I have just been unreliably and earnestly informed that Lady Gaga’s fragrance, Fame, will impregnate the wearer with demons.
Daily Archives: October 21, 2012
I was recently introduced to the work of Portuguese artist Helena Almeida. It´s difficult to find text that complements it. The simplicity and consistency of her photos, I think, is what makes it so powerful.
do you realize? (live) – the flaming lips with edward sharpe and the magnetic zeros
The Flaming Lips with Edward Sharpe and the Magnetic Zeros – “Do You Realize?” – performed at the Hollywood Cemetery in Los Angeles, California, 2011.
People from the future are going to look back and smile at all the little neo-hippies with their camera phones beaming their moment out into virtual eternity… Must have been beautiful to be in that jam, though.
you killed me first!
Richard Kern with Lung Leg, 1985.
Im gonna love you, until you bleed to love
cinderella by anne sexton
You always read about it:
the plumber with the twelve children
who wins the Irish Sweepstakes.
From toilets to riches.
Or the nursemaid,
some luscious sweet from Denmark
who captures the oldest son’s heart.
from diapers to Dior.
Or a milkman who serves the wealthy,
eggs, cream, butter, yogurt, milk,
the white truck like an ambulance
who goes into real estate
and makes a pile.
From homogenized to martinis at lunch.
Or the charwoman
who is on the bus when it cracks up
and collects enough from the insurance.
From mops to Bonwit Teller.
the wife of a rich man was on her deathbed
and she said to her daughter Cinderella:
Be devout. Be good. Then I will smile
down from heaven in the seam of a cloud.
The man took another wife who had
two daughters, pretty enough
but with hearts like blackjacks.
Cinderella was their maid.
She slept on the sooty hearth each night
and walked around looking like Al Jolson.
Her father brought presents home from town,
jewels and gowns for the other women
but the twig of a tree for Cinderella.
She planted that twig on her mother’s grave
and it grew to a tree where a white dove sat.
Whenever she wished for anything the dove
would drop it like an egg upon the ground.
The bird is important, my dears, so heed him.
Next came the ball, as you all know.
It was a marriage market.
The prince was looking for a wife.
All but Cinderella were preparing
and gussying up for the event.
Cinderella begged to go too.
Her stepmother threw a dish of lentils
into the cinders and said: Pick them
up in an hour and you shall go.
The white dove brought all his friends;
all the warm wings of the fatherland came,
and picked up the lentils in a jiffy.
No, Cinderella, said the stepmother,
you have no clothes and cannot dance.
That’s the way with stepmothers.
Cinderella went to the tree at the grave
and cried forth like a gospel singer:
Mama! Mama! My turtledove,
send me to the prince’s ball!
The bird dropped down a golden dress
and delicate little slippers.
Rather a large package for a simple bird.
So she went. Which is no surprise.
Her stepmother and sisters didn’t
recognize her without her cinder face
and the prince took her hand on the spot
and danced with no other the whole day.
As nightfall came she thought she’d better
get home. The prince walked her home
and she disappeared into the pigeon house
and although the prince took an axe and broke
it open she was gone. Back to her cinders.
These events repeated themselves for three days.
However on the third day the prince
covered the palace steps with cobbler’s wax
and Cinderella’s gold shoe stuck upon it.
Now he would find whom the shoe fit
and find his strange dancing girl for keeps.
He went to their house and the two sisters
were delighted because they had lovely feet.
The eldest went into a room to try the slipper on
but her big toe got in the way so she simply
sliced it off and put on the slipper.
The prince rode away with her until the white dove
told him to look at the blood pouring forth.
That is the way with amputations.
They just don’t heal up like a wish.
The other sister cut off her heel
but the blood told as blood will.
The prince was getting tired.
He began to feel like a shoe salesman.
But he gave it one last try.
This time Cinderella fit into the shoe
like a love letter into its envelope.
At the wedding ceremony
the two sisters came to curry favor
and the white dove pecked their eyes out.
Two hollow spots were left
like soup spoons.
Cinderella and the prince
lived, they say, happily ever after,
like two dolls in a museum case
never bothered by diapers or dust,
never arguing over the timing of an egg,
never telling the same story twice,
never getting a middle-aged spread,
their darling smiles pasted on for eternity.
Regular Bobbsey Twins.
the transformations of anne sexton, poststructuralist witch
Jeremy DeVito, 2011
“The world of the fairy tale has been traditionally read as one in which anything may happen, in which all things work toward and will eventually culminate in, the ‘perfect’ fairy tale ending of ‘happily ever after.’ However, the last half-century (with the rise of literary theory in general and feminist theory in particular) has produced a degree of cynicism towards this traditional reading. Fairy tale ideology has been challenged on the grounds that it is classist, racist, and, most blatantly, sexist. Hence, such tales have found new storytellers and have been adapted in such a way as to subvert the problematic ideals of tradition and, in most cases, replace them with what is seen as a fresher, more inclusive set of values. In 1972 Anne Sexton published Transformations, a collection of poetic retellings of seventeen widely recognizable fairy tales from the Brothers Grimm, which, in the eyes of such critics as Carol Leventen, “belongs to [this] significant body of revisionist / feminist work” (137). Although these retellings doreflect a new (and distinctly female) voice, however, Sexton’s critique contains complexities that go beyond a feminist objection to patriarchal concepts of perfection and happiness. Rather, Sexton’s tales suggest that the real problem with the fairy tale is to be found in its very striving towards the non-problematic; in short, Sexton’s poems are not so much feminist re-writings as they are poststructuralist re-readings. Their aim is not to adapt the traditional in providing or implying a new (feminist) central philosophy, but rather, to strip the tales of any centre whatsoever… ”
Read the rest of DeVito´s text here