\documentclass[DIV=12,%
               BCOR=0mm,%
               headinclude=false,%
               footinclude=false,open=any,%
               fontsize=11pt,%
               oneside,%
               paper=210mm:11in]%
               {scrbook}






\usepackage[noautomatic]{imakeidx}



\usepackage{microtype}
\usepackage{graphicx}
\usepackage{alltt}
\usepackage{verbatim}
\usepackage[shortlabels]{enumitem}
\usepackage{tabularx}
\usepackage[normalem]{ulem}
\def\hsout{\bgroup \ULdepth=-.55ex \ULset}
% https://tex.stackexchange.com/questions/22410/strikethrough-in-section-title
% Unclear if \protect \hsout is needed. Doesn't looks so
\DeclareRobustCommand{\sout}[1]{\texorpdfstring{\hsout{#1}}{#1}}
\usepackage{wrapfig}

% avoid breakage on multiple <br><br> and avoid the next [] to be eaten
\newcommand*{\forcelinebreak}{\strut\\*{}}

\newcommand*{\hairline}{%
  \bigskip%
  \noindent \hrulefill%
  \bigskip%
}

% reverse indentation for biblio and play

\newenvironment*{amusebiblio}{
  \leftskip=\parindent
  \parindent=-\parindent
  \smallskip
  \indent
}{\smallskip}

\newenvironment*{amuseplay}{
  \leftskip=\parindent
  \parindent=-\parindent
  \smallskip
  \indent
}{\smallskip}

\newcommand*{\Slash}{\slash\hspace{0pt}}


% http://tex.stackexchange.com/questions/3033/forcing-linebreaks-in-url
\PassOptionsToPackage{hyphens}{url}\usepackage[hyperfootnotes=false,hidelinks,breaklinks=true]{hyperref}
\usepackage{bookmark}

\usepackage[english,shorthands=off]{babel}
\babelfont{rm}[Path=/usr/share/fonts/truetype/cmu/,%
 BoldFont=cmunbx.ttf,%
 BoldItalicFont=cmunbi.ttf,%
 ItalicFont=cmunti.ttf]{cmunrm.ttf}
\babelfont{tt}[Scale=MatchLowercase,%
 Path=/usr/share/fonts/truetype/cmu/,%
 BoldFont=cmuntb.ttf,%
 BoldItalicFont=cmuntx.ttf,%
 ItalicFont=cmunit.ttf]{cmuntt.ttf}
\babelfont{sf}[Scale=MatchLowercase,%
 Path=/usr/share/fonts/truetype/cmu/,%
 BoldFont=cmunsx.ttf,%
 BoldItalicFont=cmunso.ttf,%
 ItalicFont=cmunsi.ttf]{cmunss.ttf}



\renewcommand*{\partpagestyle}{empty}


% global style

\pagestyle{plain}




\usepackage{indentfirst}

% remove the numbering
\setcounter{secnumdepth}{-2}

% remove labels from the captions
\renewcommand*{\captionformat}{}
\renewcommand*{\figureformat}{}
\renewcommand*{\tableformat}{}
\KOMAoption{captions}{belowfigure,nooneline}
\addtokomafont{caption}{\centering}







\deffootnote[3em]{0em}{3em}{\textsuperscript{\thefootnotemark}~}


\addtokomafont{disposition}{\rmfamily}
\addtokomafont{descriptionlabel}{\rmfamily}


\frenchspacing
% avoid vertical glue
\raggedbottom

% this will generate overfull boxes, so we need to set a tolerance
% \pretolerance=1000
% pretolerance is what is accepted for a paragraph without
% hyphenation, so it makes sense to be strict here and let the user
% accept tweak the tolerance instead.
\tolerance=200
% Additional tolerance for bad paragraphs only
\setlength{\emergencystretch}{30pt}

% (try to) forbid widows/orphans
\clubpenalty=10000
\widowpenalty=10000





% given that we said footinclude=false, this should be safe
\setlength{\footskip}{2\baselineskip}
\setlength{\parindent}{15pt}

\title{In Praise of The Unabomber}
\date{2002}
\author{Christopher Doda}
\subtitle{}






% https://groups.google.com/d/topic/comp.text.tex/6fYmcVMbSbQ/discussion
\hypersetup{%
pdfencoding=auto,
pdftitle={In Praise of The Unabomber},%
pdfauthor={Christopher Doda},%
pdfsubject={},%
pdfkeywords={poetry; celebrity}%
}


\begin{document}









  \begin{titlepage}


  \strut\vskip 2em
  \begin{center}

  {\usekomafont{title}{\huge In Praise of The Unabomber\par}}%
  \vskip 1em
  
  \vskip 2em
  
  {\usekomafont{author}{Christopher Doda\par}}%
  
  \vskip 1.5em



   
   \vfill



  
  {\usekomafont{date}{2002\par}}%
  


  \end{center}


     \end{titlepage}
     
     \cleardoublepage





\tableofcontents
% start a new right-handed page

\cleardoublepage



\section{Part One}


The Critics Agree:



\begin{quote}


“A fireworks exhibition of fantasy, sexual love, and moral awareness.”



