{"id":456,"date":"2026-07-08T04:17:06","date_gmt":"2026-07-08T04:17:06","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=456"},"modified":"2026-07-08T04:17:06","modified_gmt":"2026-07-08T04:17:06","slug":"a-cancellation-novels-lunar-sequel","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=456","title":{"rendered":"A cancellation novel\u2019s lunar sequel"},"content":{"rendered":"
\n

The year 2011 saw the release of two movies \u2014 one, an auteurist masterpiece by Lars von Trier starring Kirsten Dunst and Charlotte Gainsbourg; the other a low-budget think-piece starring co-scriptwriter Brit Marling and William Mapother, then best known as Tom Cruise\u2019s cousin \u2014 that shared a notably similar premise. <\/span>Melancholia<\/span><\/i> and <\/span>Another Earth <\/span><\/i>each portray the Earth as menaced by the approach of a rival planet. Von Trier\u2019s film ends with the planet striking Earth, refuting the facile reassurances of scientific rationalist Kiefer Sutherland and vindicating his sister-in-law (Dunst), who knew there was nothing to do but accept or anxiously reject your own death and the deaths of everyone you love. The underrated <\/span>Another Earth<\/span><\/i>, likewise death-haunted, ends more enigmatically. The new planet arrives, then hovers at a distance. Instead of obliterating ours, it reveals a duplicate world on which our lost possibilities \u2014 dead loved ones; the victims of our crimes \u2014 are wondrously preserved.\u00a0<\/span><\/p>\n

Read more Meta glasses are for perverts<\/a><\/p>\n

Reinforcing the sense of something in the water, or perhaps stars, at the time of their conception, both movies contain a notably similar scene. In each, the female lead (Dunst in <\/span>Melancholia<\/span><\/i>, Marling in <\/span>Another Earth<\/span><\/i>) presents herself as a nighttime sexual offering \u2014 open and waiting \u2014 to the impending planet. In each, the scene is gratuitous (in neither does cosmic penetration advance the plot), and as such essentially meaning-bearing. Both women are shown in an act of partly purgatorial, yet heroic, death-inviting-and-defying self-abandon.\u00a0\u00a0<\/span><\/p>\n

I do not know if the poet, astrologer, and 1990s cinema enthusiast Emmalea Russo had either movie in mind when composing her second novel, <\/span>The Moon Papers<\/span><\/i>, but it, too, is concerned with the arrival of a new celestial body. Granted, in Russo\u2019s case, \u201cMoon2\u201d is artificial \u2014 an inflatable polyethylene contraption \u201cone eighth as large\u201d as the real moon and having \u201ca strong analog vibe,\u201d launched as an art project by the Mojave-based Collective for Constant Creation (\u201cCCC\u201d). Yet despite differences in tone, the three works share a mood \u2014 dispersed misgiving, sometimes accompanied by millenarian hopes \u2014 and also a specific interest in resonances between the celestial bodies and women\u2019s sexual power. Each asks if these occult forces ought to be honored and even worshipped, or somehow tamed. For <\/span>The Moon Papers<\/span><\/i>, this also means meditating on the dark powers of art.\u00a0\u00a0<\/span><\/p>\n

Against the background of the upcoming Moon2 launch, the novel\u2019s main action unfolds in two settings: the Mojave Desert, where we follow Dean Konig, a disaffected member of the CCC; and rural Pennsylvania, home of Velour Bellmer, a 68-year-old pack rat and her daughter, Vesta Furio. Velour lives alone in a decaying mansion cluttered with antique furniture; Vesta, a painter, lives with her husband, Lars Arden, a gallerist three decades her senior, but is carrying on a cross-continental affair with Dean. Video calls grant the adulterous duo visual access to each other\u2019s spaces: Vesta to the CCC compound, Dean to Vesta\u2019s secret second painting studio, where she lets him watch her work. Meanwhile, a bat infestation in Velour\u2019s attic draws local bat specialist Radko, who informs her she is hosting the \u201cmaternity colony\u201d of an endangered species, which he cannot legally disturb. And so, in this ambiance of multiform gestation \u2014 natural and artificial, publicized and clandestine \u2014 the characters wait and Eros flickers. Radko and Velour feel attraction\u2019s pull, despite their discrepant ages and his marriage to Chloe, a psychotherapist; Dean, unobserved by the husband, jacks off to Vesta\u2019s video calls of herself fucking Lars. Lars, absorbed in his gallery work but sensing something is up, overrides his distaste for surveillance and plants a hidden camera in the potted cactus.\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

