By Jennifer Robin
With savage humor, Death Confetti positive factors functionality artist Jennifer Robin's autobiographical sketches of Portland, Oregon, from the grunge-era obscurity of the '90s to its present media-darling status.
As an in simple terms baby raised by way of reclusive grandparents in upstate long island, Jennifer remembers that she felt "anemic for the real." At seventeen she broke unfastened and made her solution to the west coast.
"Civilization is a nightmare-illusion," Jennifer writes, "a 3-dimensional spreadsheet perpetuated by way of machines that hypnotize meat."
In a urban that is stranger than fiction, grocery-store checkers and meth-heads loom as misplaced gods. we are brought to the girl tweaker "Chew Toy," who wears moon boots and sings hair steel songs all evening as she collects recyclable bottles. Jennifer visits a bar the place executives simulate doggie-style intercourse acts at the dance flooring. Then there is all of the stories of late-night lifestyles at the city's buses and light-weight rail.
Jennifer displays on her early terror in Catholic college and make contact with calls along with her far-out mom, who disclosed that her gynecologist used to be a assassin. within the all-too-true pages of Death Confetti, Robin recalls her lifestyles between noise musicians, junkies, and her break out from a boyfriend who insisted on reviving the lives of hundreds of thousands of deceased fruit flies.
Death Confetti jolts the senses, and lingers like a mosquito chunk to the Portland of everybody's soul.
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Death Confetti: Pickers, Punks, and Transit Ghosts in Portland, Oregon by Jennifer Robin