Also finally tackled: Paul B. Preciado's Testo Junkie. I started reading it last year and had to strain to recognize what Preciado was describing when it came to pharmacopornographic capitalism, now I do not have to try — reading it was one harsh, fluid stream of yes, yes, yes that all came out like a horrified no, no, no. I loved it, and I love now being lulled into this vulnerable place by Intimacy (ed. Lauren Berlant).
One curious feature of U.S. popular psychology is that it seems predicated upon the conviction that there are no good grounds for low self-esteem.
- Candace Vogler, "Sex and Talk" from IntimacyI ordered Eileen Myles' Chelsea Girls, Dodie Bellamy's When the Sick Rule the World, the two new Dorothy releases, Joanna Walsh's Vertigo and Marianne Fritz's the Weight of Things, and Niina Pollari's Dead Horse (finally — I kept expecting to find it someplace and never did). I was prepared to defer bulk-book-buying until BinderCon but no, my life is ridiculous.
Also ordered: Juliet Jacques' Trans, which has already arrived (and is the Joanna Walsh responsible for Vertigo responsible for this ravishing cover?! I'M OBSESSED) —
But it's symphony season again and the Harrisburg Symphony Orchestra's first concert was phenomenal, especially their performance of Ernest Chausson's Symphony in B-flat, which I would love to hear live again as soon as possible.
And as a Contributing Editor at Entropy, I will be writing about innovation and representation on television, starting with my bid for how Twin Peaks ought to belong to Donna Hayward:
Laura the person was treated like the real mystery to solve, at least inextricable from the murder case if not, occasionally, overriding it. As the person who was genuinely the closest to Laura Palmer, the narrative builds no suspense around Donna. She is not a mystery because she was what Laura was supposed to be.My dearest Kara is illustrating my Entropy posts, so if you do anything, drink those drawings in.