Author Archive


by on Apr.13, 2012

[Part of this post has been removed.]

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by on Apr.12, 2012

We’ve swerved from Bradley Soileau to Japanese Vogue–and now to the world’s top two transgender models, Lea T and Andrei Pejic!

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by on Apr.11, 2012

We started out the week with Bradley Soileau, and now we’re slithering along to a recent edition of Japanese VOGUE:

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by on Apr.10, 2012

Entirely gratuitous. Like frosting on a twinkie. And I’m inaugurating it with Bradley Soileau:

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Otto; or Up With Dead People!

by on Apr.03, 2012

Montevidayans, has anyone seen this? If so, please report!

Spectacular trailer here: Otto; or Up With Dead People


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DELTA MOUTH Literary Festival! Hot readings w/awesomesauce!

by on Mar.15, 2012

If you’re anywhere near Baton Rouge, scurry to Delta Mouth! LSU welcomes the fabulicious Douglas Kearney, Kate Durbin, Selah Saterstrom, Christian Bok, Lily Hoang, Jennifer Tamayo, Lonely Christopher, Paul Killebrew, Lilian-Yvonne Bertram & Chris Shipman!

Come out & feed! It’s a 3-day extravaganza!

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Harmonie Korine's Trash Humpers

by on Feb.20, 2012

Montevidayans, has anyone seen this yet? If so, please report!


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Princess Hijab! (or, Pageantry as Code Scrambler)

by on Feb.10, 2012

Awhile ago, I think while we were chatting about Zurita, I mentioned the teenage protestors in Ciudad Juarez who’ve begun showing up at crime scenes dressed as angels. They are really, really young:

For some time now, I’ve been meaning to share my love of Princess Hijab, a graffiti artist who works in the Paris metro “hijabizing,” well, everyone:

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Pussy Riot in Russia!

by on Feb.09, 2012

Montevidayans, who could not love the anti-Putin protestors now going by the name of Pussy Riot? I love how how they’re all weird day-glo doubles of each other, the awesome hand-knit face masks (with pompoms), the total excess of performers.  Also, the kooky blue smoke mid-song and colossal headbanging!

Click here to watch the “girls” in action!

Inspiring headwear!


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A Poem Is A Skin That Ruptures

by on Dec.01, 2011

My piece, “A Poem is a Skin That Ruptures,” is up over at Evening Will Come, along with pieces by Brandon Shimoda and Jennifer Scappettone:

The ha ha albino sky is rotting like meat in the poem’s throat. Sink yr fingers
in2 the creamo dreamo seal meat. Ensorcel yrself 4-evah in loaves of hottie

The poem arranges suitable animals 4 yr maxi yum. Chew until u r reeling
around in yr blubs. Yr bones dripping out.

I am rubbing one out on the horny techno body of the poem. In the middle
of the crime pageant. This is gross retail.

Everyone wants to engage in fancy looking. Yr eyes erupt into horns & u
gore the language matrix. To cheerily participate in wound culture. This is
what it means to write a poem.

Read more!

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The Immorality of the Gurlesque

by on Oct.06, 2010

In a previous post, Joyelle and Johannes write: “The moralist attacks on Lady Gaga mirror almost exactly the critiques/attacks on the Gurlesque: it’s decadent, it’s immoral, it’s anti-feminist, or “it’s not new” (this claim made obsessively, seen through the moral-investment in the purist “newness” of modernism, is also a moralist critique), it’s been stolen, plagiarized, it’s a ruse, a costume. Both Gaga and Gurlesque have to be policed. The horror of Decadence!”

Much of the Gurlesque relies heavily on an excess of girly or femme ornamentation, which can be (mis)read as being cloyingly retro or second wave. To my thinking, the rococo excess of girly ornamentation (especially as it’s combined with an acute streak of “unladylike” violence or the grotesque) destabilizes gender performance and heteronormativity in very useful ways. And as Johannes notes, the Gurlesque also disrupts the aesthetic field: it’s “bad aesthetics,” “cheap,” “kitchy,” “costumey,” etc.

The Gurlesque represents what Josef calls below in his post on Klimt, “an engagement with artifice… faces and body parts drowning in excessive assemblages of pure ornament. What they seem to suggest is that desire itself may be artificial. And also that the body may be porous or amorphous, with no clearly defined boundaries.” Chelsea Minnis’s Zirconia, with its acute emphasis on artifice, is a great example of this.

Baudelaire was perhaps the first to attack naturalism, equating fondness for representational art and mimesis with a parasitic dependence on tradition. This is what Rene Girard calls “imitative desire”: the bizarro paradox that we become ourselves only by mimicking others, thus naturalizing the social and institutional values of our culture.

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On Binding: Queen Pasiphae, Hans Belmer & the Meat Dress

by on Sep.23, 2010

Some of you may know that I recently wrote a book called Maximum Gaga (Action Books, 2009). When I wrote the book, I’d never heard of Lady Gaga, but I’m thrilled by the happy overlap, by our joint interest in gender performance and excessive aesthetics. Maximum Gaga is a book about Pasiphae, the queen from ancient Greek myth who enlists the inventor Daedelus to build a cow costume/machine so she can copulate with an enormous white bull. This machine may have been the first industrial sex toy, the first meat dress (as Danielle notes), the first mechanical abattoir. Since then we’ve created a massive variety of sex toys, both for females and males alike so they’re able to pleasure themselves on their own, each other when together and anything else that people would like to experiment doing, more info at

For Pasiphae, this Miraculating Machine, as I call it in the book, is certainly about pleasure, the pleasure of inhuman cock. Like Lady Gaga’s meat dress, it is unclear what is wearing who, and the lines between live female body and corpse, skin and costume, animal and human, machine and body are thrillingly collapsed. Pasiphae’s fucking results in the birth of the Minotaur: monstrous female pleasure engenders even nastier monsters.

The Miraculating Machine detourns the traditional binding of the female body, the intense bodily manicuring that heteronormativity requires of women: the bleaching, plumping, waxing, sculpting, hiding, painting, shaving, revealing, camouflaging, highlighting, etc. All of which is on fat display in Cher’s get-up at the recent award ceremony. All of which masks the fact that, as Vanessa Place says, “We are nothing but chipped beef.”

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