Most of these characters are returnees from Russo\u2019s 2024 debut novel <\/span>Vivienne<\/span><\/i>, to which <\/span>The Moon Papers<\/span><\/i> is a kind of sequel. The Vivienne Volker of that novel was inspired by the historical Unica Z\u00fcrn, lover of the surrealist puppet maker Hans Bellmer; at its center was a story about an artist\u2019s cancelation. Vivienne, a textile artist in her 80s when the novel opens, had been slated to appear in a group show of \u201cForgotten Women Surrealist Artists,\u201d until an online pressure campaign \u2014 wittily rendered in the novel\u2019s opening pages by Russo, <\/span>herself the object<\/span> of a bizarre cancelation campaign in 2023 \u2014 results in her removal. The ostensible primary motive for the campaign is that of imposing \u201cconsequences\u201d \u2014 for having allegedly incited another woman artist, her husband\u2019s lover, to jump to her death decades earlier. But Volker\u2019s accusers also wish to avoid the harms posed by the \u201cviolent nature of her work,\u201d doll clothing whose innovations include cloth intestines and an embryo pinned to the stomach of a dress. Once the renegade gallerist Lars snatches up Vivienne\u2019s work for a solo show, however, all turns out for the best \u2014 at least until one last act of mob vindictiveness. In the process, Lars gets acquainted with both Velour and the then 7-year-old Vesta. An epilogue shows Vesta at 18, rolling up to the desert compound of the CCC, newly married to Lars. <\/span><\/p>\n

Vivienne<\/span><\/i> distinguished itself with its pitch-perfect parody of 2020s art world safetyism, from the social media chatter that punctuates it like a tragic chorus to the embedded press release that declares \u201cthis is not an act of censorship. At the NAT Museum, we seek to foster artistic freedom in an atmosphere of safety. Wherever possible, we seek to reduce art-induced distress.\u201d The novel\u2019s deepest insight, however, that which lifted it above satire into vision, was to see in the acts of its dispersed internet chorus the most primal repudiation: essentially, a repudiation of nature, in its bloodiness and wildness, as embodied by Vivienne and her art. The primal \u201ccontamination\u201d \u2014 to take up the theme of Russo\u2019s essay on her own cancelation \u2014 was by the feminine principle.\u00a0<\/span><\/p>\n

Vivienne<\/span><\/i> thus proposed an analogy between artistic and gestational creation, as revealed by the efforts of the internet mob to control both, a mission that the CCC takes up at the end of the book. <\/span>Vivienne<\/span><\/i>\u2019s closing pages depict a CCC project that sees comatose women used as gestation chambers for new births. \u201cOur work transforms the often unnecessarily messy and risky process of creating new life,\u201d a leaked memo reads: \u201cBy taking reproduction out of the hands of chance and into the luxury of our desert facility, the CCC fosters safety and equity, while de-emphasizing the role of capricious and often harmful nature.\u201d The stage is thus set for <\/span>The Moon Papers<\/span><\/i>, in which we see the CCC advertising a \u201cfellowship\u201d offering artists \u201cVCs (voluntary comas) as vacations,\u201d likewise for purposes of parturition.\u00a0<\/span><\/p>\n

Read more JD Vance\u2019s convenient Catholicism<\/a><\/p>\n

Don\u2019t let the CCC\u2019s self-presentation as an arts \u201ccollective\u201d fool you: it far more resembles Michel Houellebecq\u2019s sterile ultramodern Europe than, say, the Big Sur hippie commune of his novel <\/span>The<\/span><\/i> Elementary Particles<\/span><\/i>. In an apt parody of modern NGOism, the CCC is both nominally non-hierarchical and \u2014 in a Philip K. Dickian touch \u2014 funded by the shadowy Voortelle Corporation, as well as by the government (thus yielding the running gag, spanning both novels, as to whether its members have \u201cbosses\u201d).\u00a0Any conceptual resonance between the CCC\u2019s artificial moon and <\/span>Vivienne<\/span><\/i>\u2019s detachable embryo, stapled to a dress and doubling as a purse, merely highlights the difference between these two modes of artistic creation.\u00a0<\/span><\/p>\n

