Weird Fucks

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My questions are thinly veiled yearnings. An overzealous schoolgirl caught up in the past, I have come seeking what it means to be radical now, why the striving for equality, for justice, is still so hard. “But you know with progress comes big problems,” Tillman tells me. “Everything goes so slowly, really, you know in terms of being able to take this in. And we’re not yet there.” Nothing is won forever.

I can’t help but linger on Tillman’s choice title: weird as in wyrd, as in the fates, as in Macbeth’s weird sisters, those unearthly creatures. Wyrd women are prophetic. Weird women keep you on your toes. Wayward women keep you guessing. Whatever will they do next? A young woman drifts through dimly lit bars and rented rooms,reportingfrom the erogenous zones of New York and Europe. Encounteringincreasingly bizarre sexual situations, she turns her curious, comic, and fierce eye ontothe contemporary world of sex and desire.Letter from Harry Matthews, an early reader of the manuscript before publication, from The Lynne Tillman archives (Fales Library and Special Collections, New York) However, Altman staked out a less doctrinaire position here. While he voiced concerns over hyperintelligent computers and pitched the case for governmental oversight of his products, he also disagreed with various OpenAI employees over the pace at which they should advance their products, leading to multiple rifts along the way: in 2018, the ouster of the supercautious Musk from OpenAI’s board altogether; in 2019, the creation of a for-profit branch, with Altman as CEO, that could invite massive investment from the likes of Microsoft, causing more idealistic (read: EA-aligned) staffers to resign and form a separate A.I. firm, Anthropic, in their own image; in 2023, a continued willingness to expand OpenAI’s market-oriented ambitions ( big share sales, developer conferences, building in-house chipmakers) that apparently did not sit well with Sutskever, who joined his mentor Geoffrey Hinton in endorsing a slowdown of A.I. development earlier in the year. That, on top of the conflicts that led to Sutskever’s corporate role being sidelined at OpenAI, is apparently why Altman had to go. Account icon An icon in the shape of a person's head and shoulders. It often indicates a user profile. Tillman returned to New York wanting to figure out a way to write differently about the sexual experience. “I think that [American curator and writer] Alison Gingeras sees it, and probably quite rightly, as my having developed this inclination from being around all of this pornography and sexual material,” she says now. “And it was basically dominated by the male editors, and one in particular, and they wanted to be open and inclusive of women and all of that, but… nonetheless I wasn’t finding my way. I wasn’t finding what I wanted to find with the work that was done there, far from it.”

Lynne Tillman will spend a decade travelling across Europe after college, working in various experimental fields, reading and learning how to write. She is, for now, A Secret Writer, publishing anonymously, part of a film cooperative involved in structural film, part of “the sexual revolution,” she tells me, “and always a feminist from the age of eight.” She unlearns as much as she learns, reading Céline, Horace McCoy, the Bowleses. She was always reading. “It’s how I learned to write,” she says. There are two corpora cavernosa in the penis, and the clitoris has one corpus cavernosum where blood rushes, Milhouse said. When the genital tissue engorges with blood, it makes the area more sensitive to physical touch and creates a firmer feel and appearance, according to Milhouse. I’ve lived with David Hofstra, a bass player, for many years. It makes a lot of sense to me that I live with a bass player, since time and rhythm are extremely important to my writing. He’s also a wonderful man. With penises, these erections tend to look quite obvious. The same is true of the clitoris; there's a distinct difference between a flaccid and erect one. It's just less noticed because it's not often talked about, Milhouse said. The men of this world evade and simper, they prey, preen, and fall hopelessly in love.Inthe narrator’s deadpanportraits,we seeyoung women indulging their freedom through hope and disappointment, and young men wearingvariousguisesof masculinity.Here’s an Author’s Bio. It could be written differently. I’ve written many for myself and read lots of other people’s. None is right or sufficient, each slants one way or the other. So, a kind of fiction – selection of events and facts.. So let me just say: I wanted to be a writer since I was eight years old. That I actually do write stories and novels and essays, and that they get published, still astonishes me. In the late 80s, early 90s in the States you had the idea of ‘bad girls’ writing, and Tillman thought this was, well, bullshit. “You don’t want good girls or bad girls you want human beings,” she says. “They’re female, they’re male, they’re whatever they are. And so, what did they all write about? Sex. And that made them bad girls.” Combs has been the subject of controversies since he first emerged in the public eye: in 1991, nine people were crushed to death in New York at a charity basketball game he had promoted. He was found liable for damages in 1999. That year, he also pleaded guilty to second-degree harassment after an altercation with a music business executive; in December a jostle involving Combs led to a shooting at a Manhattan nightclub. He was charged with several crimes including illegal gun possession but acquitted on all counts. The creator of the new composition in the arts is an outlaw until he is a classic,” wrote Gertrude Stein. Lynne Tillman’s long out of print 1980 novella feels like a forbidden classic; the kind you spy on your parents’ shelf aged nine, read by torchlight under the covers and return with a frown and a tingle. Republished in 2015 by New Herring Press (a small indie press on the West Coast of the US), UK-based independent publishing house Peninsula Press has now brought Tillman’s compact and beguiling early work to UK readers.