{"id":166922,"date":"2024-03-01T11:36:47","date_gmt":"2024-03-01T16:36:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=166922"},"modified":"2024-03-01T11:36:48","modified_gmt":"2024-03-01T16:36:48","slug":"prince-and-the-afterworld-dorothea-lasky-and-tony-tulathimutte-recommend","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/03\/01\/prince-and-the-afterworld-dorothea-lasky-and-tony-tulathimutte-recommend\/","title":{"rendered":"Prince and the Afterworld: Dorothea Lasky and Tony Tulathimutte Recommend"},"content":{"rendered":"
\"\"

Photograph by Allen Beaulieu, distributed by Warner Bros. Records. Public domain, via Wikimedia Commons.<\/p><\/div>\n

Lately, I\u2019ve been thinking a lot about the afterlife and if it\u2019s real. It\u2019s always been hard for me to completely believe in it. I can be skeptical about everything, particularly mystical things. Perhaps because I had learned early on in school that having a spiritual side meant you weren\u2019t as intelligent as other people, and intelligent was what I most wanted to be. The unspoken\/spoken law of most academic settings is that to know better is to know that real knowledge has nothing to do with faith. (This is, in part, what my poem in the <\/span>Review<\/span><\/i>\u2019s Winter issue is about.)\u00a0<\/span><\/p>\n

Prince\u2019s song \u201cLet\u2019s Go Crazy\u201d is one of my go-to anthems when I want to think about the purpose of life and what it means to believe beyond plain knowledge. Prince has always been a kind of spiritual guide to me. One of my first poetry chapbooks was named <\/span>Alphabets & Portraits<\/span><\/i>. For the epigraph, I chose the opening lines of his song \u201cAlphabet St.\u201d as a reminder of what miraculous things poetry can do (\u201cI\u2019m going down to Alphabet Street \/ I’m gonna crown the first girl that I meet \/ I\u2019m gonna talk so sexy \/ She\u2019ll want me from my head to my feet\u201d). These days, the opening monologue of \u201cLet\u2019s Go Crazy\u201d gets to me especially:<\/span><\/p>\n

Dearly beloved, we have gathered here today<\/span>
\n<\/span>To get through this thing called life<\/span>
\n<\/span>Electric word life, it means forever and that\u2019s a mighty long time<\/span>
\n<\/span>But I’m here to tell you, there’s something else<\/span>
\n<\/span>The afterworld, a world of never-ending happiness<\/span>
\n<\/span>You can always see the sun, day or night<\/span>
\n<\/span>So when you call up that shrink in Beverly Hills<\/span>
\n<\/span>You know the one, Dr. Everything\u2019ll Be Alright<\/span>
\n<\/span>Instead of asking him how much of your time is left?<\/span>
\n<\/span>Ask him how much of your mind, baby<\/span>
\n<\/span>\u2018Cause in this life things are much harder than in the afterworld<\/span>
\n<\/span>This life you\u2019re on your own<\/span>
\n<\/span>And if the elevator tries to bring you down<\/span>
\n<\/span>Go crazy, punch a higher floor<\/span><\/p><\/blockquote>\n

The song\u2019s upbeat rhythm and the salaciousness of his dig at that overpriced therapist always get my blood pumping when I\u2019m down. I love the possessed elevator in the song, ready to bring you down to hell (or to a life full of low vibrations, which could be the same thing). Who doesn\u2019t strive to \u201cpunch a higher floor\u201d daily? When I hear Prince\u2019s encouraging words, I too want to rise above all the bullshit of existence.<\/span><\/p>\n

But really it\u2019s Prince\u2019s idea of the afterworld that speaks to me in these sad, wintry days. As he sings: I\u2019m here to tell you, there\u2019s something else.\u201d <\/span>There\u2019s something else<\/span><\/i>, he says, with conviction.\u00a0<\/span><\/p>\n

I want to believe him. I want to believe him with a faith so huge it is beyond knowledge. I want to understand how in six words (\u201cElectric word life, it means forever\u201d) Prince tells me everything about being alive and also maybe all about dying. The cool blue David Lynch tone of those two words, <\/span>electric<\/span><\/i> and <\/span>life<\/span><\/i>, both bound together by language. Both freed by it, too. An electricity like the endless stream of life and love, just as Jack Spicer writes of in his poem \u201cA Book of Music\u201d:\u00a0<\/span><\/p>\n

No love is
\n<\/span>Like an ocean with the dizzy procession of the waves\u2019 boundaries<\/span>
\n<\/span>From which two can emerge exhausted, nor long goodbye<\/span>
\n<\/span>Like death.<\/span><\/p><\/blockquote>\n

Spicer was right about love. Prince was right, too. What an electric word <\/span>life<\/span><\/i> is. What an electric word <\/span>love<\/span><\/i> is, too. And if there is an afterworld, then it must be full of love and almost nothing else.\u00a0<\/span><\/p>\n

To go crazy for love. That\u2019s what Prince challenges us to do these days in his gleaming song.\u00a0<\/span><\/p>\n

\u2014Dorothea Lasky, author of \u201c<\/b>Mother<\/b><\/a>\u201d<\/b><\/p>\n

Return of the Obra Dinn<\/span><\/i>, a 2018 indie video game by Lucas Pope, sounds a bit boring when you summarize it, which is to say, it\u2019s literature. You play an insurance investigator for the East India Company in 1807, on board a ship that has mysteriously reappeared after vanishing five years earlier. Your task is to find out how each passenger died or escaped. Helpfully, your magic pocket watch lets you visit the instant of people\u2019s deaths at will, so you get to walk around inside these frozen moments like they\u2019re life-size dioramas, using observation and deduction to fill out your ledger of casualties, a process best described as forensic <\/span>Moby-Dick <\/span><\/i>sudoku. <\/span>Obra Dinn<\/span><\/i>\u2019s retro one-bit graphics are done in a careful pointillist black-and-white (though the \u201cblack\u201d is more of a Pullman green), and the abstraction this introduces is more tantalizing than obfuscating, making it feel more like you\u2019re investigating a hazy memory than a crime scene. The game will have you distinguishing between nineteenth-century English accents, googling what a bosun does, identifying various hats, and reflecting on just how many stupid ways one can die at sea. <\/span>Obra Dinn<\/span><\/i> should do plenty to quell your appetite for a historical Lovecraftian maritime murder mystery\u2014though if you end up hungry for more death, a brilliant homage can be enjoyed in Color Gray Games\u2019s 2022 game <\/span>The Case of the Golden Idol<\/span><\/i>.<\/span><\/p>\n

\u2014Tony Tulathimutte, author of \u201c<\/b>Ahegao<\/b><\/a>\u201d<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

On Prince\u2019s \u201cLet\u2019s Go Crazy\u201d and Return of the Obra Dinn.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[68746,1329,883],"class_list":["post-166922","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-issue-246","tag-prince","tag-staff-picks"],"acf":[],"yoast_head":"\nPrince and the Afterworld: Dorothea Lasky and Tony Tulathimutte Recommend by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 1, 2024 \u2013 On Prince\u2019s \u201cLet\u2019s Go Crazy\u201d and Return of the Obra Dinn.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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