In a strange way, though, the CCC\u2019s existence attests to a continuing need for art and religion, even in the most degraded circumstances. The spirit, it seems, must externalize itself. A collective devoted to the technological manipulation of the birthing process seems to yearn for some emblem of its reversal of nature. This is what \u201cMoon2\u201d provides. Both literally and figuratively a mockery, it symbolizes the aspiration to mastery by duplicating, usurping, and thereby seeking to tame the cosmic symbol of the feminine and mutable. This will to power is captured in a witty detail when Russo shows a member of an internal CCC chat reminding another member that their project aims to displace the terminology one would have previously taken for granted: \u201cYou\u2019re forgetting that we rolled out the phrase Moon1.\u201d<\/span><\/p>\n

The dubious conceptual project of the CCC is not the only artwork considered in Russo\u2019s novel, however. Toward the end, the prevailing opposition between openness to the natural and attempts to restrict it \u2014 a dynamic also played out in Radko and Velour\u2019s negotiations over the bats in her attic \u2014 reveals a new axis. This centers on the gallerist Lars, perhaps the most sympathetic of the novel\u2019s characters, who represents a cussedly populist spirit opposed to the petty and conformist pretensions of the art world. (He is for much of the book a lone voice calling bullshit on the CCC.) Lars has spent most of the book waiting, with increasing impatience, for Vesta\u2019s new paintings so he can include them in his next show. He gets more than he bargained for \u2014 a series of intimate nudes, unmistakably of Dean Konig, produced without either Vesta\u2019s lover\u2019s awareness or her husband\u2019s, blowing the lid off both their affair and the inner sanctum of the CCC.<\/span><\/p>\n

The strange permissions of art let Vesta turn a real affair \u2014 if her digital escapades count as one \u2014 into at once a genuine work of art and an act of infiltration, each of which paradoxically plays to the sympathies of her husband, and might thereby bring her closer to him. In its implied endorsement of Vesta\u2019s acts, the novel thus ends up being a defense of a more traditional art \u2014 call it exploratory or Romantic \u2014 linked to Eros. Yet if Vesta\u2019s paintings amount to \u201cevidence\u201d (as Lars can\u2019t help but recognize) of their origins in illicit acts, they are not reducible to them. Both embodied and transcendent, such art is unsettling and ambiguous, far more so than the ponderous travesty of \u201cMoon2.\u201d The novel\u2019s ultimate contrast is thus between art that is, so to speak, officially anti-authoritarian and art that opens itself to the dark forces of creation and love.<\/span><\/p>\n

In moving beyond <\/span>Vivienne<\/span><\/i>\u2019s cancelation plot, Russo seems, it must be said, to have decided against having much plot at all. With its chill vibe and reduced narrative drive, <\/span>The Moon Papers<\/span><\/i> feels at times like a set of thematic variations \u2014 a minor dependent satellite \u2014 upon its formidable precursor. Particularly toward the end, however, Russo\u2019s second novel acquires a lunar intensity of its own. One awaits the next turn of the tide.\u00a0<\/span><\/p>\n

Read more America: land of the cheats<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The year 2011 saw the release of two movies \u2014 one, an auteurist masterpiece by Lars von Trier starring Kirsten Dunst and Charlotte Gainsbourg; the other a low-budget think-piece starring co-scriptwriter Brit Marling and William Mapother, then best known as Tom Cruise\u2019s cousin \u2014 that shared a notably similar premise. Melancholia and Another Earth each […]<\/p>\n","protected":false},"author":1,"featured_media":455,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[144],"tags":[],"class_list":["post-456","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-books"],"yoast_head":"\nA cancellation novel\u2019s lunar sequel - \u0421ity Flow Journal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityflowjournal.com\/?p=456\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A cancellation novel\u2019s lunar sequel - \u0421ity Flow Journal\" \/>\n<meta property=\"og:description\" content=\"The year 2011 saw the release of two movies \u2014 one, an auteurist masterpiece by Lars von Trier starring Kirsten Dunst and Charlotte Gainsbourg; the other a low-budget think-piece starring co-scriptwriter Brit Marling and William Mapother, then best known as Tom Cruise\u2019s cousin \u2014 that shared a notably similar premise. 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