The thing with the dead boyfriend is that in my dreams he is there so vividly. We meet in the dreamspace both laughing. Of course you aren’t dead, my dream self thinks. Of course. I knew that somehow all along.
Susan Sontag wrote that to photograph people is to violate them, seeing them never as they see themselves; Amanda Bynes tweeted that she would prefer if press only used her selfies.
“I am only interested if you do it side by side,” I type.
In a story like this, do we assume that because the writer is a woman, she — like all women — has learned that her body is her ultimate value? And that if it doesn’t reach certain standards — is not over exercised, primped, plucked, starved — she becomes unworthy as a human being?
How do I look while taking out the trash? While slumped in a chair at work? While crying during this movie? We watch a celebrity like Jennifer Aniston with the awareness of ourselves being watched.
The Dark Phase in itself is femme; is inherently sort-of queer. I imagine that when goth became a scene — the Batcave in London in 1982 — that the more dramatic, poetic dimension of Goth made it a safe haven; an alternative to the increasingly masculine and aggro punk scene.
Paris broke the rules sexually. She wore lingerie to clubs, she was romantically linked with everybody. She had a sex tape. They were taboos that were ready to be broken.
I tell Kate I was shocked when I saw my sister with her newborn. That you have to hold it constantly. That you can’t do anything while holding it. That if you want to do something, you have to pass it to another person.
Marie had done sex work in the past. And I’ve never done sex work. But I would support her. I got it. I was a Tumblr girl, too.
Tori Amos is associated with women. This is what makes her embarrassing.