\begin{flushright}

—\emph{The New York Times Book Review}


\end{flushright}



\end{quote}



\begin{quote}


“The essay’s devastatingly sustained black irony stands comparison with Swift’s \emph{A Modest Proposal.} It is, I think, the Unabomber’s finest achievement to date.”



\begin{flushright}

—\emph{The Financial Times}


\end{flushright}



\end{quote}



\begin{quote}


“One of the ten best works of the decade\dots{}dazzling\dots{} fantastic and poetically convincing\dots{} The Unabomber has managed to seize the strands of actuality and transform them into a fabulous tale.”



\begin{flushright}

—\emph{Time}


\end{flushright}



\end{quote}



\begin{quote}


“\dots{} enormous fun\dots{} The Unabomber has found a fresh way to orchestrate the themes of American innocence, energy, and inchoate ambition\dots{} A remarkable achievement.”



\begin{flushright}

—\emph{Newsweek}


\end{flushright}



\end{quote}



\begin{quote}


“The effect is a cross between a long scream, a nervous breakdown and a Tacitean indictment of a regime.”



\begin{flushright}

—\emph{The London Times}


\end{flushright}



\end{quote}

\section{Part Two}



\begin{verse}
There are, of course, \\{}
easier ways to get \\{}
published \\{}
but few quite as innovative

The Times and the Post are nothing \\{}
to scoff at and \\{}
he was the only writer \\{}
to be on People’s 25 \\{}
most interesting list \\{}
that year

His friends and relatives \\{}
often wondered \\{}
about him \\{}
so concerned with letters \\{}
What a strange character \\{}
they would say \\{}
an even stranger sentence to pronounce

Beneath the sagging roof \\{}
the stylist has taken shelter \\{}
in the unlikely \\{}
guise of a bitter \\{}
~~~failure in order \\{}
to elude the FBI \\{}
and other censorship agencies

Now tried and convicted \\{}
for beliefs so dangerous \\{}
not even PEN International \\{}
dare write letters \\{}
on his behalf
\end{verse}

\section{Part Three}


FBI Profile of the Disgruntled Scribbler:


He would most likely be a loner with few ties to family or loved ones. Probably has travelled extensively in the country of his origin but rarely outside of it. Would travel alone and avoid open, crowded areas, almost always preferring movement after nightfall. Uncomfortable in the glare of headlights. Excessively jealous and possessive, and highly demanding of acquaintances and lovers. Likely to have come from a broken home with uncertain, or illegitimate, parentage. Severe anti-establishment tendencies. Talks to a presence who is not there and frequently complains of voices or other people living in his head. Overactive imagination with a tendency to hyper-focus. Better at division than multiplication. Plagued by feelings of uselessness masked by an excessive, almost comic, egotism. Severe feelings of persecution allow him justification for his actions. Devours the world with the senses, a state where everyone is a part of the search for wholeness, for balance, for order, and rebirth. Is attracted to images of women in jeopardy. Picks his targets on the basis of their usefulness to him. He seeks to own them, ingest some parts of them so as to claim their spirit, or essence, as a trophy. Does not believe in coincidence but is willing to exploit it. Most likely, he is a failure.

\section{Part Four}



\begin{verse}
Under his hands things take shape \\{}
pieces put together \\{}
connections made \\{}
forms found \\{}
tight and intricate

The smaller he makes it the bigger it breaks \\{}
the better it scatters

He hears an engine all around him \\{}
chugging out a juggernaut mantra \\{}
makeitnewmakeitnewmakeitnewmakeitnew \\{}
and he digs in futile heels \\{}
~~~against it \\{}
demands that we go beyond modern \\{}
by burning backwards \\{}
into the past

It is essential contra-diction \\{}
to use such stunning technique \\{}
to protest technology like writing \\{}
words to reveal the instability \\{}
of language

Theory driven, university driven \\{}
out, a mind warped by perception \\{}
before observation; the cart before \\{}
the horse, roof without foundation

It is easy then \\{}
to become the sort of writer \\{}
who sees the world \\{}
as a series of targets

Rarely, he would think \\{}
of how all this might \\{}
be received, how people \\{}
will react (new ideas \\{}
always finding resistance) \\{}
and if his works will \\{}
earn him a part of history \\{}
from a time that passed him \\{}
by, before addressing \\{}
his latest piece of Black \\{}
mail and sending another \\{}
small package of chaos \\{}
into an orderly world.
\end{verse}









% begin final page

\clearpage



% new page for the colophon

\thispagestyle{empty}

\begin{center}

The Ted K Archive





\strut

\end{center}

\strut

\vfill

\begin{center}


Christopher Doda

In Praise of The Unabomber



2002


\bigskip


From the book \emph{Larger Than Life}, published by Black Moss Press (Windsor, Ont.).
   

       

       
         The title is satirical and the quotes fictitious.
       

       

       

       

       

   



\bigskip
\textbf{www.thetedkarchive.com}


\end{center}

% end final page with colophon


% end closing pages



\end{document}


% No format ID passed.



