Torque Control

Retaining Humanity

Retaining Humanity – a review of “Extracting Humanity and Other Stories” by Stephen Oram – review by Allen Ashley

“Extracting Humanity and Other Stories” by London-based SF writer Stephen Oram was officially launched at an in-person event at Burley Fisher independent bookshop, Dalston on Thursday 3 August 2023. Attendees included Geoff Ryman, along with some of the scientists Oram has worked with over the years in his roles with the “Virtual Futures” and “Cybersalon” projects – notably Christine Aicardi and Luke Robert Mason, who took part in an interview with the author during the second part of the evening. I mention these details because they speak to where Stephen Oram has placed himself over the past few years as a facilitator of closer links between SF authors and practising scientists as well as carving out a distinct near-future take on current trends, resulting in what I would term as the gradual creation of the “Oramverse”. Many of us authors strive to have a recognisable style and a recognisable palette of concerns; I would say that with this current collection and his two well-received previous offerings – “Eating Robots and Other Stories” (Silverwood Books, 2017) and “Bio-hacked & Begging and Other Stories” (Silverwood Books, 2019) – Stephen has succeeded in that aim. 

There are twenty stories in this collection, some flash length, others more developed. Only one is set off-Earth – “Far Side Whispers”, an inventive evocation of civilisation on Luna. The remaining nineteen all present a vision of the UK a few or several years from now, integrating technological advances and societal change as drivers of the plot. It’s an old adage that the SF written about the future is actually a comment on our world today; with Stephen Oram’s work, this intention is often foregrounded. If you’re worried about how AI algorithms have the capacity to negatively affect you, and you probably should be, opener “Poisoning Prejudice” shows how the individual can fight back. The next story, “Haptic Father”, is one that Stephen read at the launch and is a standout, a compelling Oedipal tragedy. Other notable moments include my personal favourite “Adtatter Love” based on a totally plausible concept of people earning money by riding the tube trains all day sporting an electronically embedded advertisement on their forehead. Am I giving too much away if I say that Stephen Oram manages something of an uplift at the end? Closing the collection, title story “Extracting Humanity” is a moving piece that, with its protestors Madeleine and Sara, reminded me somewhat of the sacrifices made by the indomitable Greenham Common women of the 1980s. 

Elsewhere along the way, you will find the author raising pertinent questions about what it means to be human / alive / real in “Chimy and Chris” (which was published in “The Best of British Science Fiction 2020”); “Keeping Family”, a bitter, short piece which focuses on the future of pregnancy and birth and yes the process is as sterile and heartless as we might fear; as well as “Standard Deviations”, which is another story pointing out the dangers of AI control, specifically predicting a person’s “unknown risk of future mental health issues” and, by extension, limiting that person’s life choices and liberty. A sort of minor “Minority Report” if you will. 

Reading the whole collection again, one can see regular themes emerging – “Be Aware, The Hand That Feeds” starts with a common Stephen Oram trope, that the lead character has to somehow make their daily wage and put a meal in their stomach. Oram is telling us that life is likely to get ever more precarious and hand to mouth for the working class. The gig economy is a recurrent concern – “Adtatter Love”, “William Dreams” – and economics itself rears its head on several occasions. “In Trust We Trust” is a clever examination of what Oram calls near-future “Currency commonality” – an expansion of the current range of Sterling, PayPal / Google Pay, Bitcoin, etc into a myriad of potential mini-streams of finance. This being the Oramverse, of course, our hero’s credit is “Refused”. There is wit, too: “Bits ‘N’ Bacon” has the lines: “Each pre-packaged piece of food would have contained nanobots that registered its passage through the human, providing the health company with certainty on who was eating what.” Beware, folks, our only value in the near-future is as repositories of harvestable data.

As with most collections, there are a couple of pieces that don’t quite live up to the rest. This may be a consequence of four of the stories having emerged fairly quickly or to very tight guidelines from scientist-author link-ups and being previously published in “22 Ideas About the Future” (Cybersalon Press, 2022). And although Stephen is a great writer (and a great friend), I would have to say that the opening line of “John Doyle Remains” – “I had a girlfriend who ate my scabs” – feels like a misstep.

Overall, this is a great collection of short speculation on the near-future of urban society. I lie awake at night sometimes wondering if these are predictions as well as warnings. Read carefully, be prepared to fall brain-first into the Stephen Oram world. 

