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FN (PREACHER): Strengthen me O Lord against temptation -- and send a message to this temptress, O Lord -- perhaps a text message on her cell phone -- tell her that her deliverance has come and I need the key to the apartment -- and also this jazz pianist -- deliver him O Lord from the tyranny of love ballads and dance music (PIANO BEGINS COOL VERSION OF HYMN) -- just a little glass, Jennifer. Just for a mouthwash. (TR SIP AND SERIES OF WHOOPS)
Jonathan Allan's Reading from Behind: A Cultural Analysis of the Anus is a timely addition to sexuality, gender, affect, queer, psychoanalysis, and cultural studies. Allan probes what the anus signifies through a variety of cultural texts and theoretical genealogies. I write this in the aftermath of the feuding derrieres of Kim Kardashian and Nicki Minaj attempting to "break the Internet" and the barrage of "booty selfies" emerging from the likes of Justin Bieber, Orlando Bloom, and Nyle DiMarco. This rise in visibility of the ass has led to popular media companies such as Vogue and The New York Times publishing on "belfies" (a combination of "butt" and selfie" [Connor]), to the rise in cosmetic surgeries involving the butt (Meltzer), to the virality of what I would call anal horror in films such as the Human Centipede trilogy, through to bell hooks leading a panel entitled "Whose Booty Is This?" And in the wake of RuPaul's Drag Race becoming mainstream, I cannot not hear All-Stars winner Alaska Thunderfuck telling me "anus thing is possible" while writing this review. It then comes at no surprise that we are baring witness to the hyperpopularization of all things anal in our current cultural productions.
Sullen, peremptory Mirko is the band's charismatic leader; he introduces the others to their dirty clubhouse on the outskirts of a small Italian town, which they soon furnish with discarded mattresses, candles and a tape player. He insists that they all bring their most prized possession to the shed so it can ''become somewhere special to go to, a place that was part of them, like their rooms at home.'' But not quite like home; it also becomes ''a place apart, different, with its own laws. A place where the gaze, the authority and also the love of mothers and fathers never entered.''
This makeshift Neverland serves as an outpost in the distant realm of their own adulthoods because it is here that they begin to learn about sex. Mirko brings them magazines with glossy pages and indelible images: ''The women had triangles between their legs, neatly covered with hair. Below the hair, they opened up like fruit cut in two, split.'' He then choreographs re-enactments of the depicted couplings. Afterward, the children are overwhelmed by sensations of novelty and confusion. Vinci sure-handedly finds her way into a 10-year-old's metaphoric vocabulary to produce a credible comparison: it is ''like when someone comes over to visit and touches all your things, moves your books, listens to your records, sits on your bed . . . and there you are after they've left, alone in your room with the lingering smell of other people's bodies.'' 041b061a72