Posts
Media
Videos
Starter Packs
![Desiring Identifications with the Past
Some days I have little interest in the abstract "Lesbian."
I want mine with skin (...]
-Meese （1992: 130）
At a forum on her book Getting Medieval (1999), Dinshaw relayed a comment by one of her students who noted that many people experience their first 'queer' encounter textually rather than sexually:
As is true for many queers [...] my queer sexuality was first articulated not through a relationship with another body but rather through texts [...] I consumed such texts urgently ... I was looking for a way to be queer, for a way to fashion my own identity [...] Queer history is my queer present. (Richard Kim cited in Dinshaw 2001: 202-203)
Similarly, we observe Sara T.'s urgent consumption of written accounts of Vivien's life as well as her work: '¿On cercar-te, si no en els mots, els teus, els dels altres, els meus mateixos, llançats, com una canilla mal ensinistrada, a la caça i captura d'un fantasma?' (91). Texts are one way that readers and writers can connect with their 'spectral' predecessors in order to shape and understand their own existence in the present. In The Apparitional Lesbian (1993), published a year before La passió, Castle considers the 'ghosting' of lesbians in history. She views her essays as 'a kind of invocation: an attempt to call up, precisely by confronting the different kinds of denial and disembodiment with which she is usually associated, the much-ghosted yet nonetheless vital lesbian subject (8).
However, the language used by the reader-writer figure, Sara T., highlights the ambivalence in her reaction to the 'fantasma' of the writer from the past. The simile in which Sara T. likens her words and those of others to an untamed pack of dogs — 'com una canilla mal ensinistrada' - reveals the lack of control she has over them. She thus hints at the posibility of writers also being h(a)unted against their will, or possessed by something or someone beyond their conscious control.
Sara T.'s 'ghost-hunti…](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lebq4axglxr4qxak3ekznnv4/bafkreiaaknf7un75nuus2gf23mklj7x3mqao5w5n3fiyu7i7phsq2xbjue@jpeg)
Reposted by Tess
thank you @invisiblethemes.bsky.social for hosting thoughtful spaces for gaylors to come together in for much-needed community during times of uncertainty!
Oops here’s the link to register: buytickets.at/friendsofdor...
Select tickets – Gaylor Coffeehouse - Join us for a "Cup O' Joe" – Zoom
Gaylor Coffeehouse - Join us for a "Cup O' Joe" – Zoom, Multiple dates and times - Why have "coffee all alone" when you can share a Cup O' Joe with fellow Friends of Dorothea?
Inspired by the "treat c...
buytickets.at
![THE LIFE OF A SHOWGIRL
Opalite Line 11 [Pre-Chorus]
And, "When you don't, you don't"
And all of the foes, and all of the friends (Ha, ha)
They've seen it before, they'll see it again (Ha, ha)
THE LIFE OF A SHOWGIRL
Opalite Line 35 [Pre-Chorus]
You're starving til you're not
And all of the foes and all of the friends (Ha, ha)
Have messed up before, they'll mess up again (Ha, ha)
SPEAK NOW (TAYLOR'S VERSION)
Castles Crumbling (Taylor's Version) [From The
Vault] Line 22 [Bridge: Taylor Swift]
You don't wanna know me now
My foes and friends watch my reign end
I don't know how it could've ended this way](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lebq4axglxr4qxak3ekznnv4/bafkreidwlhnm6jniftrbmlcjbzhk4akb4hgx6ykolvllasm7liimowdh5y@jpeg)
Reposted by Tess
showgirl songs hit the edits like a TSunami