– Allen

Support indie publishers and buy direct:

“Extracting Humanity and Other Stories” by Stephen Oram (Orchid’s Lantern, UK, 2023). 207pp, paperback, £9.99. 

You can watch Luke Robert Mason interviewing Stephen Oram and Christine Aicardi on You Tube:

About the reviewer: Allen Ashley is a British Fantasy Aawrd winner and is the founder of the advanced science fiction and fantasy group Clockhouse London Writers. His latest book is the atom punk chapbook “Journey to the Centre of the Onion” (Eibonvale Press, UK, 2023).

Vector 293 Chinese SF

Vector 293 (2021) is now available to download.

We open issues to the public after about two years. An index of back issues of Vector can be found at the ISFDB. For availability of individual print issues, please contact us.

Many earlier issues of Vector are also available for download on this site, or through FANAC. Digital editions of more recent issues are available to BSFA members.

To subscribe to Vector, join the British Science Fiction Association. Membership is open to anyone in the world. Members receive Vector, FOCUS, the BSFA Review, special one-off publications, and other benefits. The BSFA is a nonprofit organisation, entirely run by volunteers.

Vector 293 Chinese SFDownload

Cover: Cao Fei, Blueprints (Installation view, Serpentine Gallery, 2020). Photo credit: Gautier Deblonde.
Inside page: Cao Fei, Nova, 2019, Video, 109’. Courtesy the artist, Vitamin Creative Space and Sprüth Magers. Back cover: Cao Fei, Asia One, 2018, Video, 63’20”. Courtesy the artist, Vitamin Creative Space and Sprüth Magers

Vector 293 is a collaboration with guest editors Yen Ooi and Regina Kanyu Wang. Yen Ooi introduces the issue as well as many of its recurring concepts, such as techno-orientalism. Regina Kanyu Wang takes us through the history of women writing SF in China. Artist and curator Angela Chan interviews Beatrice Glow about her work with colonial histories and the ability of science fiction to ‘tell truthful histories and envision just futures together’ through art. The conversation about history, futures, science fiction and art continues in Dan Byrne-Smith’s interview with Gordon Cheung. Chinese SF scholars Mia Chen Ma, Frederike Schneider-Vielsäcker and Mengtian Sun offer glimpses of their recent and ongoing research. Authors Maggie Shen King (An Excess Male) and Chen Qiufan (Waste Tide) interview each other about their recent novels. Feng Zhang introduces us to the SF fandom in China, while Regina Kanuy Wang brings us up to speed with accelerating Chinese SF industry. Dev Agarwal questions the maturity of the Chinese SF blockbuster as can be judged from Shanghai Fortress and The Wandering Earth (both available on Netflix). Virginia L. Conn explores Sinofuturism, while Emily Xueni Jin delves into the implications of translating a growing body of SF work from Chinese into English. We learn about the global perspectives on Chinese SF from an illustrious panel assembled at WorldCon 2019, and about transnational speculative folklore of the Uyghur people from Sandra Unerman. Niall Harrison completes the issue with an illuminating survey of Chinese short SF in the 21st Century.

Front and back cover images by Cao Fei (front photo credit: Gautier Deblonde), courtesy of the Serpentine Gallery.

Book review: Jonathan Abernathy You Are Kind, by Molly McGhee

Jonathan Abernathy You Are Kind, by Molly McGhee (Astra House, forthcoming October 17th, 2023)

I’ve always found fascinating the shifting registers of an author’s ‘voice’ as they move between fiction and non-fiction prose; McGhee’s intimate introduction to her debut novel reads like a novel-in-miniature in its own right, and is utterly captivating. I was mesmerized, in that deliciously unseating way, by the frisson of authorial vulnerability and beautiful writing. From the outset, know that you are in the hands of a Writer with this book. I mean no snobbery by saying that. What I mean is: there is a commitment here to exquisite prose, the assembling of words in unexpected formations, that both heightens and grounds the speculative nature of the story. The introduction is an assurance that McGhee is more than capable of leading you through the crystalline tragedy of Jonathan Abernathy’s life. Of life, period/full stop (delete as you prefer). 

