At that time the children – two boys – join the wrestling team where they eventually begin injecting steroid hormones to match society’s expectations of masculinity, while combatting their own thoughts and desires to grow out their hair, attend art school and watch porn in a dark basement with their friends.
Instead, here are a few ways to put your holiday shopping to good use.
An interview with Frank Lumpkin, a retired steel-worker from Chicago, from 1992. A segment of Studs Terkel’s “Race: How Blacks and Whites think and Feel About the American Obsession” (1992, New Press, New York, NY)
You should message this exhibition if…you don’t mind getting intimate with strangers.
Is the pursuit of love through emotionally detached sex so different from the immune witch playing a self-harming game because she knows she’ll no longer melt?
The problem at the heart of this question is the meaning of ‘dialogue.’ It is not entirely clear whether ‘dialogue’ is grasped, within the context of the St. Claire, as either a process (the method or way discourse unfolds) in which something other than dialogue is produced as its result (the ‘end’ or ‘purpose’ of the process that emerges when the process is disrupted); or whether dialogue is itself the result from whence the process is retroactively rendered intelligible (we make sense of dialogue as a process precisely because it is given as a fixed and meaningful term).
Why was there such a gaping empathy gap between the news and the art context, I wondered?
Listen in as queer theorist and researcher, Mary Zaborskis leads a free-form discussion that uses queer theory and childhood studies to investigate children’s agency in reality television.
It’s children might look like a cloud of dust hanging above a dirt road leading towards a horizon that is the internet.
They are not photocopies of the first time, disintegrating each time.