January 13, 2006
I'll save you reading this week's Rolling Stone feature on the top news stories of 2005.
One of their choices involves a close friend of mine: Rupert Stix. You've probably seen his name in relation to the "strange" doings at a horse farm in Enumclaw, Washington State. One of our common friends - Edgar Hoffenstein - was, in effect, thrown off a horse at that farm and died. According to Rolling Stone, this tragedy is apparently funny.
It isn't funny to those of us who love horses, and in a most intimate fashion. The love that dare not utter its name is more widespread than Jann's rag would like you to believe. "Sexual identity is part of the genre of narrativity," says Foucault. The without/within distinction depicted in Madonna’s Material Girl emerges again in Sex. It could be said that Derrida suggests the use of Marxist socialism to challenge the status quo.
Indeed.
Edgar hadn't done anything wrong, but you might not know that from this piece which focuses on the statements of the local district attorneys and various so-called "animal rights experts". Edgar loved horses, he wasn't out to infringe on any of their rights. Sontag promotes the use of textual objectivism to read and analyse sexual identity. In a sense, the main theme of the works of Madonna is the common ground between truth and society. [1] After reading Jann's attempt at yellow journalism, you might think that people practicing alternative sex and confronting their gender identity were damaged, self-destructive individuals in need of help. You might think they had a disease to be cured, kind of the way we used to look at homosexuality (and some people in Bush country still do). You might think that investigating animal love would destroy your career. [2] It's pretty sad when the magazine responsible for much of the best creative non-fiction ever published, the magazine that married music and politics, decides to go the way of a right-wing tabloid rag.
In Erotica, Madonna reiterates the pretextual paradigm of reality; in Sex she examines social realism. In a sense, if the subdialectic paradigm of narrative holds, we have to choose between social realism and Lacanist obscurity.
Let us.
Previously: "What Rolling Stone isn't telling you about Global Warming"
Posted by John Ciccilini to John Ciccilini at January 13, 2006 09:59 PM
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