‘Jonathan Abernathy you are kind’ is one affirmation of many that the orphaned protagonist invokes for himself to get through the days of his minimum-wage, debt-weighted life.  He has no friends. He may be falling in love with his neighbour, Rhoda, and her daughter, Timmy. An offer of salvation comes in the form of encouragement to apply for the job of ‘Dream Auditor,’ to rid himself of debt. The work? Cleaning the dreams of American workers so that their little worker bodies wake, refreshed and ready to give more, give it there all, each and every morning, with minds cleaned of any anxiety. 

It is a job that, again, from the outset, we are told Abernathy will not survive. But he will try. He will try very hard. And the trying is this story. 

There is a much pleasure as there is terror in these pages – yes, the novel makes a slide into a genre that I wasn’t expecting, but welcomed warmly, regardless – thanks to the gorgeous, surreal dreamscapes that McGhee renders: dreamscapes tempered by precise prose that sketches in, fully, the lives of the novel’s refreshingly small cast. The author’s use of the omniscient narrative voice is startling and original and leaves the denouement, still, as a genuine surprise. 

The book has a lot to say about the structures, and systems, and – most importantly – the people we hold ourselves accountable to. As always with these kinds of dystopian speculations, I sincerely hope that no enterprising techie, sometime in the near future, thinks ‘hey! That novel about sucking up bad dreams to make people more productive… now *that’s* a great idea,’ because while SFF does not, should not predict futures, and does not, should not, prescribe them – there is always the danger that dreams and speculations, unleashed, can take on an after-life of their own. Jonathan Abernathy You Are Kind is a road map to empathy. Break open in times of crisis.

And it is always a crisis.

Introductions and dream audits 

Hello, and welcome to an extra-special post from Vector’s new Editor-in-Chief: me! 

I had such a wonderful time guest-editing the special issue on Greek SF/F back in Spring 2022, as well as the forthcoming issue on Libraries, Archives, and the Future of Information, with the wonderful Stewart C. Baker, that when I heard on the grapevine that the journal was looking for a new EiC, I just had to throw my hat in the ring. And the Vector gods (aka. Jo and Polina) smiled upon me, and here we are. 

A brief introduction: I’m Dr. Phoenix Alexander, Klein Librarian of Science Fiction and Fantasy at the University of California, Riverside. I curate the Eaton Collection of Science Fiction and Fantasy: one of the largest collections of genre literature in the world. Before that, from 2019-2022, I was the Science Fiction Collections Librarian at the University of Liverpool: one of Europe’s largest collections of, yes, genre literature. I hold a Ph.D. in English and African American Studies from Yale University, and an MA and BA from Queen Mary, University of London. Before *that*, there was fashion school… which was just as fantastical as any genre novel. And, of course, the usual “I’ve been reading since I was a wee lad,” and so on. (To this day, I ascribe my… sanguine taste in SF/F to the outrageous, gratuitous works of David Gemmell and Peter F. Hamilton that I read, in hindsight, at far too young an age). Phew. That’s a lot of ‘science fiction’ in one paragraph.

The belaboured point I’m making is that I’ve been immersed in science fiction, and fantasy, and (yes!) horror, my whole life, and feel so fortunate, every day, to work with scholars and artists and writers and creatives of all permutations. I’m also an author of SF/F (well, mostly SF, and horror) myself, and a full member of SFWA and HWA. 

As my resume suggests, I’ve had the privilege of moving between geographic locations; I was born in Cyprus, raised in the UK, studied for six years in America, briefly returned to the UK, before settling on the US West Coast. My hope, going forward, is to further strengthen the connections between the scholarly, creative, and fannish communities, not just within the US and the UK, but across the world. Genres of the fantastic bring people together in their passions and eccentricities like no other genre. There can be friction, of course – but there can also be magic. 

In the coming months, there are many exciting things to look forward to from ‘Vector’: the aforementioned issue on Libraries, scheduled for late Fall/Winter, reviews and columns from our wonderful (and growing!) list of contributors – both new and familiar faces – with plans to publish even more articles, making Vector, in its physical and online iterations, more vibrant than ever. As always, and most importantly: the journal is a celebration of new fiction, new art, and new scholarship, in and across SFF-nal genres. 

In this spirit of celebration, I’ll end by sharing a review (in the next post) of a forthcoming title from debut author Molly McGhee: a title I greatly enjoyed, and that I hope you enjoy, too.

