Lonzi said the only thing worth loving was what was to come, and since what was to come was unforeseeable---only a cretin or a liar would try to predict the future---the future had to be lived now, in the now, as intensity.
I got all my politics and culture and my sense of the great wide world of adults from 'Mad Magazine.' But all other comic books literally gave me a headache.
Artists are political in the sense that they've subtracted themselves from the structure of the marketplace and are contributing something that's not utilitarian. Even though books get sold, and I get advances, I get to look at society and think for a living.
From 'Midnight Cowboy' to 'Taxi Driver' is a brief era whose grit, beauty, and violence has been quite mythologized.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
Futurism eventually got marred by its link to Fascism, but early on, it was totally avant-garde, and I wanted to dream a phantom link from the early futurists to the politically radical Italy of the 1970s, a time of fun, play, subversion - if also violence and mayhem.
