“On my school notebooks
“On my desk and the trees
On the sand on the snow
”I write your name

On all flesh that says yes
“On the forehead of my friends
On every hand held out
”I write your name

On absence without desire
“On naked solitude
On the stairs of death
”I write your name

On health returned
“On the risk dissapeared
On hope without memory
”I write your name

By the power of the word
“I regain my life
I was born to know you
”And to name you


Paul Éluard, Liberté, 1942

David Cronenberg, Maps to the Stars, 2014

Leo Tolstoy

Leo Tolstoy

A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist—not that alone, but also between himself and all whose minds receive this work of art. In this freeing of our personality from its separation and isolation, in this uniting of it with others, lies the chief characteristic and the great attractive force of art.

Carol Stabile, “Postmodernism, feminism, and Marx: Notes from the abyss.”

"[T]he general claim is that historical materialism reduces structures of oppression to class exploitation, thereby ignoring or minimizing sexism, racism, and homophobia. While it is certainly true that historical materialism places relations of production at the foundation of society, there is nothing simple or reductive about how these relations structure oppressions. Rather, historical materialist analyses, instead of examining only one form of oppression—like sexism, racism, or homophobia—would explore the way they all function within the overarching system of class domination in determining women’s and men’s life choices. Sweatshop workers in New York City, for example, experience sexism and racism that are both quantitatively and qualitatively different from those experienced by middle-class women. The racism directed at poor African-American youths occurs in a different context than that directed at African-American women in the academy. This is not to claim that the latter forms of oppression do not exist or are inconsequential, but by situating both forms within the material context and historical framework in which they occur, we can highlight the variable discriminatory mechanisms that are central to capitalism as a system."



"But there is no female counterpart in our culture to Ishmael or Huck Finn. There is no Dean Moriarty, Sal, or even a Fuckhead. It sounds like a doctoral crisis, but it’s not. As a fifteen-year-old hitchhiker, my survival depended upon other people’s ability to envision a possible future for me. Without a Melvillean or Kerouacian framework, or at least some kind of narrative to spell out a potential beyond death, none of my resourcefulness or curiosity was recognizable, and therefore I was unrecognizable."

Vanessa Veselka: “The Lack of Female Road Narratives and Why It Matters”