe for the first time since you sat back down. Stare with abject horror at this patch-work homunculus of semi-literate word-garble. You look around. Look back at the screen. Sigh in self-critiquing defeatism and hit the save icon. And then you’re finished.

/Sebastian Lindberg 16/5-2017