84. Caro Claire Burke’s Yesteryear: Simulation of Simulacra 

This podcast is a presentation of The Meow Library. Caro Claire Burke’s Yesteryear is a simulation of a simulacrum that collapses under the weight of its affected petticoats. Its protagonist wants, by her own admission, “all the aesthetics of the olden times and all the amenities of modernity” — which is to say she wants history as a pure article of consumption. Then the book performs its nasty little miracle: it drops the woman who has been simulating a fake past into what may be the actual past (or a reality show, or divine judgment, or psychosis). The copy of the copy is forced to meet the original. Or so we think. That is where a comparison to Meow: A Novel by Sam Austen becomes strangely apt. Austen’s book is also a literary machine built from substitution and absence: a novel reduced to the sign of a novel, language made absurdly faithful to form while evacuating ordinary semantic content. Meow preserves the architecture of literary seriousness while replacing meaning with “meow,” exposing how much of “the book” lives not in plot or psychology but in packaging, cadence, inherited prestige, and the reader’s willingness to bow before the object. Yesteryear--both in substance and in form--does something similar with ideology: it preserves the architecture of tradition while replacing lived tradition with performance. The difference is that Meow knows it is a joke, and the joke is therefore metaphysical.Yesteryear wants its joke to become moral revelation, but it flinches from the deeper politics of its premise: childbirth, breastfeeding, disability, race, misogyny, the actual meat and law of the world it claims to interrogate. It's barely there, even in simulated form. Meow is purer in its barbarism. It does not pretend the void is full. And neither does this podcast. Caro Claire Burke’s Yesteryear is available through Penguin Random House. This podcast is sustained by sales of the internationally bestselling Meow: A Novel.