Warmth and light,

Phoenix Alexander

Vector, EiC

Vector interviews Hoa Pham

Hoa Pham is the author of eight books and a play. Her last book Empathy is also out with Gold SF. Her first novel Vixen won the Best Young Writer Award from the Sydney Morning Herald and was shortlisted for the Best Fantasy Novel Aurealis Award. Her novella Wave was translated into Vietnamese. Her play Silence was on the VCE Drama List. More about her work can be found at www.hoapham.net.

Spoiler alert: for the end of The Other Shore

Does your novel The Other Shore have an origin story, what inspired the book?

The Other Shore was inspired by the existence of a Vietnamese government psychic bureau who reunited the remains of the war dead with their descendants. A BBC documentary was made about it in 1996 – so it must be true. I haven’t seen the documentary so I have been free to make up my own world of psychics and spirits. To me the very existence of the bureau poses interesting questions about the Communist government, when they first came to power they denounced all ancestral worship and Buddhism as being contrary to the creed of the new nation. However this stance has softened as it has become evident that the spirituality of the Vietnamese people is not easily oppressed. There is now state sanctioned Buddhist monasteries and other religions are tolerated such as the Cao Dai and Christianity. The government has done a U turn, inviting formerly exiled Zen Master Thich Nhat Hanh to teach on pilgrimage in the country in 2007, in order to be admitted to the UN security council- they could not be seen to be oppressing religious activities.

How are the wishes of the dead taken into account? Is it always clear who wants to be reunited with whom?

My questions in the novella revolved around a single premise- how can you reconcile the ethics of the dead where there are no sides, with working for the communist government as a psychic? The stance of the Vietnamese government regarding the Vietnam/American War is complex, they have made peace with the Americans but have not laid aside enmity towards the South Vietnamese war veterans that fought alongside them-the so called Imperial puppet forces. So if a government employed psychic came across the remains of the Southern dead what is s/he to do? All ghosts wish to be reunited with their descendants so they can look out for them and receive offerings in the cosmology of the novella.

It is interesting that the story is told from the perspective of the mediator,  please tell us more about her.

I made my protagonist Kim a young girl of 16, naïve to Vietnam’s recent history to navigate through this ethical minefield. Her guides include Ba- her grandmother, and Buddhist abbots and abbesses that she meets through her work as a psychic. She chooses to reunite the Southern Vietnamese war dead with their descendants against her orders and she ends up defecting to America with an American “missing in action” team including a Vietnamese-American psychic. Finding the remains of the American soldiers “missing in action” issue is also a live one for the US administration today.

Defecting in the actual or to the psychic America? Is the psychic world as divided as the real one? 

I built the psychic world drawing heavily from “Ghosts of war in Vietnam” by Henrik Kwon a Korean anthropologist who spent two years researching war ghosts in villages. He ascertained that the war dead did not hold sides in Central Vietnam where he investigated, and emphasised the importance of the war dead remains to be reunited with their descendants where possible. With the existence of mass graves holding bodies from all sides of the conflict, local domestic shrines in people’s homes also have altars for wandering ghosts to receive offerings and some measure of peace. 

An ancestral family shrine

That is a moving image of hospitality. Are there no fears that ghosts seeking revenge might show up?

Ghosts seeking revenge are termed “hungry ghosts” and there is a special day for them in mid August where people give offerings to the restless undead.

What of the Buddhism in the book? What philosophy underlies the narrative?

The philosophy of the Buddhists in the story come from Thich Nhat Hanh teachings (called Thay meaning teacher), the Zen Buddhist Master I follow. Thay teaches that mankind are not the enemy, fear and anger are the enemy. He travelled to America in the sixties to lobby for peace in Vietnam and was nominated for the Nobel Peace Prize by Martin Luther King. His pilgrimage in 2007 included Great Ceremonies of Mourning for all those who have suffered in the war. He has said that the Vietnam/American War was a war of ideology pitting brother against brother. He has established monasteries of practice around the world including in America.

The protagonist is responsible for guiding others through a very complicated terrain, what about her own journey?

Kim undergoes an awakening in the book to the possibilities of being a psychic in a democratic country and her potential as a woman. At the beginning of the book she is defined by what she doesn’t have, good looks or a boyfriend. Her sister is getting married and that seems to be Kim’s destiny too. But being a psychic complicates this future She discovers her Buddhist spiritual heritage through her grandmother and the Buddhist abbot she comes into contact with while working for the Communist government. She chooses a Buddhist ethical way to practice as a psychic but it goes against the government orders she has.  She ends up marrying a Vietnamese American psychic for her defection to America rather than for love. 

