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@powetrytime
white flag by lucia gallipoli
mary oliver, staying alive
["Even my first encounter with the word bulldagger was not charged with emotional conflict. When I was a teen in the 1960s, my grandmother told a story about a particular building in our Boston neighborhood that had gone to seed. She described the building's past through the experience of a party she'd attended there thirty years before. The best part of the evening had been a woman she'd met and danced with. Lydia had been a professional dancer and singer on the black theater circuit; to dance with women was who she was. They'd danced, and then the woman walked her home and asked her out. I heard the delicacy my grandmother searched for even in her retelling of how she'd explained to the "bulldagger," as she called her, that she liked her fine but she was more interested in men. I was struck with how careful my grandmother had been to make it clear to that woman (and, in effect, to me) that there was no offense taken in her attentions, that she just didn't "go that way," as they used to say. I was so happy at thirteen to have a word for what I knew myself to be. The word was mysterious and curious, as if from a new language that used some other alphabet which left nothing to cling to when touching its curves and crevices. But still a word existed, and my grandmother was not flinching in using it. In fact, she'd smiled at the good heart and good looks of the bulldagger who'd liked her."]
Jewelle Gomez, from I Lost It At The Movies, from Testimonies: Lesbian Coming-Out Stories, edited by Karen Barber and Sarah Holmes, Alyson Publications, 1994
happy sometimes you just want something so hard you have to lie about it so you can hold it in your mouth for a minute monday
yeag
hey i am curious about what issues the Addison Rae Reveals the Meaning genre of academic writing might have? i have my own ideas about what they might be, but i wanted to ask because i really liked how you articulated the shortcomings of the Troubling Industrial Complex. you put a name to something that had bothered me reading (some) academic literary criticism. idk i guess i'm just interested in this new way of classifying papers lol
hi diva. Thank you for your patience. And also to the other people who have sent me variations on this ask this week. My original post was born of frustrations with my particular field (early modern studies, specifically via the English department) which for a variety of factors not worth getting into here is particularly prone to producing Troubling Industrial Complex scholarship. Other fields are overly prone to Addison Rae Reveals the Meaning criticism and are probably longing for some good old fashioned Troubling.
Addison Rae Reveals the Meaning as a descriptor for academic writing comes from my girlfriend Asya who is very smart and funny and beautiful and uses Addison Rae Reveals the Meaning as essentially a shorthand for the critique of critical theory that Eve Kosofsky Sedgwick makes in her essay about Paranoid Reading.
Sedgwick basically observes that a common methodology of critical theory is a suspicious, paranoid critical apparatus that purports to reveal some kind of conspiratorially concealed meaning. One of Sedgwick's issues with this type of reading is that reading for conspiracy often produces something that feels like bombshell new info is being revealed but actually tells us nothing that was ever really hidden to begin with. Here's Sedgwick:
[Eve Kosofsky Sedgwick, "Paranoid Reading and Reparative Reading, or, You're So Paranoid, You Probably Think Essay Is About You," in Touching Feeling: Affect, Pedagogy, Performativity (Duke University Press, 2002), 140.]
The result is a critical mode that equates suspicion, revelation, demystifying, making-visible, etc. with actual active opposition to structures of power--not so inherently productive when so much hegemonic power deals out its repression via hypervisibility. And since paranoid readings are overly concerned with revealing a central, conspiratorial seam that runs through all of what they critique, they also tend to produce tautologies; Sedgwick's gloss of D.A. Miller's book The Novel and the Police is that "the main argument or strong theory is entirely circular: everything can be understood as an aspect of the carceral, therefore the carceral is everywhere" (136).
I'm not doing Sedgwick's argument justice and I'm leaving out so many valuable but less immediately relevant points. But instead of addressing all that stuff let's look at where she gets a little bitchy with it about "revealing" as a specific writerly tic:
[Sedgwick, "Paranoid Reading," 139]
Judith Butler reveals the meaning.
