Judgment Day & Other White Lies is a short fiction collection that deconstructs whiteness by retelling versions of Greek, Roman, and Christian myths, concepts, and characters through a contemporary lens that reads whiteness into history as a force of destruction for white characters (in addition to those they oppress). From an alternative biblical Genesis about apes having orgies while on magic mushrooms to create western civilization (as told by the kinds of philosophers who have to be stoned themselves), to a retelling of the Oresteia where the white heavy metal musician Orestes is helping his aging mother Dawn commit suicide, to a white graffiti writer, magician, and cultural mis-appropriator named Per-C who fundamentally alters reality by painting fantastical ‘Dusa portraits all over the city of Houston, to the eponymous story "Judgment Day" that primarily concerns the mind-altering-collapsing effects of a hallucinogenic on a Christlike white man who has two sets of memories stuck in his head, these stories show the tragicomic consequences of what happens when white people identify with the white lie of an identity that lives a fiction to maintain power.
Judgment Day & Other White Lies is a short fiction collection that deconstructs whiteness by retelling versions of Greek, Roman, and Christian myths, concepts, and characters through a contemporary lens that reads whiteness into history as a force of destruction for white characters (in addition to those they oppress). From an alternative biblical Genesis about apes having orgies while on magic mushrooms to create western civilization (as told by the kinds of philosophers who have to be stoned themselves), to a retelling of the Oresteia where the white heavy metal musician Orestes is helping his aging mother Dawn commit suicide, to a white graffiti writer, magician, and cultural mis-appropriator named Per-C who fundamentally alters reality by painting fantastical ‘Dusa portraits all over the city of Houston, to the eponymous story "Judgment Day" that primarily concerns the mind-altering-collapsing effects of a hallucinogenic on a Christlike white man who has two sets of memories stuck in his head, these stories show the tragicomic consequences of what happens when white people identify with the white lie of an identity that lives a fiction to maintain power.
“Before the beginning of everything, and by everything, I mean before humans were around to invent the beginning, so like before that, there were these apes who got pushed out of the jungle, found themselves roaming across the plains and prairies tracking and hunting this prehistoric form of cattle who were always shitting all over the place, leaving behind massive prehistoric-sized cow patties, which were fertile ground for magic mushrooms to sprout. Anyway, these monkeys, aside from cattle, they liked to eat bugs—big slimy salty bugs—bugs who fed on the same cow shit—considered the best delicacy in what they did not yet consider a world. So while these monkeys were out hunting, they’d dig around in the cow shit harvesting bugs, unknowingly eating mushroom spores, about what we might think of as a micro-dose nowadays, anyway, point is, the new diet gave them better focus and vision. All of a sudden they’re tracking these cattle better than they ever have, they’re eating more red meat, they’re eating more shitbugs, and also more magic mushroom spores. Eventually, this new focus helps them figure out that the mushroom spores are responsible for their progress, so to speak, and not the shitbugs. Then they figure out that the spores grow into mushrooms, which have a more potent effect, so now they’re looking for mushrooms first and shitbugs second, which means they’re hunting way better than before, they’re eating even more red meat, and the combination of extra psilocybin and complex proteins has them all kinds of aroused. Basically, these monkeys, they just start fucking like crazy, all over the prairie. It’s hunt by day, orgy by night, all just humping each other, male, female, doesn’t matter which is which, one ape to another, to another, to another, finding all sorts of ways that bodies fit together, rubbing, licking, sucking, probing, no partners, they were having a singular experience, rampant group sex or pack masturbation, however you want to figure.
