Suicidal, Asian, and Promiscuous is the first major philosophical work by Joe Nally. Though seven years have passed since he wrote under his first pen name, Nally is committed to the Asian American experience under post-liberalism, and his vast knowledge ties together to create a work of stunning originality. What is “suicidal” is confined to the collapse of capitalism, as the odd comparison of the “promiscuous” is acknowledged as a drive towards that acceleration.
Nally covers the history of anti-liberalism, the birth of its subculture, and art movements while tying it under aesthetic categories overlooked by the Eurocentric mind. Nally is a man of letters, a daydreamer who wants an “anime-realist” to “Eurasian futurist” society in a bleak world that wants illiberalism and ethnic nationalism. This work challenges the stubborn narrative of solipsist societies and dares to envision the multipolarity of rhizomatic multiculturalism.
Nally uncovers desire as a motivator against the modern world, and how modernity tries to suppress the unhinged as its enemy. He also covers eccentric areas from electronic music, game design, and the nature of punk transgression. All these areas are responsible for creating a proper and authentic subculture against the world and itself. The meaning behind all of it is virtue ethics. What is beautiful ends up being self-destructive. We understand the muse Nally is after, and realize we want the same thing. Thus these three words are cultural traits we are guilty of.
Suicidal, Asian, and Promiscuous is a novel work of critical theory in the tradition of Graham Harman, Sianne Ngai, and Alexander Galloway.