I hope this is helpful! I linked a pdf of the Sedgwick in full up where I first mentioned it and everyone in the world should read it. I also want to say that Sedgwick has earned the right to take pot shots at Butler's style of writing and criticism but if I see any of you clowns say one single word against them in my notifications your problems will begin with me blocking you and end with my girlfriend coming to your house with a baseball bat.
all academic writing is either addison rae reveals the meaning (see fig. 1) or a genre I call the "troubling industrial complex" where you identify something that engages hegemonic power in a way that is ambiguous and incoherent and instead of arriving at a coherent reading of it via the work of your thinking and writing (you know like the job that academic writing is supposed to do) you make a really emphatic but essentially contentless claim that it "troubles" that power structure. and often you start reading academic writing and you're like is this addison rae reveals the meaning or is it troubling industrial complex and they're like I don't understand and you pull out a diagram explaining what is addison rae reveals the meaning and what is troubling industrial complex and they laugh and say "it's good academic writing sir" so you read it and it's troubling industrial complex.
fig 1.
FaT GiRL zine vol 6
evoking bertholt brechtâs âthe way people cast a play!â quote as a spell against prescriptive, stereotypical, fatalistic typecasting
idk what to tell you except go look at the fishwives
âThey asked me to tell you what it was like to be twenty and pregnant in 1950 and when you tell your boyfriend youâre pregnant, he tells you about a friend of his in the army whose girl told him she was pregnant, so he got all his buddies to come and say, âWe all fucked her, so who knows who the father is?â And he laughs at the good jokeâŚ. What was it like, if you were planning to go to graduate school and get a degree and earn a living so you could support yourself and do the work you lovedâwhat it was like to be a senior at Radcliffe and pregnant and if you bore this child, this child which the law demanded you bear and would then call âunlawful,â âillegitimate,â this child whose father denied it ⌠What was it like? [âŚ] Itâs like this: if I had dropped out of college, thrown away my education, depended on my parents ⌠if I had done all that, which is what the anti-abortion people want me to have done, I would have borne a child for them, ⌠the authorities, the theorists, the fundamentalists; I would have born a child for them, their child. But I would not have born my own first child, or second child, or third child. My children. The life of that fetus would have prevented, would have aborted, three other fetuses ⌠the three wanted children, the three I had with my husbandâwhom, if I had not aborted the unwanted one, I would never have met ⌠I would have been an âunwed motherâ of a three-year-old in California, without work, with half an education, living off her parentsâŚ. But it is the children I have to come back to, my children Elisabeth, Caroline, Theodore, my joy, my pride, my loves. If I had not broken the law and aborted that life nobody wanted, they would have been aborted by a cruel, bigoted, and senseless law. They would never have been born. This thought I cannot bear. What was it like, in the Dark Ages when abortion was a crime, for the girl whose dad couldnât borrow cash, as my dad could? What was it like for the girl who couldnât even tell her dad, because he would go crazy with shame and rage? Who couldnât tell her mother? Who had to go alone to that filthy room and put herself body and soul into the hands of a professional criminal? â because that is what every doctor who did an abortion was, whether he was an extortionist or an idealist. You know what it was like for her. You know and I know; that is why we are here. We are not going back to the Dark Ages. We are not going to let anybody in this country have that kind of power over any girl or woman. There are great powers, outside the government and in it, trying to legislate the return of darkness. We are not great powers. But we are the light. Nobody can put us out. May all of you shine very bright and steady, today and always.â
â Ursula K. Le Guin
Worlds of Ursula K. Le Guin (2018) dir. Arwen Curry
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susan sontag
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osho
HÊlène Cixous, from The Laugh of the Medusa
Text ID: Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies ... Writing is for you, you are for you; your body is yours, take it.
Just read this essay and âŚ
heartstrings I (2013) by selma alaçam
hi hello remember that the plum you are going to eat next summer is growing just for you đ¤
always thinking of that âi couldnât stop wasting timeâ quote
song of the summer!!
from Bhanu Kapilâs The Vertical Interrogation of Strangers
anyway⌠if anyone is looking to improve their reading & writing skills, i highly recommend this article by celine nguyen, which analyses the opening paragraphs of good essays to understand how and why they work. focuses on nonfiction but could apply generally i think