![]() ![]() “By ultimate dissatisfaction with all of them, I was bearing witness to the only sure thing that was in me (however naïve it might be): a desperate resistance to any reductive system.” Angel comes to a similar conclusion-although she admits she’s arrived at this independence of mind rather late in the day.īut sex is what Angel uses to claim her body, to become more of a body, not less (after good sex, she writes: “I could feel my organs, their ripeness, their contentment”). He writes of “the uneasiness of being a subject torn between two languages, one expressive, the other critical.” He cannot choose just one. ![]() “If we are critical, we cannot enjoy.” This is, it should be noted, the argument at the heart of Camera Lucida, Roland Barthes’ study of photography, memory, and desire. “If we are liberated, we cannot critique,” she writes. She takes on sexual entitlement, the pornographic gaze, to spank or not to spank-and her targets are first her own pieties, then your pieties, and then the narrow discourse around desire. ![]() And indeed, between the moaning and philosophizing, the zipping and unzipping, that’s exactly what Angel is up to-that these monsters are chiefly of her own making keeps things that much more interesting. Clever women, I’d add, wake to slay them. Thinking women, Adrienne Rich told us, sleep with monsters. ![]()
0 Comments
Leave a Reply. |