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WIR 3/10/23

In bed - 2 essays from Camille Paglia Provocations because it was on the bedside table. "The Italian Way of Death" and "Women in Magic in Alfred Hitchcock"

"Why the Mental Health of Liberal Girls Sank First and Fastest" by Jon Haidt

"Why Everything Everywhere All at Once Will Probably Win Best Picture" by Ross Douthat

Should I try to watch this movie again? I don't want to. I could not even really read that column.

Silicon Valley Bank Collapse: What We Know

Regulators shut down Silicon Valley Bank on Friday, in the largest U.S. bank failure since the 2008 financial crisis, and appointed the Federal Deposit Insurance Corporation as the receiver.

Then online (out of bed) - ‘It was a bit like Saint Augustine and his conversion.’ ... 'I’m starting to realize I can have just about anyone.’

‘Family is the place for madness’: Constance Debré on the book that has shocked France

“In the first week that I had sex with a girl, I had the feeling I could write.”

“FOR ME, homosexuality isn’t about who I’m fucking,” Constance Debré writes early in Love Me Tender, her newly translated novel. “[I]t’s about who I become.”

“My goal is to have as little as possible. Things, places, people, lovers, my son, my friends. I thought that was partly what being gay was about.”

I thought of Chantal Akerman’s Je Tu Il Elle (1974), her most explicitly lesbian film, which begins with a similar sense of spareness and isolation. The opening voiceover says: “And so I left. A tiny white room on the ground floor, as narrow as a corridor, where I lie motionless, and alert, on my mattress.” For the first 30 minutes of the film, the main character, played by Akerman, sits in self-imposed isolation, progressively decluttering. She moves all the furniture into the hallway, moves the mattress to the floor, blocks the light from the window, takes her clothes off, and eats sugar from a paper bag.

Google-translated hilariously nonsensical from French

Kristen says: “I had relationships with men who were among the most important in my life and I was always homosexual, I always felt this thing in me, whether I knew or not what it was about, whether or not I had the words to define it." Perhaps then what distinguishes heterosexuals from those who are not is less a matter of taste or genre (a notion which will not be discussed throughout the interview), than of experience. That of a founding inner conflict and the habit of secrecy, ambivalent, since this founds an empire in itself very strong at the same time as it is a weight, until the day it yields, making it palpable after the fact, so often we were barely aware of it, with this feeling of extraordinary vitality that all emancipations give, that one only has to look at Kristen Stewart to understand. And no doubt this is one of the elements that explains why she is one of the actresses who breathes so much presence and truth into the films in which she plays. Because if it holds them together, if it takes us immediately, into the feature films of Olivier Assayas , by Woody Allen as in Happiest Season , it's not because she is (or not) a great actress, it's not because of her acting, her technique, it's because of her person. “ I'm fucking yours ”, she says, and there's no doubt about it, “with anyone close to me, in my personal or artistic life”.

In short Kristen Stewart is no longer 20 years old, she is 30 and years of interviews behind her. “For a long time, my obsession was not letting people in. I thought keeping things private was a way to not lose them, to own them better, but that wasn't true. The fervor created by the fact of not responding was already a response and I don't want to give the impression of being a person who does not assume his life. So I took the simplest course, that of having frank conversations with the people with whom I feel good and not responding to others. It all depends on who is talking to me. “As in real life in short. “I want so much, she says, others and everything. »

From LARB found Gracie's twitter and read some more

Identity categories are, as anthropologist Gayle Rubin wrote in 1992, “imperfect, historical, temporary, and arbitrary.”


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