The statue is of Quan Am the female Buddha

You allude to the role of storytelling in Buddhism, how would you position your novel in relation to Buddhism? 

The Other Shore aims to be an exploration of ethics and the spiritual, pragmaticism and Buddhism. It is a tale whose second edition is dedicated to Thich Nhat Hanh who passed away in 2022 in Hue at his root temple in Vietnam. 

Ghosts are conventionally transparent – you can walk through them – but they’re also opaque because they are radically Other to our lived experience. How did you try to capture that tension of creating characters that are human and yet not entirely knowable?

The benign ghosts I write about are archetypal the wise woman, the maiden etc They all have knowledge of the spiritual realm that Kim as a naive protagonist does not have (and one assumes the reader does not have). In the cosmology that I write from ancestral ghosts are their human selves except they are on the other shore in the spiritual realm. I do not explain every manifestation, Kim takes it on faith and I ask the reader to as well.

Fiona Moore interviews Oghenechovwe Donald Ekpeki

Your “breakout” book was Dominion: An Anthology of Speculative Fiction From Africa and the African Diaspora. Can you tell us how that came about?

Zelda Knight, my co-editor, reached out to me, after publishing my short story “Ife-Iyoku” in their short fiction mag, Selene Quarterly. They wanted to do the anthology and asked if I would like to contribute a story or co-edit. I chose both, and the rest is history. 

You also edited Bridging Worlds: Global Conversations On Creating Pan-African Speculative Literature In a Pandemic. How does editing non-fiction compare with editing fiction?

It’s interesting. More work I believe, as fiction comes naturally to me. I automatically know and have a feel for what I want in fiction. But non-fiction in my experience requires more to get it to say the things it wants to in the ways that’s most fitting. Still as rewarding though. 

Do you see the two works as complementary, or separate, efforts?

I believe they are complementary, like one stream that flows into another. One fed into the other. Naturally, after reading stories by African writers, I felt we needed to hear the story of the storytellers. The story behind the story. 

As well as an editor, you’re also a writer of short fiction. Can you talk about how the two fit in with each other in your life?

I have more of a sense of stories since I started editing. What might work and be needed, in addition to what I want to write. It broadens one’s horizons. 

Do you think you might try writing longer fiction in the future? If so, what?

Yes. Definitely. I have already written and am working on more of those: a novel, and a bunch of novellas. And looking to go on sub after several more drafts. 

You trained as a lawyer. Do you feel like your professional background influences your fiction (and/or non-fiction)?

Yes. It definitely does. Case laws exposed me to so many scenarios and how stories unfold in real life. Legal reasoning meanwhile allows you to be able to parse your thoughts in a manner that’s very helpful with non-fiction.

What does Nigeria, as a writing scene, bring to the SFF world?

As the largest Black nation on earth, with over 200 million people of hundreds of languages and ethnic groups, a wealth and beauty of diversity, Blackness and the African continent. 

Africa, and Nigeria in particular, seems to be breaking out on the genre scene. Why now, and what can the SF writing community do to sustain this breakout?

I would say it’s a combination of the culmination of the work done consistently over decades to build some sort of structures, like the Nommo award, African speculative fiction society, and the hard work of writers coming today. 

Continue reading “Fiona Moore interviews Oghenechovwe Donald Ekpeki” →

Beastly Modernisms reviewed by Paul March-Russell

Beastly Modernisms: The Figure of the Animal in Modernist Literature and Culture, eds. Saskia McCracken and Alex Goody (Edinburgh University Press, 2023)

Reviewed by Paul March-Russell

At face value, this collection of essays may not seem to be of immediate interest to the sf reader. It is primarily concerned with the development of Animal Studies – a sub-discipline that has already been significantly explored in relation to sf in the work of Sherryl Vint, Joan Gordon, and others – with reference to literary modernism, a diverse movement already noted for its challenge to traditional notions of identity and individual autonomy. The potential, though, for creative overlaps between modernism, sf and Animal Studies is already indicated by the fact that one of the co-editors, Alex Goody, was a keynote speaker at the 2019 Corroding the Now conference at Birkbeck College, London. Seen through a science-fictional lens, the encounter between human and non-human animals, the slippages between them, and their mutual affinities and kinships immediately invoke the First Contacts and uncanny relations between humans and aliens which are the stuff of genre sf. As the introduction’s reference to Jorge Luis Borges and Karen Eckersley’s chapter on Leonora Carrington make clear, imagined bestiaries are common to both Animal Studies and speculative fiction.

