Jay Lee

Jay Lee

@jayleewriter.com

Bemused muser. I'll probably talk a lot about music. Or books. https://jayleewriter.com

49 followers43 following638 posts

I rarely talk about the programming side of my life here but after hours of dealing with module resolution shenanigans I want to murder anyone who provides a "shoot your own foot" option

Another continued theme this year is bad, ChatGPT-written-before-ChatGPT intros, from Under The Volcano to Sot-Weed. I guess though it's a pain in the butt to write an intro to a novel a good chunk of readers would not know. Good intros have a bio section, historical context, etc.

The nice thing about the Sot Weed Factor at least is that it's the first book I'm reading this year that has paragraph breaks.

It's also worth noting that the events in the 120 Days are so implausible, and yet the book still bothers you. It's a bit like Freud's arguing the dream-content doesn't scare you, it's the dream-thought hiding behind it.

120 Days literally is, "What if just the most comically evil people on earth ... did whatever they wanted?" Now no one, therefore, has to or should write something like this ever again.

It's fascinating what amuses and what horrifies me in 120 Days. Sade's sexuality is ridiculous, but the violence really, really bothers me.

I swear I read someone saying this: 120 Days is a series of drawn-out jokes where the punchline is sodomy. And that this is actually an accurate description for the novel is amazing.

There really is this wacky literary lineage between De Sade saying "This girl was the most purest of the pure of the purest" and Flann O'Brien saying Finn MacCool was so big people could play handball on his back.

See how can you read this and not laugh: "As hirsute as a satyr, with a flat back and flabby buttocks that sagged so much they seemed more like two dirty rags flopping over his thighs ..."

It's honestly so refreshing reading De Sade after Freud because it always seemed like Freud was trying to pretend he was really smart while De Sade is really, really transparent on what he's doing.

It's interesting that a lot of analysis behind 120 Days goes to Sade's intention, but once you look past that it's a weird psychological portrait of its author, which one could argue every book inherently is.

The difference between Darwin and Freud is that, concerning their radical systems of thought, Darwin actually produced the receipts.

It's interesting Freud's toy Senses - Motor model resembles modern neural networks, though I doubt it's an entirely original idea for his time

One of these days I'm going to write the same passage twice in two different notebooks and I'll be inspecting both of them to see if an A is actually a G

And then right after commenting about the albums of this year, I'm also digging American Football's "Lp4" right now. What a year. Figuring out my album of 2026 is going to be fun and going to suck.

Only a third of the year has passed and there are two albums I already love: Nondi_'s "Nondi..." and Tiga's "HOTLIFE". Shaping up to be an interesting year.

I've been saying only the individual members of The Beatles and the Wu-Tang Clan have gone on to make great solo records, but I forgot Thurston Moore and Kim Gordon have developed two pretty radical interpretations of sound post Sonic Youth.

Going by American standards, Adam Smith is socialist. Another one that's startlingly relevant: "In the mercantile system, the interest of the consumer is almost constantly sacrificed to that of the producer." Same system he railed against.

I was in Taco Bell and I recognized Turnstile's "LOOK OUT FOR ME". "There's no way they'd play that here," and for a second I thought a Muzak dentist-office cover would play. It was the actual song which is weird but believe I was super excited.

Was rereading "Blue" last night and the phrase "philosophy comedy" came into my head which is as bad a phrase as "stream of consciousness"

It's getting more and more disturbing how much "Blue" predicted. The NYT article on how the war started describes Caine as only discussing technical details, which is exactly what the General does for the Leader. I hope we do not end like "Blue".

It is amazing that the first part of the Interpretation of Dreams is written so differently from the rest. The first part is just quotations and Freud discussing each quote; the rest is straightforward prose on his analysis. The first part is a mini-class on scientific writing on what NOT to do.

Freud himself is so anxious he spends 80 pages discussing the contemporary consensus on dreams to then contrast with them with no immediate explanation. I love reading the background on subjects but legit felt like a waste of time

If Sports Maxx is coming back to JOJOLANDS then I think Howler is Pucci. Same hairstyle, same macguffin, same weird book about said macguffin, and...that's it, that's all the parallels

This might have to be a blog post - I admire Fujimoto for trying to refocus CSM onto a completely new character; that's ridiculously hard to do and I respect boldness. But Asa had no character and, worse, no actual involvement in the plot.

If you want to do crazy things with characters like the apocalypse, you need to ground them super well in terms of their motivations and personality. Like Aki. Or everyone's favorite, Kobeni.

I do think the first part of CSM is an action-comedy and a fun thinking exercise is how to make part two closer to that mostly bc I think part two is tonally all over the map

I'm really excited for the ending of Chainsawman because I don't read Chainsawman but I really want to see the memes from it

"Under The Volcano" may be the messiest book I've ever read, and I've read "Ulysses". Two-thirds in there's not much of a plot; it meanders; and it loves flashbacks. But it's kind of genius. It's poetry in the form of prose.

It's interesting how, while nothing physically happens, a lot emotionally happens; I think a "trained" writer would say it violates the idea of character arcs everywhere. It has a picture postcard feel because of it, like the sadness in the book is frozen in a painting.