“So they start having more offspring with more genetic variation, and this singular pack grows larger and creates even better hunters who can find even more mushrooms. Soon after, they’re eating what would seem like excessive amounts of mushrooms, and they’re noticing the stars in the sky for the first time—since before the mushrooms the sky felt more like something worth ignoring in the background, like wallpaper or whatever—anyway, one day, they’re on this trip and there’s this big other thing out there in that starry sky, this thing breathing at them, and they realize they’ve been this little pack of apes on this little piece of land hunting and fucking without any awareness of the vast space and time they now know they’re a part of. So one looks at another with this huge grin, because he can’t think of why he hasn’t thought of it before, and he wants to tell her about everything and nothing all at the same time, about self and other, about life and death, about man and woman, but all he can say is, ‘Holy shit, I’m so fucked up,’ to which she replies, ‘Yeah, me too,’ because she can understand what he means even though he hasn’t said it yet, and they laugh a great laugh and hear difference there, and all of this was actually way more revelatory than it seems because it was the first time anyone had a conversation. So now they’re communicating, and they’re not apes anymore but some form of early apepeople, and they develop more language and they keep eating those mushrooms and they start telling stories about their trips, and they start calling that big other thing God, and they become some other civilization that sees how alone they are in what they now call the world, separated from that singular pack by form and distance. So now these apepeople start organizing into the societies that will become humanity, telling each other similar stories that are also different, and some of them write those stories down for those who come after, and some who come after model their stories off of those that were written down before, anyway, point is, now we’re all living by these mythologies that are really nothing more than increasingly complex versions of those first descriptions of the hallucinations of a bunch of violent, sex-crazed, stoned monkeys.”
“Some story you got there.”
“That’s all you have to say?”
“What else should I say?”
“I mean, I’d say it makes a lot of sense.”
“Hmmm.”
“A lot of our ideas still seem to come from violent, sex-crazed, stoned monkeys. I mean, look at who we elected president. Anyway, I’m not sure the story’s right or anything, but I will say the theory behind it seems to support the reality that we’re programmed to gain more instantaneous and intense pleasure from fucking and getting high than we do from anything else, and maybe it’s because, at the core of everything, in more ways than just the obvious, it’s where we really do come from.”
“Seems kind of full of shit to me.”
“I didn’t make it up. McKenna did.”
“Who?”
“Terrance McKenna. You know, the druggie pseudo-scientist in that documentary we watched?”
“Yeah, that guy. He’s as full of shit as those apes of his.”
“We all are. That’s his whole point. That full-of-shitness has a directly proportional relationship to the desire to tell stories. That we’re all just making it all up as we go along, hoping we’ll be better people if we just get into a better diet, or a better set of habits, or some kinky sex thing, or whatever. That when it really boils down to it, evolution is just a spore creating the fungus of progress, feeding itself on a steaming pile of excess, ever-becoming history’s paradoxically both finished and unfinished product.”
Judgment Day takes the shape of seven stories ranging in form, reality, and aspects of Greek mythology to illustrate how tragedy becomes desensitized for our cast of narrators and contributing witnesses.
Some stories here use the traditional first and third person narrative structure, following the down-and-out white male narrators of Houston, Texas, who imbue upon themselves the names of tragic figures in Greek mythology in what are revealed to be, for the most part, aspirational acts of self-care in a world that has otherwise abandoned them.
An academic research paper on a street artist's mesmerizing control over an unconsenting audience includes a slew of David Foster Wallace-esque endnotes that tell a completely different story. A transcription of a psychologist's conversations with a patient reveal the side effects of a hallucinogenic trip where he spends his time chasing after a life that feels more real than his current one. There is also a poem that longs for a world lost to the onslaught of Fake News and climate change from the perspective of Orpheus, if you are prose-averse.
Hilbig's more politically-oriented stories such as "The Ballgame at Xibalba" and "The Bell Witch Hunter & the Curse of Jacksonian History" are his stronger pieces, where he leans into the realm of satire with precision. An underground basketball tournament run by high-profile politicians and celebrities pits desperate Black characters against each other for a fatal opportunity to kickstart a nest-egg of intergenerational wealth. "The Bell Witch" tells us in so much as a sentence how our society came to completely erase and remake our own history after the year 1820 in favor of Andrew Jackson's preferred account.
The shock of reading the alternative histories in Judgment Day hits hard at a time when the American public school system is encouraged by right-wing spokesmen to ban teaching critical race theory and books on Black, queer, indigenous, and otherwise marginalized versions of American history that are omitted from standardized textbooks. Hard facts are hard to find in Judgment Day, but Hilbig suggests that may be the whole point. What can we do when we no longer know what the truth looks like?
For fans of the outrageously honest 2022 film Don't Look Up, Hilbig's Judgment Day is an exercise to American readers—and white folk in particular—to challenge the truth told by each and every narrator, from one lived reality to the next.