Novelist Brigid Delaney wants a nicer flat in order to write about those non-creative people. You, taxpayer, come hither.
As a member of our creative caste, Ms Delaney wants to capture the buzz and thrum of city life. She wants to inspire “recognition” and above all “empathy.” It’s just that she’d prefer not to empathise too much with those non-creative people. Say, by working for a living and paying her own bills. And who will write about those ordinary people and their non-artistic lives if we don’t encourage Ms Delaney and her peers to live way above their means, at our expense, in places they can’t afford? Places they can’t afford because what they create isn’t as vital to the public as they might wish.
Campus feminists combat “male-centricity” by making unerotic pornography and rubbing eggs on their breasts.
As some readers may be intrigued by the notion of all-female feminist pornography, here’s a brief description: “It begins with a group of girls sitting around a library table taking their shirts off. As the film progresses, the girls engage in activities including kissing, rubbing eggs on their bodies and twerking around a chicken carcass.” The finished political opus, titled Initiation, also features the somewhat lacklustre use of a riding crop and extended scenes of floor-wiping.
A San Francisco “nude-in” reveals more than intended.
Some may register a whiff of disingenuousness in exhibitionists accusing their critics of being repressive and stuffy. Exhibitionists may be eager to dispense with clothing in incongruous locations – say, a traffic island in the middle of a busy intersection - but they desperately need an audience, preferably one that’s embarrassed and unwilling. San Francisco is remarkably well-equipped in terms of nude-friendly clubs and amenities, including a nude beach and nearby nudist colonies. What’s revealing is that such venues weren’t deemed sufficient for our wrinkly radicals. And while I doubt many readers here are prone to fainting at the sight of withered genitals and subsiding buttocks, they may conceivably object to being made an accomplice to someone else’s psychodrama. As one young lady points out, “Unwanted exposure to scrotum is never okay.”
And I’m told it’s possible, if not wise, to while away an hour in the greatest hits, now updated.
It seems that at Columbia University a rat pack of nursery feminists have got their skivvies in a knot because the library, Butler, is named for an, ugh!, man. Yes. It cannot be denied. In protest, these girls, apparently having nothing more important to do, have filmed “feminist pornography” in the library.
Indeed they have. It’s a “guerrilla action” response to “gender tension” and “male-centricity.” And “of course, it is a feminist statement.”
Anyway, one of these drab libertines, a Sara Grace Powell, says, “Butler is an extremely charged space - the names emblazoned on the stone facade are, for me, a stimulant for resistance.” A stimulant to grow up might be more to the point. She means “stimulus,” of course, but why would a child at an Ivy university be expected to know English? To an extent I have to sympathise with Sara. I grant that seeing a horrible male name “emblazoned” would send me into a decline also. Wouldn’t it you? Never mind that if the man thus emblazoned had not made the money to donate the library, Sara wouldn’t have one in which to make pornography, presumably the purpose of libraries.
As some readers may be intrigued by the notion of all-female feminist pornography, here’s a brief description:
It begins with a group of girls sitting around a library table taking their shirts off. As the film progresses, the girls engage in activities including kissing, rubbing eggs on their bodies and twerking around a chicken carcass.
The finished political opus, starring the aforementioned Ms Powell and titled Initiation, also features the somewhat lacklustre use of a riding crop, extended scenes of floor-wiping and what feels like an eternity of general aimlessness. It can be savoured at length here. Those hoping for red-blooded boi-oing fuel may, however, be disappointed. One of the film’s makers, Coco Young, has stressed the intent to transgress rather than titillate:
She was happy to see one commenter note that it was “hard to masturbate to this.” After all, the girls aimed to “create a repulsion”; there were naked women onscreen, but “they’re not there to make you sexually aroused.”
Despite dashed hopes and the sheer radicalness of it all, I trust readers will somehow get over it and get on with their lives.
Seven years, good grief. As is the custom here, posting will be intermittent over the holidays and readers are advised to subscribe to the blog feed, which will alert you to anything new as and when it materialises. Thanks for another million or so visits this year and another six thousand comments, many of which prompted threads that are much more interesting than the actual posts. Which is kind of the idea. And particular thanks to all those who’ve made PayPal donations to help keep this rickety barge above water. It’s much appreciated. Newcomers and people with nothing better to do are welcome to rummage through the reheated series and greatest hits. There you’ll find, among other things, great feats of artistry, an ongoing catalogue of leftwing agonies, the bewilderment of George Monbiot, the mind-blunting effects of pretentious racial guilt, and a righteous denunciation of the barbecue patriarchy.
A few days ago we were talking about critics grafting their own political hang-ups onto early zombie films. As when cineaste Robin Wood informed readers that the zombies’ cannibalistic tendency “represents the ultimate in possessiveness, hence the logical end of human relations under capitalism.” Well. With that in mind, I feel it’s time for a few words from someone close to our hearts:
I wondered if we could go back to talking about zombies and socialism? Because there is quite a lot of scholarship on this, recently, and a lot of people writing, erm, quite intelligently about the idea of the power of the zombie narrative as a class war narrative.