Without seeking to be a guide, the introduction nonetheless touches upon many of the key moments in the evolution of Animal Theory: from Peter Singer’s pioneering Animal Liberation (1975) and Donna Haraway’s ‘cyborg manifesto’ (1985) to Gilles Deleuze and Félix Guattari’s concept of ‘becoming animal’ (1982) and Jacques Derrida’s pivotal essay ‘The Animal That Therefore I Am’ (2002). The introduction also registers many of the other posthuman thinkers whose ideas have contributed both to Animal Studies and this volume in particular; from Giorgio Agamben and Rosi Braidotti to Michel Foucault and Cary Wolfe. The editors however, beginning their account with an exchange between Djuna Barnes and James Joyce (two modernists in exile, both of whom would flit between the centres and margins of the modernist canon), emphasise the affinities between Animal Studies, the revaluation of women’s writing and the decolonising of the curriculum. All such practices foreground and deconstruct the historic imposition of borders, the arbitrary gatekeeping that has characterised academic protocols and the maintenance of cultural shibboleths. To that end, the editors also note the collapsing boundary between ‘high’ and ‘low’ cultures, an elision that not only permits the entry of sf into the conversation, but which would also have appealed to such modernists as Barnes (boxing fan and purveyor of crime fiction) and Joyce (publican’s son, cineaste, and Anita Loos devotee).  

Continue reading “Beastly Modernisms reviewed by Paul March-Russell” →

We can play more than fantasy cops: An interview with Gabriel Caetano

Hi Gabriel, thanks so much for chatting today. Why don’t you start by introducing yourself and your background in roleplaying games?

Sure. I’ve loved roleplaying games since I was a kid, maybe ten or twelve years old. My first experience was with a Brazilian system called 3D&T. There were a couple of games like World of Darkness that were available too. 

After a break, I eventually got into D&D 5e. I enjoyed it for a while, but I became disillusioned for various reasons. Especially issues with representation. I got involved with communities such as Three Black Halflings. At some point I just realised that D&D was a corporate product that would never actually be any good. It was fundamentally flawed, and couldn’t be fixed, because the people making the money didn’t care.

Then I discovered Wanderhome by Jay Dragon, which uses the Belonging Outside Belonging design approach. That’s a token-based system, that allows for collaborative storytelling without relying on constant dice rolls. Dungeons & Dragons really sets the tone for what many people think roleplaying games can be, but Wanderhome showed me that roleplaying games could be something entirely unique — not just another battle simulator, or game of colonizer make-believe. The community was part of that as well, such as the Wanderhome unofficial Discord (kisses and hugs, if you are reading this!).

So Wanderhome became a way for me to explore more games, and eventually get into game design myself. My first reaction was to go to almost the polar opposite of D&D. Even designing Roots & Flowers, and getting into Solarpunk, was kind of a rebound from D&D. “Let me get this shit out of my system!” Since then I’ve drifted in a few different directions. Now it’s more of a personal, mindful effort to create things I enjoy.

Brilliant, thanks! I want to get into your game design work soon. I enjoyed the recent Game Master Monday actual play of Roots & Flowers. But first, can we talk a bit more about D&D’s issues with representation?

You know, these games often involve stories of venturing into perilous wilderness and grabbing everything you find. It’s a structure that can perpetuate colonialist attitudes. You just take up your weapons, go into someone else’s house, tear shit down, kill everybody, pick up relics and stuff. Then you come back, call everybody you just killed ‘monsters,’ and call it a day. Then the cycle begins again.

Of course Wizards of the Coast will say, “We can improve this, we can fix it.” No, you can’t. It is the core premise of your game. You may be able to make it more and more palatable to certain sensibilities, but it will fundamentally be the same thing. At the end of the day, it’s just about D&D making money, and Hasbro shareholders lining their pockets. It’s for the benefit of a couple white billionaires somewhere. You’ve got to trash it.

You’ve got to trash it, and make something new. You can’t fix it. 

Continue reading “We can play more than fantasy cops: An interview with Gabriel Caetano” →